From 24cb7d8c543050d325889f73f26afeef4096dcbf Mon Sep 17 00:00:00 2001 From: Petter Reinholdtsen Date: Sun, 12 Aug 2012 23:36:05 +0200 Subject: [PATCH] Update to current version. --- archive/freeculture.nb.epub | Bin 1158743 -> 1159188 bytes archive/freeculture.nb.html | 4129 ++++++++++++++++++----------------- archive/freeculture.nb.pdf | Bin 2015539 -> 2022639 bytes progress.png | Bin 4725 -> 5126 bytes stats.txt | 1 + 5 files changed, 2068 insertions(+), 2062 deletions(-) diff --git a/archive/freeculture.nb.epub b/archive/freeculture.nb.epub index 9f8373bda3037c8f2d0e6f510402031f794d117a..a66e48edb8dd1d9c86fe2a43f4adb8e285fd8cc8 100644 GIT binary patch delta 294522 zcmV)QK(xQt+(wk(Mh#F)0|W{H00000V7v^G4L1W|ybO^?Bm-c)43Tc(E@8Y3K>z>% z000000000000sa608d3iP*X2ZO9KQH0000809(8aK~k=bAqp;&eE}eU8@H0(*H_^7 zM2w^eitTPaY{@MtWJ?Y!LVkoLkFH~479a~GVOAB&1r#ZIbw6U3GfV%2_xh9jC38*! z^&p$wYR&aREwYG5BA+KSQ5VnNmxbDx##>iCIXRntcA`u*ce$;WPfmV*`_0`iPLvP2 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    Introduksjon

    17. desember 1903, på en vindfylt strand i Nord-Carolina i såvidt under hundre sekunder, demonstrerte Wright-brødrene at et selvdrevet fartøy tyngre enn luft kunne fly. Øyeblikket var elektrisk, og dens betydning ble alment @@ -235,7 +235,7 @@ begynte 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, “i ubestemt grad, oppover”.[4] I mange år undret lærde over hvordan en best skulle tolke idéen om +bakken, «i ubestemt grad, oppover».[4] 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? @@ -247,23 +247,23 @@ 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? -

    +

    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 døde), saksøkte Causbyene regjeringen for å trenge seg inn på deres eiendom. Flyene rørte selvfølgelig aldri overflaten på Causbys' eiendom. Men hvis det stemte som Blackstone, Kent, og Cola hadde sagt, at deres eiendom -strakk seg “i ubestemt grad, oppover,” så hadde regjeringen +strakk seg «i ubestemt grad, oppover,» så hadde regjeringen trengt seg inn på deres eiendom, og Causbys ønsket å sette en stopper for dette. -

    +

    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 -grunnlovens forbud mot å “ta” eiendom uten kompensasjon. -Retten erkjente at “det er gammel doktrine etter sedvane at en eiendom -rakk til utkanten av universet.”, men dommer Douglas hadde ikke +grunnlovens forbud mot å «ta» eiendom uten kompensasjon. +Retten erkjente at «det er gammel doktrine etter sedvane at en eiendom +rakk til utkanten av universet.», men dommer Douglas hadde ikke tålmodighet for forhistoriske doktriner. I et enkelt avsnitt, ble hundrevis av år med eiendomslovgivningen strøket. Som han skrev på vegne av retten,

    @@ -274,21 +274,21 @@ 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.[5] +eierskap det som kun fellesskapet har et rimelig krav til.[5]

    -“Idéen er i strid med sunn fornuft.” +«Idéen er i strid med sunn fornuft.»

    Det er hvordan loven vanligvis fungerer. Ikke ofte like brått eller utålmodig, men til slutt er dette hvordan loven fungerer. Det var ikke stilen til Douglas å utbrodere. Andre dommere ville ha skrevet mange flere sider før de nådde sin konklusjon, men for Douglas holdt det med en enkel -linje: “Idéen er i strid med sunn fornuft.”. Men uansett om +linje: «Idéen er i strid med sunn fornuft.». Men uansett om det tar flere sider eller kun noen få ord, så er det en genial egenskap med 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. -

    +

    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 @@ -296,16 +296,16 @@ for mange kyllinger flakset seg inn i vegger), ville Causbyene i verden finne det svært hardt å samles for å stoppe idéen, og teknologien, som Wright-brødrene hadde ført til verden. Wright-brødrene spyttet flymaskiner inn i den teknologiske meme-dammen. Idéen spredte seg deretter som et virus -i en kyllingfarm. Causbyene i verden fant seg selv omringet av “det -synes rimelig” gitt teknologien som Wright-brødrene hadde produsert. +i en kyllingfarm. Causbyene i verden fant seg selv omringet av «det +synes rimelig» gitt teknologien som Wright-brødrene hadde produsert. De kunne stå på sine gårder, med døde kyllinger i hendene, og heve knyttneven mot disse nye teknologiene så mye de ville. De kunne ringe sine representanter eller til og med saksøke. Men når alt kom til alt, ville -kraften i det som virket “åpenbart” for alle andre—makten -til “sunn fornuft”—ville vinne frem. Deres -“personlige interesser” ville ikke få lov til å nedkjempe en +kraften i det som virket «åpenbart» for alle andre—makten +til «sunn fornuft»—ville vinne frem. Deres +«personlige interesser» ville ikke få lov til å nedkjempe en åpenbar fordel for fellesskapet. -

    +

    Edwin Howard Armstrong er en av USAs glemte oppfinnergenier. Han dukket opp på oppfinnerscenen etter titaner som Thomas Edison og Alexander Graham Bell. Alle hans bidrag på området @@ -314,8 +314,8 @@ de f som var bokbinderlærling da han oppdaget elektrisk induksjon i 1831. Men han hadde like god intuisjon om hvordan radioverden virket, og ved minst tre anledninger, fant Armstrong opp svært viktig teknologier som brakte vår -forståelse av radio et hopp videre. - +forståelse av radio et hopp videre. +

    Dagen etter julaften i 1933, ble fire patenter utstedt til Armstrong for hans mest signifikante oppfinnelse—FM-radio. Inntil da hadde @@ -331,8 +331,8 @@ radios kringkasting som han hadde satt opp 27 kilometer unna. Radioen ble helt stille, som om den var død, og så, med en klarhet ingen andre i rommet noen gang hadde hørt fra et elektrisk apparat, produserte det lyden av en -opplesers stemme: “Dette er amatørstasjon W2AG ved Yonkers, New York, -som opererer på frekvensmodulering ved to og en halv meter.” +opplesers stemme: «Dette er amatørstasjon W2AG ved Yonkers, New York, +som opererer på frekvensmodulering ved to og en halv meter.»

    Publikum hørte noe ingen hadde trodd var mulig:

    @@ -342,7 +342,7 @@ det h Sousa-marsjer ble spilt av fra plater og en pianosolo og et gitarnummer ble utført. … Musikken ble presentert med en livaktighet som sjeldent om noen gang før hadde vært hørt fra en -radio-“musikk-boks”.[6] +radio-«musikk-boks».[6]

    Som vår egen sunn fornuft forteller oss, hadde Armstrong oppdaget en mye @@ -355,17 +355,17 @@ stasjonene i de store byene var alle eid av en liten h 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 -støy fra “radio.”. Men da Armstrong demonstrerte sin -oppfinnelse, var ikke Sarnoff fornøyd. +støy fra «radio.». Men da Armstrong demonstrerte sin +oppfinnelse, var ikke Sarnoff fornøyd.

    Jeg trodde Armstrong ville finne opp et slags filter for å fjerne skurring fra AM-radioen vår. Jeg trodde ikke han skulle starte en revolusjon — -starte en hel forbannet ny industri i konkurranse med RCA.[7] +starte en hel forbannet ny industri i konkurranse med RCA.[7]

    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, - +

    Kreftene til fordel for FM, i hovedsak ingeniørfaglige, kunne ikke overvinne tyngden til strategien utviklet av avdelingene for salg, patenter og juss @@ -373,7 +373,7 @@ for hvis det fikk utvikle seg uten begrensninger … en komplett endring i maktforholdene rundt radio … og muligens fjerningen av det nøye begrensede AM-systemet som var grunnlaget for RCA stigning til -makt.[8] +makt.[8]

    RCA holdt først teknologien innomhus, og insistere på at det var nødvendig med ytterligere tester. Da Armstrong, etter to år med testing, ble @@ -389,8 +389,8 @@ FM-radio ville bli forkr

    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.[9] -

    +var nesten utrolige i deres kraft og underfundighet.[9] +

    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 @@ -409,7 +409,7 @@ 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. -

    +

    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 @@ -429,7 +429,7 @@ kan brukes til 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.[10] Det tallet kan uten +tidligere.[10] Det tallet kan uten problemer passere to tredjedeler av nasjonen ved utgangen av 2004.

    Etter hvert som internett er blitt integrert inn i det vanlige liv har ting @@ -452,20 +452,20 @@ har introdusert.

    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. -Med “kommersiell kultur” mener jeg den delen av vår kultur som +Med «kommersiell kultur» mener jeg den delen av vår kultur som er produsert og solgt eller produsert for å bli solgt. Med -“ikke-kommersiell kultur” mener jeg alt det andre. Da gamle +«ikke-kommersiell kultur» mener jeg alt det andre. Da gamle menn satt rundt i parker eller på gatehjørner og fortalte historier som unger og andre lyttet til, så var det ikke-kommersiell kultur. Da Noah -Webster publiserte sin “Reader”, eller Joel Barlow sin poesi, -så var det kommersiell kultur. - +Webster publiserte sin «Reader», eller Joel Barlow sin poesi, +så var det kommersiell kultur. +

    Fra historisk tid, og for omtrent hele vår tradisjon, har ikke-kommersiell kultur i hovedsak ikke vært regulert. Selvfølgelig, hvis din historie var utuktig, eller hvis dine sanger forstyrret freden, kunne loven gripe inn. Men loven var aldri direkte interessert i skapingen eller spredningen av -denne form for kultur, og lot denne kulturen være “fri”. Den +denne form for kultur, og lot denne kulturen være «fri». Den vanlige måten som vanlige individer delte og formet deres kultur—historiefortelling, formidling av scener fra teater eller TV, delta i fan-klubber, deling av musikk, laging av kassetter—ble ikke @@ -474,13 +474,13 @@ 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.[11] Dette er også, naturligvis, en viktig del av +eksklusive rettighetene på en kommersiell markedsplass.[11] 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.

    Denne grove inndelingen mellom den frie og den kontrollerte har nå blitt -fjernet.[12] Internettet har satt scenen +fjernet.[12] 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 @@ -530,33 +530,33 @@ internettet f 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—hvorvidt -“piratvirksomhet” vil bli akseptert, og hvorvidt -“eiendomsretten” vil bli beskyttet. “Krigen” som +«piratvirksomhet» vil bli akseptert, og hvorvidt +«eiendomsretten» vil bli beskyttet. «Krigen» som har blitt erklært mot teknologiene til internettet—det presidenten for Motion Picture Association of America (MPAA) Jack Valenti kaller sin -“egen terroristkrig”[13]—har blitt rammet inn som en kamp om å følge loven og +«egen terroristkrig»[13]—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.

    Hvis dette virkelig var alternativene, så ville jeg være enig med Jack Valenti og innholdsindustrien. Jeg tror også på eiendomsretten, og spesielt -på viktigheten av hva Mr. Valenti så pent kaller “kreativ -eiendomsrett”. Jeg tror at “piratvirksomhet” er galt, -og at loven, riktig innstilt, bør straffe “piratvirksomhet”, +på viktigheten av hva Mr. Valenti så pent kaller «kreativ +eiendomsrett». Jeg tror at «piratvirksomhet» er galt, +og at loven, riktig innstilt, bør straffe «piratvirksomhet», både på og utenfor internettet.

    Men disse enkle trosoppfatninger maskerer et mye mer grunnleggende spørsmål og en mye mer dramatisk endring. Min frykt er at med mindre vi begynner å legge merke til denne endringen, så vil krigen for å befri verden fra -internettets “pirater” også fjerne verdier fra vår kultur som +internettets «pirater» også fjerne verdier fra vår kultur som har vært integrert til vår tradisjon helt fra starten.

    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,[14] opphavsrettslov, skikkelig balansert, beskyttet +kontroll. Og som professor Neil Netanel kraftfylt argumenterer,[14] opphavsrettslov, 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. @@ -571,8 +571,8 @@ kulturell adel. De innen dette adelskapet har et enkelt liv, mens de p utsiden har det ikke. Men det er adelskap i alle former som er fremmed for vår tradisjon.

    -Historien som følger er om denne krigen. Er det ikke om “betydningen -av teknologi” i vanlig liv. Jeg tror ikke på guder, hverken digitale +Historien som følger er om denne krigen. Er det ikke om «betydningen +av teknologi» i vanlig liv. Jeg tror ikke på guder, hverken digitale eller andre typer. Det er heller ikke et forsøk på å demonisere noen individer eller gruppe, jeg tro heller ikke i en djevel, selskapsmessig eller på annen måte. Det er ikke en moralsk historie. Ei heller er det et @@ -585,22 +585,22 @@ 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. -

    +

    Lik Causbyenes kamp er denne krigen, delvis, om -“eiendomsrett”. Eiendommen i denne krigen er ikke like håndfast +«eiendomsrett». Eiendommen i denne krigen er ikke like håndfast som den til Causbyene, og ingen uskyldige kyllinger har så langt mistet -livet. Likevel er idéene rundt denne “eiendomsretten” like +livet. Likevel er idéene rundt denne «eiendomsretten» like åpenbare for de fleste som Causbyenes krav om ukrenkeligheten til deres bondegård var for dem. De fleste av oss tar for gitt de uvanlig mektige krav -som eierne av “immaterielle rettigheter” nå hevder. De fleste +som eierne av «immaterielle rettigheter» nå hevder. De fleste av oss, som Causbyene, behandler disse kravene som åpenbare. Og dermed protesterer vi, som Causbyene,, når ny teknologi griper inn i denne eiendomsretten. Det er så klart for oss som det var fro dem at de nye -teknologiene til internettet “tar seg til rette” mot legitime -krav til “eiendomsrett”. Det er like klart for oss som det var +teknologiene til internettet «tar seg til rette» mot legitime +krav til «eiendomsrett». 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. -

    +

    Og dermed, når nerder og teknologer forsvarer sin tids Armstrong og Wright-brødenes teknologi, får de lite sympati fra de fleste av oss. Sunn @@ -612,8 +612,8 @@ inspirert en revolusjon til fordel for seg. 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. -Det har aldri før i vår historie vært så mye av vår “kultur” -som har vært “eid” enn det er nå. Og likevel har aldri før +Det har aldri før i vår historie vært så mye av vår «kultur» +som har vært «eid» enn det er nå. Og likevel har aldri før konsentrasjonen av makt til å kontrollere bruken av kulturen vært mer akseptert uten spørsmål enn det er nå.

    @@ -637,20 +637,20 @@ 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? -

    +

    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 Causbyene. Jeg mener det ville være riktig for sunn fornuft å gjøre opprør -mot de ekstreme krav som gjøres i dag på vegne av “immaterielle -rettigheter”. Det som loven krever i dag er mer å mer like dumt som +mot de ekstreme krav som gjøres i dag på vegne av «immaterielle +rettigheter». Det som loven krever i dag er mer å mer like dumt som om lensmannen skulle arrestere en flymaskin for å trenge inn på annen manns eiendom. Men konsekvensene av den nye dumskapen vil bli mye mer dyptgripende.

    Basketaket som pågår akkurat nå senterer seg rundt to idéer: -“piratvirksomhet” og “eiendom”. Mitt mål med +«piratvirksomhet» og «eiendom». Mitt mål med denne bokens neste to deler er å utforske disse to idéene.

    Metoden min er ikke den vanlige metoden for en akademiker. Jeg ønsker ikke @@ -662,10 +662,10 @@ tilsynelatende enkle id

    De to delene setter opp kjernen i påstanden til denne boken: at mens internettet faktisk har produsert noe fantastisk og nytt, bidrar våre -myndigheter, presset av store medieaktører for å møte dette “noe -nytt” til å ødelegge noe som er svært gammelt. I stedet for å forstå +myndigheter, presset av store medieaktører for å møte dette «noe +nytt» til å ødelegge noe som er svært gammelt. I stedet for å forstå endringene som internettet kan gjøre mulig, og i stedet for å ta den tiden -som trengs for å la “sunn fornuft” finne ut hvordan best svare +som trengs for å la «sunn fornuft» finne ut hvordan best svare på utfordringen, så lar vi de som er mest truet av endringene bruke sin makt til å endre loven—og viktigere, å bruke sin makt til å endre noe fundamentalt om hvordan vi alltid har fungert. @@ -676,66 +676,66 @@ 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—en konsekvens for de fleste av oss forblir ukjent med. -


    [4] +


    [4] St. George Tucker, Blackstone's Commentaries 3 (South Hackensack, N.J.: Rothman Reprints, 1969), 18. -

    [5] +

    [5] USA mot Causby, U.S. 328 (1946): 256, 261. Domstolen fant at det kunne være -å “ta” hvis regjeringens bruk av sitt land reelt sett hadde +å «ta» hvis regjeringens bruk av sitt land reelt sett hadde ødelagt verdien av eiendomen til Causby. Dette eksemplet ble foreslått for -meg i Keith Aokis flotte stykke, “(intellectual) Property and -Sovereignty: Notes Toward a cultural Geography of Authorship”, +meg i Keith Aokis flotte stykke, «(intellectual) Property and +Sovereignty: Notes Toward a cultural Geography of Authorship», Stanford Law Review 48 (1996): 1293, 1333. Se også Paul Goldstein, Real Property (Mineola, N.Y.: -Foundation Press (1984)), 1112–13. -

    [6] +Foundation Press (1984)), 1112–13. +

    [6] Lawrence Lessing, Man of High Fidelity:: Edwin Howard Armstrong (Philadelphia: J. B. Lipincott Company, 1956), 209. -

    [7] Se “Saints: The Heroes and Geniuses of the Electronic Era,” +

    [7] Se «Saints: The Heroes and Geniuses of the Electronic Era,» første elektroniske kirke i USA, hos www.webstationone.com/fecha, tilgjengelig fra link #1. -

    [8] Lessing, 226. -

    [9] +

    [8] Lessing, 226. +

    [9] Lessing, 256. -

    [10] -Amanda Lenhart, “The Ever-Shifting Internet Population: A New Look at -Internet Access and the Digital Divide,” Pew Internet and American +

    [10] +Amanda Lenhart, «The Ever-Shifting Internet Population: A New Look at +Internet Access and the Digital Divide,» Pew Internet and American Life Project, 15. april 2003: 6, tilgjengelig fra link #2. -

    [11] +

    [11] Dette er ikke det eneste formålet med opphavsrett, men det er helt klart hovedformålet med opphavsretten slik den er etablert i føderal grunnlov. Opphavsrettslovene i delstatene beskyttet historisk ikke bare kommersielle interesse når det gjaldt publikasjoner, men også personverninteresser. Ved å gi forfattere eneretten til å publisere først, ga delstatenes opphavsrettslovene forfatterne makt til å kontrollere spredningen av fakta -om seg selv. Se Samuel D. Warren og Louis Brandeis, “The Right to -Privacy”, Harvard Law Review 4 (1890): 193, 198–200. - -

    [12] +om seg selv. Se Samuel D. Warren og Louis Brandeis, «The Right to +Privacy», Harvard Law Review 4 (1890): 193, 198–200. + +

    [12] Se Jessica Litman, Digital Copyright (New York: -Prometheus bøker, 2001), kap. 13. -

    [13] -Amy Harmon, “Black Hawk Download: Moving Beyond Music, Pirates Use New -Tools to Turn the Net into an Illicit Video Club,” New +Prometheus bøker, 2001), kap. 13. +

    [13] +Amy Harmon, «Black Hawk Download: Moving Beyond Music, Pirates Use New +Tools to Turn the Net into an Illicit Video Club,» New York Times, 17. januar 2002. -

    [14] -Neil W. Netanel, “Copyright and a Democratic Civil Society,” -Yale Law Journal 106 (1996): 283. -

    Del I. “Piratvirksomhet”

    +

    [14] +Neil W. Netanel, «Copyright and a Democratic Civil Society,» +Yale Law Journal 106 (1996): 283. +

    Del I. «Piratvirksomhet»

    Helt siden loven begynte å regulere kreative eierrettigheter, har det vært -en krig mot “piratvirksomhet”. De presise konturene av dette -konseptet, “piratvirksomhet”, har vært vanskelig å tegne opp, +en krig mot «piratvirksomhet». De presise konturene av dette +konseptet, «piratvirksomhet», har vært vanskelig å tegne opp, men bildet av urettferdighet er enkelt å beskrive. Som Lord Mansfield skrev i en sak som utvidet rekkevidden for engelsk opphavsrettslov til å inkludere noteark,

    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.[15] -

    +etter eget forgodtbefinnende.[15] +

    -I dag er vi midt inne i en annen “krig” mot -“piratvirksomhet”. Internettet har fremprovosert denne krigen. +I dag er vi midt inne i en annen «krig» mot +«piratvirksomhet». Internettet har fremprovosert denne krigen. Internettet gjør det mulig å effektivt spre innhold. Peer-to-peer (p2p) fildeling er blant det mest effektive av de effektive teknologier internettet muliggjør. Ved å bruke distribuert intelligens, kan p2p-systemer @@ -748,19 +748,19 @@ opphavsretten. Nettverket skiller ikke mellom deling av opphavsrettsbeskyttet og ikke opphavsrettsbeskyttet innhold. Dermed har det vært deling av en enorm mengde opphavsrettsbeskyttet innhold. Denne delingen har i sin tur ansporet til krigen, på grunn av at eiere av -opphavsretter frykter delingen vil “frata forfatteren -overskuddet.” +opphavsretter frykter delingen vil «frata forfatteren +overskuddet.»

    Krigerne har snudd seg til domstolene, til lovgiverne, og i stadig større -grad til teknologi for å forsvare sin “eiendom” mot denne -“piratvirksomheten”. En generasjon amerikanere, advarer -krigerne, blir oppdratt til å tro at “eiendom” skal være -“gratis”. Glem tatoveringer, ikke tenk på +grad til teknologi for å forsvare sin «eiendom» mot denne +«piratvirksomheten». En generasjon amerikanere, advarer +krigerne, blir oppdratt til å tro at «eiendom» skal være +«gratis». Glem tatoveringer, ikke tenk på kroppspiercing—våre barn blir tyver!

    -Det er ingen tvil om at “piratvirksomhet” er galt, og at +Det er ingen tvil om at «piratvirksomhet» er galt, og at pirater bør straffes. Men før vi roper på bødlene, bør vi sette dette -“piratvirksomhets”-begrepet i en sammenheng. For mens begrepet +«piratvirksomhets»-begrepet i en sammenheng. For mens begrepet blir mer og mer brukt, har det i sin kjerne en ekstraordinær idé som nesten helt sikkert er feil.

    @@ -771,22 +771,22 @@ 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. -

    +

    Dette synet går dypt i de pågående debattene. Det er hva jussprofessor -Rochelle Dreyfuss ved NYU kritiserer som “hvis verdi, så -rettighet”-teorien for kreative eierrettigheter [16]—hvis det finnes verdi, så må noen ha +Rochelle Dreyfuss ved NYU kritiserer som «hvis verdi, så +rettighet»-teorien for kreative eierrettigheter [16]—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.[17] Det fantes -“verdi” (sangene), så det måtte ha vært en -“rettighet”—til og med mot jentespeiderne. -

    +leirbål.[17] Det fantes +«verdi» (sangene), så det måtte ha vært en +«rettighet»—til og med mot jentespeiderne. +

    Denne idéen er helt klart en mulig forståelse om hvordan kreative eierrettigheter bør virke. Det er helt klart et mulig design for et lovsystem som beskytter kreative eierrettigheter. Men teorien om -“hvis verdi, så rettighet” for kreative eierrettigheter har +«hvis verdi, så rettighet» for kreative eierrettigheter har aldri vært USAs teori for kreative eierrettigheter. It har aldri stått rot i vårt lovverk.

    @@ -807,12 +807,12 @@ at det meste av publisering var kommersiell. Kommersielle akt håndtere byrden pålagt av loven—til og med byrden som den bysantiske kompleksiteten som opphavsrettsloven har blitt. Det var bare nok en kostnad ved å drive forretning. -

    +

    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 utvidelsen ikke ville bety stort hvis opphavsrettsloven kun regulerte -“kopiering”, så betyr utvidelsen mye når loven regulerer så +«kopiering», så betyr utvidelsen mye når loven regulerer så bredt og obskurt som den gjør. Byrden denne loven gir oppveier nå langt fordelene den ga da den ble vedtatt—helt klart slik den påvirker ikke-kommersiell kreativitet, og i stadig større grad slik den påvirker @@ -822,34 +822,34 @@ f digital teknologi kunne sluppet løs en ekstraordinær mengde med kommersiell og ikke-kommersiell kreativitet, tynger loven denne kreativiteten med sinnsykt kompliserte og vage regler og med trusselen om uanstendig harde -straffer. Vi ser kanskje, som Richard Florida skriver, “Fremveksten -av den kreative klasse”[18] +straffer. Vi ser kanskje, som Richard Florida skriver, «Fremveksten +av den kreative klasse»[18] Dessverre ser vi også en ekstraordinær fremvekst av reguleringer av denne kreative klassen.

    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 “piratvirksomhet” i sin rette sammenheng. -


    [15] +merkelappen «piratvirksomhet» i sin rette sammenheng. +


    [15] Bach v. Longman, 98 Eng. Rep. 1274 (1777) (Mansfield). -

    [16] +

    [16] -Se Rochelle Dreyfuss, “Expressive Genericity: Trademarks as Language -in the Pepsi Generation,” Notre Dame Law +Se Rochelle Dreyfuss, «Expressive Genericity: Trademarks as Language +in the Pepsi Generation,» Notre Dame Law Review 65 (1990): 397. -

    [17] +

    [17] -Lisa Bannon, “The Birds May Sing, but Campers Can't Unless They Pay -Up,” Wall Street Journal, 21. august 1996, +Lisa Bannon, «The Birds May Sing, but Campers Can't Unless They Pay +Up,» Wall Street Journal, 21. august 1996, tilgjengelig fra link #3; -Jonathan Zittrain, “Calling Off the Copyright War: In Battle of -Property vs. Free Speech, No One Wins,” Boston -Globe, 24. november 2002. -

    [18] +Jonathan Zittrain, «Calling Off the Copyright War: In Battle of +Property vs. Free Speech, No One Wins,» Boston +Globe, 24. november 2002. +

    [18] I The Rise of the Creative Class (New York: Basic Books, 2002), dokumenterer Richard Florida en endring i arbeidsstokken mot @@ -857,8 +857,8 @@ 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. -

    Kapittel 1. Kapittel en: Skaperne

    +vanskeligere. +

    Kapittel en: Skaperne

    I 1928 ble en tegnefilmfigur født. En tidlig Mikke Mus debuterte i mai dette året, i en stille flopp ved navn Plane Crazy. I november, i Colony teateret i New York City, ble den første vidt @@ -887,12 +887,12 @@ 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![19] +var grufullt, men det var fantastisk. Og det var noe nytt![19]

    Disneys daværende partner, og en av animasjonsverdenens mest ekstraordinære -talenter, Ub Iwerks, uttalte det sterkere: “Jeg har aldri vært så +talenter, Ub Iwerks, uttalte det sterkere: «Jeg har aldri vært så begeistret i hele mitt liv. Ingenting annet har noen sinne vært like -bra.” +bra.»

    Disney hadde laget noe helt nyt, basert på noe relativt nytt. Synkronisert lyd ga liv til en form for kreativitet som sjeldent hadde—unntatt fra @@ -916,16 +916,16 @@ popul Steamboat Bill, Jr. kom før Disneys tegnefilm Steamboat Willie. Det er ingen tilfeldighet at titlene er så like. Steamboat Willie er en direkte tegneserieparodi av Steamboat -Bill,[20] og begge bygger på en felles sang +Bill,[20] og begge bygger på en felles sang som kilde. Det er ikke kun fra nyskapningen med synkronisert lyd i The Jazz Singer at vi får Steamboat Willie. Det er også fra Buster Keatons nyskapning Steamboat -Bill, Jr., som igjen var inspirert av sangen “Steamboat Bill”, +Bill, Jr., som igjen var inspirert av sangen «Steamboat Bill», at vi får Steamboat Willie. Og fra Steamboat Willie får vi så Mikke Mus.

    -Denne “låningen” var ikke unik, hverken for Disney eller for +Denne «låningen» var ikke unik, hverken for Disney eller for industrien. Disney apet alltid etter full-lengde massemarkedsfilmene rundt -ham.[21] Det samme gjorde mange andre. +ham.[21] Det samme gjorde mange andre. Tidlige tegnefilmer er stappfulle av etterapninger—små variasjoner over suksessfulle temaer, gamle historier fortalt på nytt. Nøkkelen til suksess var brilliansen i forskjellene. Med Disney var det lyden som ga @@ -966,21 +966,21 @@ Planet (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. -

    +

    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. -Vi kan kalle dette “Disney-kreativitet”, selv om det vil være -litt misvisende. Det er mer presist “Walt -Disney-kreativitet”—en uttrykksform og genialitet som bygger på +Vi kan kalle dette «Disney-kreativitet», selv om det vil være +litt misvisende. Det er mer presist «Walt +Disney-kreativitet»—en uttrykksform og genialitet som bygger på kulturen rundt oss og omformer den til noe annet.

    I 1928 var kulturen som Disney fritt kunne trekke veksler på relativt fersk. Allemannseie i 1928 var ikke veldig gammelt og var dermed ganske levende. Gjennomsnittlig vernetid i opphavsretten var bare rundt tredve år—for den lille delen av kreative verk som faktisk var -opphavsrettsbeskyttet.[22] Det betyr at i +opphavsrettsbeskyttet.[22] Det betyr at i tredve år, i gjennomsnitt, hadde forfattere eller kreative verks -opphavsrettighetsinnehaver en “eksklusiv rett” til a +opphavsrettighetsinnehaver en «eksklusiv rett» til a kontrollere bestemte typer bruk av verket. For å bruke disse opphavsrettsbeskyttede verkene på de begrensede måtene krevde tillatelse fra opphavsrettsinnehaveren. @@ -988,7 +988,7 @@ opphavsrettsinnehaveren. Når opphavsrettens vernetid er over, faller et verk i det fri og blir allemannseie. Ingen tillatelse trengs da for å bygge på eller bruke dette verket. Ingen tillatelse og dermed, ingen advokater. Allemannseie er en -“advokat-fri sone”. Det meste av innhold fra det nittende +«advokat-fri sone». Det meste av innhold fra det nittende århundre var dermed fritt tilgjengelig for Disney å bruke eller bygge på i 1928. Det var tilgjengelig for enhver—uansett om de hadde forbindelser eller ikke, om de var rik eller ikke, om de var akseptert eller @@ -1005,8 +1005,8 @@ fra noen. Tilsvarende for i dag ville v bygge på uten tillatelse. Men i dag er allemannseie presumtivt kun for innhold fra før mellomkrigstiden.

    -Walt Disney hadde selvfølgelig ikke monopol på “Walt -Disney-kreativitet”. Det har heller ikke USA. Normen med fri kultur +Walt Disney hadde selvfølgelig ikke monopol på «Walt +Disney-kreativitet». Det har heller ikke USA. Normen med fri kultur har, inntil nylig, og unntatt i totalitære nasjoner, vært bredt utnyttet og svært universell.

    @@ -1022,9 +1022,9 @@ ekstraordin Amerikanere har en tendens til å se ned på denne formen for kultur. Det er et lite attraktivt kjennetegn hos oss. Vi misforstår sannsynligvis mye rundt manga, på grunn av at få av oss noen gang har lest noe som ligner på -historiene i disse “grafiske historiene” forteller. For en +historiene i disse «grafiske historiene» forteller. For en japaner dekker manga ethvert aspekt ved det sosiale liv. For oss er -tegneserier “menn i strømpebukser”. Og uansett er det ikke +tegneserier «menn i strømpebukser». Og uansett er det ikke slik at T-banen i New York er full av folk som leser Joyse eller Hemingway for den saks skyld. Folk i ulike kulturer skiller seg ut på forskjellig måter, og japanerne på dette interessante viset. @@ -1043,12 +1043,12 @@ doujinshi-tegneserie kan dermed ta en massemarkeds-tegneserie og utvikle den i en annen retning—med en annen historie-linje. Eller tegneserien kan beholde figuren som seg selv men endre litt på utseendet. Det er ingen bestemt formel for hva som gjør en doujinshi tilstrekkelig -“forskjellig”. Men de må være forskjellige hvis de skal anses +«forskjellig». Men de må være forskjellige hvis de skal anses som ekte doujinshi. Det er faktisk komiteer som går igjennom doujinshi for å bli med på messer, og avviser etterapninger som bare er en kopi.

    Disse etterapings-tegneseriene er ikke en liten del av manga-markedet. Det -er enorme. Mer en 33 000 “sirkler” av skapere over hele Japan +er enorme. Mer en 33 000 «sirkler» av skapere over hele Japan som produserer disse bitene av Walt Disney-kreativitet. Mer en 450 000 japanere samles to ganger i året, i den største offentlige samlingen i langet, for å bytte og selge dem. Dette markedet er parallelt med det @@ -1062,55 +1062,55 @@ Den mest g juridisk trening i hvert fall, er at det overhodet tillates å eksistere. Under japansk opphavsrettslov, som i hvert fall på dette området (på papiret) speiler USAs opphavsrettslov, er doujinshi-markedet ulovlig. -Doujinshi er helt klart “avledede verk”. Det er ingen generell +Doujinshi er helt klart «avledede verk». Det er ingen generell praksis hos doujinshi-kunstnere for å sikre seg tillatelse hos manga-skaperne. I stedet er praksisen ganske enkelt å ta og endre det andre har laget, slik Walt Disney gjorde med Steamboat Bill, -Jr. For både japansk og USAs lov, er å “ta” uten +Jr. For både japansk og USAs lov, er å «ta» uten tillatelse fra den 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.

    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, “I +blomstrer. Som USAs tegneserieskaper Judd Winick fortalte meg, «I amerikansk tegneseriers første dager var det ganske likt det som foregår i Japan i dag. … Amerikanske tegneserier kom til verden ved å kopiere hverandre. … Det er slik [kunstnerne] lærer å tegne—ved å se i tegneseriebøker og ikke følge streken, men ved å se på dem og kopiere -dem” og bygge basert på dem.[23] -

    +dem» og bygge basert på dem.[23] +

    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, “er det -en rekke regler, og du må følge dem”. Det er ting som Supermann -“ikke kan” gjøre. “For en som lager tegneserier er det +får lov til. Med for eksempel Supermann, fortalte Winick meg, «er det +en rekke regler, og du må følge dem». Det er ting som Supermann +«ikke kan» gjøre. «For en som lager tegneserier er det frustrerende å måtte begrense seg til noen parameter som er femti år -gamle.” -

    +gamle.» +

    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.[24] +bannlyser ikke doujinshi.[24]

    Problemet med denne historien, derimot, og som Mehra helt klart erkjenner, -er at mekanismen som produserer denne “hold hendene -borte”-responsen ikke er forstått. Det kan godt være at markedet som +er at mekanismen som produserer denne «hold hendene +borte»-responsen ikke er forstått. Det kan godt være at markedet som helhet gjør det bedre hvis doujinshi tillates i stedet for å bannlyse den, men det forklarer likevel ikke hvorfor individuelle opphavsrettsinnehavere ikke saksøker. Hvis loven ikke har et generelt unntak for doujinshi, og det finnes faktisk noen tilfeller der individuelle manga-kunstnere har saksøkt doujinshi-kunstnere, hvorfor er det ikke et mer generelt mønster for å -blokkere denne “frie takingen” hos doujinshi-kulturen? +blokkere denne «frie takingen» hos doujinshi-kulturen?

    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. “Vi har ikke nok advokater”, -fortalte han meg en ettermiddag. Det er “bare ikke nok ressurser til -å tiltale tilfeller som dette”. +større japansk advokatfirma. «Vi har ikke nok advokater», +fortalte han meg en ettermiddag. Det er «bare ikke nok ressurser til +å tiltale tilfeller som dette».

    Dette er et tema vi kommer tilbake til: at lovens regulering både er en @@ -1127,16 +1127,16 @@ Hvis du er som meg et ti begynner å tenke på disse temaene, da bør du omtrent nå være rådvill om noe du ikke hadde tenkt igjennom før.

    -Vi lever i en verden som feirer “eiendom”. Jeg er en av de som +Vi lever i en verden som feirer «eiendom». Jeg er en av de som feierer. Jeg tror på verdien av eiendom generelt, og jeg tror også på verdien av den sære formen for eiendom som advokater kaller -“immateriell eiendom”.[25] Et +«immateriell eiendom».[25] Et stort og variert samfunn kan ikke overleve uten eiendom, og et moderne samfunn kan ikke blomstre uten immaterielle eierrettigheter.

    Men det tar bare noen sekunders refleksjon for å innse at det er masse av -verdi der ute som “eiendom” ikke dekker. Jeg mener ikke -“kjærlighet kan ikke kjøpes med penger” men heller, at en verdi +verdi der ute som «eiendom» ikke dekker. Jeg mener ikke +«kjærlighet kan ikke kjøpes med penger» men heller, at en verdi som ganske enkelt er del av produksjonsprosessen, både for kommersiell og ikke-kommersiell produksjon. Hvis Disneys animatører hadde stjålet et sett med blyanter for å tegne Steamboat Willie, vi ville ikke nølt med å dømme @@ -1144,7 +1144,7 @@ det som galt—selv om det er trivielt og selv om det ikke blir oppdaget. Men det var intet galt, i hvert fall slik loven var da, med at Disney tok fra Buster Keaton eller fra Grimm-brødrene. Det var intet galt med å ta fra Keaton, fordi Disneys bruk ville blitt ansett som -“rimelig”. Det var intet galt med å ta fra brødrene Grimm +«rimelig». Det var intet galt med å ta fra brødrene Grimm fordi deres verker var allemannseie.

    @@ -1162,15 +1162,15 @@ p i enhver form, uansett hvor stort eller lite som blir tatt.

    Likevel er det en åpenbar motvilje, selv blant japanske advokater, for å si -at etterapende tegneseriekunstnere “stjeler”. Denne formen for +at etterapende tegneseriekunstnere «stjeler». Denne formen for Walt Disney-kreativitet anses som rimelig og riktig, selv om spesielt advokater synes det er vanskelig å forklare hvorfor.

    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. (“Unnskyld meg, professor +uten å spørre eller betale for privilegiet. («Unnskyld meg, professor Einstein, men kan jeg få tillatelse til å bruke din relativitetsteori til å -vise at du tok feil om kvantefysikk?”) Teatertropper viser frem +vise at du tok feil om kvantefysikk?») Teatertropper viser frem bearbeidelser av verkene til Shakespeare uten å sikre seg noen tillatelser. (Er det noen som tror at Shakespeare ville vært mer spredt i vår kultur om det var et sentralt rettighetsklareringskontor for @@ -1192,8 +1192,8 @@ alle samfunn.

    Det vanskelige spørsmålet er derfor ikke om en kultur er fri. Alle kulturer er frie til en viss grad. Det vanskelige spørsmålet -er i stedet “hvor fri er denne kulturen -er?” Hvor mye og hvor bredt, er kulturen fritt tilgjengelig for andre +er i stedet «hvor fri er denne kulturen +er?» Hvor mye og hvor bredt, er kulturen fritt tilgjengelig for andre å ta, og bygge på? Er den friheten begrenset til partimedlemmer? Til medlemmer av kongefamilien? Til de ti største selskapene på New York-børsen? Eller er at frihet bredt tilgjengelig? Til kunstnere generelt, @@ -1204,85 +1204,85 @@ 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. -


    [19] +


    [19] Leonard Maltin, Of Mice and Magic: A History of American Animated Cartoons (New York: Penguin Books, 1987), 34–35. -

    [20] +

    [20] Jeg er takknemlig overfor David Gerstein og hans nøyaktige historie, beskrevet på link #4. I følge Dave Smith ved the Disney Archives, betalte Disney for å bruke musikken til fem sanger i Steamboat Willie: -“Steamboat Bill,” “The Simpleton” (Delille), -“Mischief Makers” (Carbonara), “Joyful Hurry -No. 1” (Baron), og “Gawky Rube” (Lakay). En sjette sang, -“The Turkey in the Straw,” var allerede allemannseie. Brev fra +«Steamboat Bill,» «The Simpleton» (Delille), +«Mischief Makers» (Carbonara), «Joyful Hurry +No. 1» (Baron), og «Gawky Rube» (Lakay). En sjette sang, +«The Turkey in the Straw,» var allerede allemannseie. Brev fra David Smith til Harry Surden, 10. juli 2003, tilgjenglig i arkivet til forfatteren. -

    [21] +

    [21] -Han var også tilhenger av allmannseiet. Se Chris Sprigman, “The Mouse -that Ate the Public Domain,” Findlaw, 5. mars 2002, fra link #5. -

    [22] +Han var også tilhenger av allmannseiet. Se Chris Sprigman, «The Mouse +that Ate the Public Domain,» Findlaw, 5. mars 2002, fra link #5. +

    [22] Inntil 1976 ga opphavsrettsloven en forfatter to mulige verneperioder: en initiell periode, og en fornyingsperiode. Jeg har beregnet -“gjennomsnittlig” vernetid ved å finne vektet gjennomsnitt av +«gjennomsnittlig» vernetid ved å finne vektet gjennomsnitt av de totale registreringer for et gitt år, og andelen fornyinger. Hvis 100 opphavsretter ble registrert i år 1, bare 15 av dem ble fornyet, og fornyingsvernetiden er 28 år, så er gjennomsnittlig vernetid 32,2 år. Fornyingsdata og andre relevante data ligger på nettsidene tilknyttet denne boka, tilgjengelig fra link #6. -

    [23] +

    [23] For en utmerket historie, se Scott McCloud, Reinventing Comics (New York: Perennial, 2000). -

    [24] +

    [24] -Se Salil K. Mehra, “Copyright and Comics in Japan: Does Law Explain -Why All the Comics My Kid Watches Are Japanese Imports?” -Rutgers Law Review 55 (2002): 155, 182. “det +Se Salil K. Mehra, «Copyright and Comics in Japan: Does Law Explain +Why All the Comics My Kid Watches Are Japanese Imports?» +Rutgers Law Review 55 (2002): 155, 182. «det kan være en kollektiv økonomisk rasjonalitet som får manga- og anime-kunstnere til ikke å saksøke for opphavsrettsbrudd. Én hypotese er at 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.” -

    [25] +rettigheter. Dette er essensielt en løsning på fangens dilemma.» +

    [25] Begrepet immateriell eiendom er av relativ ny opprinnelse. Se See Siva Vaidhyanathan, Copyrights and Copywrongs, 11 (New York: New York University Press, 2001). Se også Lawrence Lessig, The Future of Ideas (New York: Random House, 2001), 293 n. 26. Begrepet presist beskriver et sett med -“eiendoms”-rettigheter—opphavsretter, patenter, +«eiendoms»-rettigheter—opphavsretter, patenter, varemerker og forretningshemmeligheter—men egenskapene til disse -rettighetene er svært forskjellige. -

    Kapittel 2. Kapittel to: “Kun etter-apere”

    +rettighetene er svært forskjellige. +

    Kapittel to: «Kun etter-apere»

    I 1839 fant Louis Daguerre opp den første praktiske teknologien for å -produsere det vi ville kalle “fotografier”. Rimelig nok ble de -kalt “daguerreotyper”. Prosessen var komplisert og kostbar, og +produsere det vi ville kalle «fotografier». Rimelig nok ble de +kalt «daguerreotyper». Prosessen var komplisert og kostbar, og feltet var dermed begrenset til profesjonelle og noen få ivrige og 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.) +ved å holde konkurransen ned slik at prisene var høye.)

    Men til tross for høye priser var etterspørselen etter daguerreotyper sterk. Dette inspirerte oppfinnere til å finne enklere og billigere måter å -lage “automatiske bilder”. William Talbot oppdaget snart en -prosess for å lage “negativer”. Men da negativene var av +lage «automatiske bilder». William Talbot oppdaget snart en +prosess for å lage «negativer». Men da negativene var av glass, og måtte holdes fuktige, forble prosessen kostbar og tung. På 1870-tallet ble tørrplater utviklet, noe som gjorde det enklere å skille det å ta et bilde fra å fremkalle det. Det var fortsatt plater av glass, og dermed var det fortsatt ikke en prosess som var innenfor rekkevidden til de -fleste amatører. +fleste amatører.

    Den teknologiske endringen som gjorde masse-fotografering mulig skjedde ikke @@ -1296,9 +1296,9 @@ 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. “Du trykker på knappen og vi fikser -resten.”[26] Som han beskrev det i -The Kodak Primer: +dens enkelhet. «Du trykker på knappen og vi fikser +resten.»[26] Som han beskrev det i +The Kodak Primer:

    Prinsippet til Kodak-systemet er skillet mellom arbeidet som enhver kan utføre når en tar fotografier, fra arbeidet som kun en ekspert kan @@ -1307,7 +1307,7 @@ 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.[27] +et mørkerom og uten kjemikalier.[27]

    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 @@ -1317,26 +1317,26 @@ 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.[28] Salget til Eastman Kodak i -samme periode opplevde en årlig vekst på over 17 prosent.[29] -

    +prosent.[28] Salget til Eastman Kodak i +samme periode opplevde en årlig vekst på over 17 prosent.[29] +

    Den virkelige betydningen av oppfinnelsen til Eastman, var derimot ikke økonomisk. Den var sosial. Profesjonell fotografering ga individer et glimt av steder de ellers aldri ville se. Amatørfotografering ga dem muligheten til å arkivere deres liv på en måte som de aldri hadde vært i -stand til tidligere. Som forfatter Brian Coe skriver, “For første +stand til tidligere. Som forfatter Brian Coe skriver, «For første gang tilbød fotoalbumet mannen i gata et permanent arkiv over hans familie og dens aktiviteter. … For første gang i historien fantes det en autentisk visuell oppføring av utseende og aktivitet til vanlige mennesker -laget uten [skrivefør] tolkning eller forutinntatthet.”[30] +laget uten [skrivefør] tolkning eller forutinntatthet.»[30]

    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 Kodaken var uttrykk mulig mye raskere og enklere. Barrièren for å uttrykke -seg var senket. Snobber ville fnyse over “kvaliteten”, +seg var senket. Snobber ville fnyse over «kvaliteten», profesjonelle ville avvise den som irrelevant. Men se et barn studere hvordan best velge bildemotiv og du får følelsen av hva slags kreativitetserfaring som Kodaken muliggjorde. Demokratiske verktøy ga @@ -1349,21 +1349,21 @@ oppfinnelse vokste i var ogs 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 ha tillatelse før han kunne fange og -trykke hvilket som helst bilde han ønsket. Svaret var nei.[31] +trykke hvilket som helst bilde han ønsket. Svaret var nei.[31]

    Argumentene til fordel for å kreve tillatelser vil høres overraskende kjent -ut. Fotografen “tok” noe fra personen eller bygningen som ble +ut. Fotografen «tok» noe fra personen eller bygningen som ble fotografert—røvet til seg noe av verdi. Noen trodde til og med at han 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. -

    +

    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.[32]) Det kan være at dette betyr at fotografen får noe for ingenting. +annerledes for bilder tatt av private områder.[32]) Det kan være at dette betyr at fotografen får noe for ingenting. På samme måte som Disney kunne hente inspirasjon fra Steamboat Bill, Jr. eller Grimm-brødrene, så burde fotografene stå fritt til å fange et bilde uten å kompensere kilden. @@ -1375,7 +1375,7 @@ 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.[33]) +fanges uten å klarere rettighetene for a fange det.[33])

    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 @@ -1383,9 +1383,9 @@ ville fotografen m Eastman Kodak også måtte ha dokumentert at tillatelse var gitt, før de utviklet filmen som bildene ble fanget på. Tross alt, hvis tillatelse ikke var gitt, da ville Eastman Kodak ha nytt fordeler fra -“tyveriet” begått av fotografer. På samme måte som Napster nøt +«tyveriet» begått av fotografer. På samme måte som Napster nøt fordeler fra opphavsrettsbrudd utført av Napster-brukere, så ville Kodak -nytt fordeler fra “bilde-rettighets”-brudd til deres +nytt fordeler fra «bilde-rettighets»-brudd til deres 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. @@ -1404,45 +1404,45 @@ 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. Hvis du kjører gjennom området Presidio i San Francisco, kan det hende du ser to gusjegule skolebusser overmalt med fargefulle og -iøynefallende bilder, og logoen “Just Think!” i stedet for -navnet på en skole. Men det er lite som er “bare” mentalt i +iøynefallende bilder, og logoen «Just Think!» i stedet for +navnet på en skole. Men det er lite som er «bare» mentalt i prosjektene som disse bussene muliggjør. Disse bussene er fylt med teknologi som lærer unger å fikle med film. Ikke filmen til Eastman. Ikke en gang filmen i din videospiller. I stedet er det snakk om -“filmen” til digitale kamera. Just Think! er et prosjekt som +«filmen» til digitale kamera. Just Think! er et prosjekt som gjør det mulig for unger å lage filmer, som en måte å forstå og kritisere den filmede kulturen som de finner over alt rundt seg. Hvert år besøker disse bussene mer enn tredve skoler og gir mellom tre hundre og fire hundre barn muligheten til å lære noe om media ved å gjøre noe med media. Ved å gjøre, så tenker de. Ved å fikle, så lærer de. -

    +

    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, “for fem år siden kostet et +dramatisk. Som en analytiker omtalte det, «for fem år siden kostet et godt sanntids redigerinssystem for digital video $25 000. I dag kan du -få profesjonell kvalitet for $595.”[34] Disse bussene er fylt med teknologi som ville kostet +få profesjonell kvalitet for $595.»[34] 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 -“medie-skriveføre” eller “mediekompetanse”. +«medie-skriveføre» eller «mediekompetanse».

    -“Media-skriveføre,” eller “mediekompetanse” som -administrerende direktør Dave Yanofsky i Just Think!, sier det, “er +«Media-skriveføre,» eller «mediekompetanse» som +administrerende direktør Dave Yanofsky i Just Think!, sier det, «er evnen til … å forstå, analysere og dekonstruere mediebilder. Dets mål er å gjøre [unger] i stand til å forstå hvordan mediene fungerer, hvordan de er konstruert, hvordan de blir levert, og hvordan folk bruker -dem”. +dem».

    Dette kan virke som en litt rar måte å tenke på -“skrivefør”. For de fleste handler skrivefør å kunne lese og -skrive. “Skriveføre” folk kjenner ting som Faulkner, Hemingway +«skrivefør». For de fleste handler skrivefør å kunne lese og +skrive. «Skriveføre» folk kjenner ting som Faulkner, Hemingway og å kjenne igjen delte infinitiver. -

    +

    Mulig det. Men i en verden hvor barn ser i gjennomsnitt 390 timer med TV-reklaager i året, eller generelt mellom 20 000 og 45 000 -reklameinnslag,[35] så er det mer og mer -viktig å forstå “gramatikken” til media. For på samme måte som +reklameinnslag,[35] så er det mer og mer +viktig å forstå «gramatikken» til media. For på samme måte som det er en gramatikk 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 lærer unger å skrive media ved å konstruere masse (i hvert fall i @@ -1464,28 +1464,28 @@ Ferdigheten kom fra erfaring med 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. -

    +

    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 -“plasseringen av objekter, farger, … rytme, skritt og -tekstur”.[36] Men etter hvert som +«plasseringen av objekter, farger, … rytme, skritt og +tekstur».[36] Men etter hvert som datamaskiner åpner opp et interaktivt rom hvor en historie blir -“spillt” i tillegg til opplevd, endrer gramatikken seg. Den +«spillt» i tillegg til opplevd, endrer gramatikken seg. Den enkle kontrollen til forstellerstemmen er forsvunnet, og dermed er andre teknikker nødvendig. Forfatter Michael Crichton hadde mestret fortellerstemmen til science fiction. Men da han forsøkte å lage et 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.[37] -

    +forfatter.[37] +

    Akkurat denne ferdigheten er håndverket en lærer til de som lager -filmer. Som Daley skriver, “folk er svært overrasket over hvordan de +filmer. Som Daley skriver, «folk er svært overrasket over hvordan de blir ledet gjennom en film. Den er perfekt konstruert for å hindre deg fra å se det, så du aner det ikke. Hvis en som lager filmer lykkes så vet du -ikke at du har vært ledet.” Hvis du vet at du ble ledet igjennom en +ikke at du har vært ledet.» Hvis du vet at du ble ledet igjennom en film, så har filmen feilet.

    Likevel er innsatsen for å utvide skriveføren—til en som går ut over @@ -1499,7 +1499,7 @@ spr skrive i dette språket, og alle oss andre er redusert til å ikke kunne skrive.

    -“ikke kunne skrive.” Passive mottakerne av kultur produsert +«ikke kunne skrive.» Passive mottakerne av kultur produsert andre steder. Sofapoteter. Forbrukere. Dette er medieverden fra det tjuende århundre.

    @@ -1507,12 +1507,12 @@ Det tjuef kan bli både lesing og skriving. Eller i det minste lesing og bedre forståelse for håndverket å skrive. Eller det beste, lesing og forstå verktøyene som gir skriving mulighet til å veilede eller villede. Målet med -enhver skriveførhet, og denne skriveførheten spesielt, er å “gi folket +enhver skriveførhet, og denne skriveførheten spesielt, er å «gi folket myndighet til å velge det språket som passer for det de trenger å lage eller -uttrykke”.[38] Det gir studenter -mulighet “til å kommunisere i språket til det tjueførste -århundret”.[39] -

    +uttrykke».[38] Det gir studenter +mulighet «til å kommunisere i språket til det tjueførste +århundret».[39] +

    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 @@ -1526,23 +1526,23 @@ visste noe om—v

    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. “Ungene -dukket opp 06:00, og dro igjen 05:00 på natta”, sa Barish. De jobbet +opp, var utfordringen for denne klassen å holde dem unna. «Ungene +dukket opp 06:00, og dro igjen 05:00 på natta», sa Barish. De jobbet hardere enn i noen annen klasse for å gjøre det utdanning burde handle om—å lære hvordan de skulle uttrykke seg.

    -Ved å bruke hva som helst av “fritt tilgjengelig web-stoff de kunne -finne”, og relativt enkle verktøy som gjorde det mulig for ungene å -blande “bilde, lyd og tekst”, sa Barish at denne klassen +Ved å bruke hva som helst av «fritt tilgjengelig web-stoff de kunne +finne», og relativt enkle verktøy som gjorde det mulig for ungene å +blande «bilde, lyd og tekst», sa Barish at denne klassen produserte en serie av prosjekter som viste noe om våpen-basert vold som få ellers ville forstå. Dette var et tema veldig nært livene til disse -studentene. Prosjektet “ga dem et verktøy og bemyndiget dem slik at -de både ble i stand til å forstå det og snakke om det”, forklarer +studentene. Prosjektet «ga dem et verktøy og bemyndiget dem slik at +de både ble i stand til å forstå det og snakke om det», forklarer Barish. Dette verktøyet lyktes med å skape uttrykk—mye mer vellykket og kraffylt enn noe som hadde blitt laget ved å kun bruke tekst. -“Hvis du hadde sagt til disse studentene at 'du må gjøre dette i +«Hvis du hadde sagt til disse studentene at 'du må gjøre dette i tekstform', så hadde de bare kastet hendene i været og gått og gjort noe -annet”, forklarer Barish. Delvis, uten tvil, fordi å uttrykke seg +annet», forklarer Barish. Delvis, uten tvil, fordi å uttrykke seg selv i tekstform ikke er noe disse studentene gjør godt. Heller ikke er tekstform en form som kan uttrykke disse idéene godt. Kraften i denne meldingen avhenger av dens forbindelse med denne for for @@ -1551,10 +1551,10 @@ uttrykk. -“Men handler ikke utdanning om å lære unger å skrive?” spurte +«Men handler ikke utdanning om å lære unger å skrive?» spurte jeg. Jo delvis, naturligvis. Men hvorfor lærer vi unger å skrive? Utdanning, forklarer Daley, handler om å gi studentene en måte å -“konstruere mening”. Å si at det kun betyr skriving er som å +«konstruere mening». Å si at det kun betyr skriving er som å si at å lære bort skriving kun handler om å lære ungene å stave. Tekstforming er bare en del—og i større grad ikke den kraftigste delen—for å konstruere mening. Som Daley forklarte i den @@ -1565,22 +1565,22 @@ du gir dem er tekst, s Du vet, du har Johnny som kan se på en video, han kan spille på et TV-spill, han kan spre grafitti over alle dine vegger, han kan ta fra hverandre bilen din, og han kan gjøre alle mulige andre ting. Men han kan ikke lese teksten -din. Så Jonny kommer på skolen og du sier “Johnny, du er analfabet. -Ingenting du gjør betyr noe”. Vel, da har Johnny to valg: Han kan +din. Så Jonny kommer på skolen og du sier «Johnny, du er analfabet. +Ingenting du gjør betyr noe». Vel, da har Johnny to valg: Han kan avvise deg eller han kan avvise seg selv. Hvis han har et sunt ego så vil -han avvise deg. Men hvis du i stedet sier, “Vel, med alle disse +han avvise deg. Men hvis du i stedet sier, «Vel, med alle disse tingene som du kan gjøre, la oss snakke om dette temaet. Spill musikk til meg som du mener reflekterer over temaet, eller vis meg bilder som du mener reflekterer over temaet, eller tegn noe til meg som reflektere -temaet”. Ikke ved å gi en unge et videokamera og … si -“La oss dra å ha det morsomt med videokameraet og lage en liten -film”. Men istedet, virkelig hjelpe deg å ta disse elementene som du +temaet». Ikke ved å gi en unge et videokamera og … si +«La oss dra å ha det morsomt med videokameraet og lage en liten +film». Men istedet, virkelig hjelpe deg å ta disse elementene som du forstår, som er ditt språk, og konstruer mening om temaet.…

    Dette bemyndiger enormt. Og det som skjer til slutt, selvfølgelig, som det har skjedd i alle disse klassene, er at de stopper opp når de treffer -faktumet “jeg trenger å forklare dette, og da trenger jeg virkelig å -skrive noe”. Og som en av lærerne fortalte Stephanie, de vil skrive +faktumet «jeg trenger å forklare dette, og da trenger jeg virkelig å +skrive noe». Og som en av lærerne fortalte Stephanie, de vil skrive om avsnittet 5, 6, 7, 8 ganger, helt til det blir riktig.

    @@ -1600,12 +1600,12 @@ perfekt tidsatt for Disse gjenfortellingene ga en økende familiær følelse. Det var musikk spesiallaget for mellom-innslagene, og avansert grafikk som blinket tvers over skjermen. Det var en formel for intervjuer. Det var -“balanse” og seriøsitet. Dette var nyheter koreaografert slik -vi i stadig større grad forventer det, “nyheter som -underholdning”, selv om underholdningen er en tragedie. -

    -Men i tillegg til disse produserte nyhetene om “tragedien -11. september”, kunne de av oss som er knyttet til internettet i +«balanse» og seriøsitet. Dette var nyheter koreaografert slik +vi i stadig større grad forventer det, «nyheter som +underholdning», selv om underholdningen er en tragedie. +

    +Men i tillegg til disse produserte nyhetene om «tragedien +11. september», kunne de av oss som er knyttet til internettet i tillegg se en svært annerledes produksjon. Internettet er fullt av fortellinger om de samme hendelsene. Men disse internet-fortellingene hadde en veldig annerledes smak. Noen folk konstruerte foto-sider som fanget @@ -1622,8 +1622,8 @@ Det er ikke s jeg mener at folkene som støtter denne formen for tale bør lovprises. Jeg ønsker i stedet å peke på viktigheten av denne formen for tale. For på samme måte som en Kodak, gjør internettet folk i stand til å fange bilder. -Og på samme måte som med en film laget av en av studentene på “Just -Think!”-bussen, kan visuelle bilder bli blandet med lyd og tekst. +Og på samme måte som med en film laget av en av studentene på «Just +Think!»-bussen, kan visuelle bilder bli blandet med lyd og tekst.

    Men i motsetning til en hvilken som helst teknologi for å enkelt fange bilder, tillater internettet at en nesten umiddelbart deler disse @@ -1660,35 +1660,35 @@ 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. -

    +

    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 fanget fantasien til Alexis de Tocqueville, den franske nittenhundretalls-advokaten som skrev den viktigste historien om det tidlige -“demokratiet i Amerika”. Det var ikke allmenn stemmerett som +«demokratiet i Amerika». Det var ikke allmenn stemmerett som fascinerte han—det var juryen, en institusjon som ga vanlige folk retten til å velge liv eller død før andre borgere. Og det som fascinerte han mest var at juryen ikke bare stemte over hvilket resultat de ville legge frem. De diskuterte. Medlemmene argumenterte om hva som var -“riktig” resultat, de forsøkte å overbevise hverandre om -“riktig”resultat, og i hvert fall i kriminalsaker måtte de bli +«riktig» resultat, de forsøkte å overbevise hverandre om +«riktig»resultat, og i hvert fall i kriminalsaker måtte de bli enige om et enstemming resultat for at prosessen skulle -avsluttes.[40] +avsluttes.[40]

    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.[41] +innsats for å lage en slik institusjon.[41] 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 “demokratisk diskusjon”. +å gjennomføre «demokratisk diskusjon».

    Mer merkelig er at en generelt sett ikke engang har aksept for at det skal 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.[42] Vi sier det våre venner vil +ekstrem.[42] Vi sier det våre venner vil høre, og hører veldig lite utenom hva våre venner sier.

    @@ -1710,18 +1710,18 @@ det. 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. -

    +lese dem en effekt. +

    En direkte effekt er på historier som hadde en annerledes livssyklus i de -store mediene. Trend Lott-affæren er et eksempel. Da Logg “sa -feil” på en fest for senator Storm Thurmond, og essensielt lovpriste +store mediene. Trend Lott-affæren er et eksempel. Da Logg «sa +feil» på en fest for senator Storm Thurmond, og essensielt lovpriste segregeringspolitikken til Thurmond, regnet han ganske riktig med at historien ville forsvinne fra de store mediene i løpet av førtiåtte timer. Det skjedde. Men han regnet ikke med dens livssyklus i bloggsfæren. Bloggerne fortsatte å undersøke historien. Etter hvert dukket flere og -flere tilfeller av tilsvarende “feiluttalelser” opp. Så dukket +flere tilfeller av tilsvarende «feiluttalelser» opp. Så dukket historien opp igjen hos de store mediene. Lott ble til slutt tvinget til å -trekke seg som leder for senatets flertall.[43] +trekke seg som leder for senatets flertall.[43]

    Denne annerledes syklusen er mulig på grunn av at et tilsvarende kommersielt press ikke eksisterer hos blogger slik det gjør hos andre kanaler. @@ -1741,52 +1741,52 @@ likemanns-generert rangering. Det er også en annen måte, hvor blogger har en annen syklus enn de store mediene. Som Dave Winer, en av fedrene til denne bevegelsen og en programvareutvikler i mange tiår fortalte meg, er en annen forskjell -fraværet av finansiell “interessekonflikt”. “Jeg tror du -må ta interessekonflikten” ut av journalismen, fortalte Winer -meg. “En amatørjournalist har ganske enkelt ikke interessekonflikt, +fraværet av finansiell «interessekonflikt». «Jeg tror du +må ta interessekonflikten» ut av journalismen, fortalte Winer +meg. «En amatørjournalist har ganske enkelt ikke interessekonflikt, eller interessekonflikten er så enkelt å avsløre at du liksom vet du kan -rydde den av veien.” -

    +rydde den av veien.» +

    Disse konfliktene blir mer viktig etter hvert som mediene blir mer konsentert (mer om dette under). Konsenterte medier kan skjule mer fra offentligheten enn ikke-konsenterte medier kan—slik CNN innrømte at de gjorde etter Iraq-krigen fordi de var rett for konsekvensene for sine egne -ansatte.[44] De trenger også å opprettholde +ansatte.[44] 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 Iraq. New York-hovedkvarteret ba reporteren gang på gang at hennes rapport om krigen var for trist: Hun måtte tilby en mer optimistisk historie. Når hun fortalte New York at det ikke var grunnlag for det, fortalte de henne at det var dem som -skrev “historien”.) +skrev «historien».)

    Blogg-sfæren gir amatører en måte å bli med i -debatten—“amatør” ikke i betydningen uerfaren, men i +debatten—«amatør» ikke i betydningen uerfaren, men i betydningen til en Olympisk atlet, det vil si ikke betalt av noen for å komme med deres rapport. Det tillater en mye bredere rekke av innspill til en historie, slik rapporteringen Columbia-katastrofen avdekket, når hundrevis fra hele sørvest-USA vendte seg til internettet for å gjenfortelle -hva de hadde sett.[45] Og det får lesere -til å lese på tvers av en rekke fortellinger og “triangulere”, +hva de hadde sett.[45] Og det får lesere +til å lese på tvers av en rekke fortellinger og «triangulere», som Winer formulerer det, sannheten. Blogger, sier Winer, -“kommunserer direkte med vår velgermasse, og mellommannen er -fjernet”— med alle de fordeler og ulemper det kan føre med seg. +«kommunserer direkte med vår velgermasse, og mellommannen er +fjernet»— med alle de fordeler og ulemper det kan føre med seg.

    Winer er optimistisk når det gjelder en journalistfremtid infisert av -blogger. “Det kommer til å bli en nødvendig ferdighet”, spår +blogger. «Det kommer til å bli en nødvendig ferdighet», spår Winer, for offentlige aktører og også i større grad for private aktører. -Det er ikke klart at “journalismen” er glad for +Det er ikke klart at «journalismen» er glad for dette—noen journalister har blitt bedt om å kutte ut sin -blogging.[46] Men det er klart at vi -fortsatt er i en overgangsfase. “Mye av det vi gjør nå er -oppvarmingsøvelser”, fortalte Winer meg. Det er mye som må modne før +blogging.[46] Men det er klart at vi +fortsatt er i en overgangsfase. «Mye av det vi gjør nå er +oppvarmingsøvelser», fortalte Winer meg. Det er mye som må modne før dette området har sin modne effekt. Og etter som inkludering av innhold i dette området er det området med minst opphavsrettsbrudd på internettet, sa -Wiener at “vi vil være den siste tingen som blir skutt ned”. +Wiener at «vi vil være den siste tingen som blir skutt ned».

    -Slik tale påvirker demokratiet. Winer mener dette skjer fordi “du +Slik tale påvirker demokratiet. Winer mener dette skjer fordi «du trenger ikke jobber for noen som kontrollerer, [for] en -portvokter”. Det er sant. Men det påvirker demokratiet også på en +portvokter». Det er sant. Men det påvirker demokratiet også på en annen måte. Etter hvert som flere og flere borgere uttrykker hva de mener, og forsvarer det skriftlig, så vil det endre hvordan folk forstår offentlige temaer. Det er enkelt å ha feil og være på villspor i hodet ditt. Det er @@ -1797,10 +1797,10 @@ 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 milloner, så vil det være noe ekstraordært å rapportere. -

    +

    John Seely Brown er sjefsforsker ved Xerox Corporation. Hans arbeid, i -følge hans eget nettsted, er “menneskelig læring og … å skape -kunnskapsøkologier for å skape … innovasjon”. +følge hans eget nettsted, er «menneskelig læring og … å skape +kunnskapsøkologier for å skape … innovasjon».

    Brown ser dermed på disse teknologiene for digital kreativitet litt annerledes enn fra perspektivene jeg har skissert opp så langt. Jeg er @@ -1809,15 +1809,15 @@ demokratiet. Men det han virkelig blir begeistret over er hvordan disse teknologiene påvirker læring.

    -Brown tror vi lærer med å fikle. Da “mange av oss vokste opp”, -forklarer han, ble fiklingen gjort “pa motorsykkelmotorer, -gressklippermotorer, biler, radioer og så videre”. Men digitale +Brown tror vi lærer med å fikle. Da «mange av oss vokste opp», +forklarer han, ble fiklingen gjort «pa motorsykkelmotorer, +gressklippermotorer, biler, radioer og så videre». Men digitale teknologier muliggjør en annen type fikling—med abstrakte idéer i sin konkrete form. Ungene i Just Think! tenker ikke bare på hvordan et reklameinnslag fremstiller en politiker. Ved å bruke digital teknologi kan de ta reklameinnslaget fra hverandre og manipulerer det, fikle med det, og se hvordan det blir gjort. Digitale teknologier setter igang en slags -*bricolage* eller “fritt tilgjengelig sammenstilling”, som +*bricolage* eller «fritt tilgjengelig sammenstilling», som Brown kaller det. Mange får mulighet til å legge til på eller endre på fiklingen til mange andre.

    @@ -1827,30 +1827,30 @@ kildekoden deles ut. Alle kan laste ned teknologien som f FS/OSS-program til å fungere. Og enhver som har lyst til å lære hvordan en bestemt bit av FS/OSS-teknologi fungerer kan fikle med koden.

    -Denne muligheten gir en “helt ny type læringsplattform”, i -følge Brown. “Så snart du begynner å gjøre dette, så … slipper +Denne muligheten gir en «helt ny type læringsplattform», i +følge Brown. «Så snart du begynner å gjøre dette, så … slipper du løs en fritt tilgjengelig sammenstilling til fellesskapet, slik at andre folk kan begynne å se på koden din, fikle med den, teste den, seom de kan -forbedre den”. Og hver innsats er et slags læretid. “Åpen -kildekode blir en stor lærlingeplatform.”. +forbedre den». Og hver innsats er et slags læretid. «Åpen +kildekode blir en stor lærlingeplatform.».

    -I denne prossesen, “er de konkrete tingene du fikler med abstrakte. De -er kildekode”. Unger “endres til å få evnen til å fikle med +I denne prossesen, «er de konkrete tingene du fikler med abstrakte. De +er kildekode». Unger «endres til å få evnen til å fikle med det abstrakte, og denne fiklingen er ikke lenger en isolert aktivitet som du gjør i garasjen din. Du fikler med en fellesskapsplatform. … Du fikler med andre folks greier. Og jo mer du fikler, jo mer forbedrer -du.” Jo mer du forbedrer, jo mer lærer du. +du.» Jo mer du forbedrer, jo mer lærer du.

    Denne sammen tingen skjer også med innhold. Og det skjer på samme samarbeidende måte når dette innholdet er del av nettet. Som Brown -formulerer det, “nettet er det første medium som virkelig tar hensyn -til flere former for intelligens”. Tidligere teknologier, slik som +formulerer det, «nettet er det første medium som virkelig tar hensyn +til flere former for intelligens». Tidligere teknologier, slik som skrivemaskin eller tekstbehandling, hjelper med å fremme tekst. Men nettet -fremmer mye mer enn tekst. “Nettet … si hvis du er musikalsk, +fremmer mye mer enn tekst. «Nettet … si hvis du er musikalsk, hvis du er kunstnerisk, hvis du er visuell, hvis du er interessert i film …da er det en masse du kan gå igang med på dette mediet. Det kan -fremme og ta hensyn til alle disse formene for intelligens.” -

    +fremme og ta hensyn til alle disse formene for intelligens.» +

    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 @@ -1864,52 +1864,52 @@ med bilder som hun finner over alt. Loven, og teknologi i stadig st 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 10) har utviklet et -kraftfylt argument til fordel for “retten til å fikle” slik det -gjøres i informatikk og til kunnskap generelt.[47] Men bekymringen til Brown er tidligere, og mer fundamentalt. Det +Ed Felten ved Princeton (som vi vil se mer fra i kapittel 10) har utviklet et +kraftfylt argument til fordel for «retten til å fikle» slik det +gjøres i informatikk og til kunnskap generelt.[47] 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.

    -“Dette er dit utviklingen av utdanning i det tjueførste århundret er -på vei”, forklarer Brown. Vi må “forstå hvordan unger som -vokser opp digitalt tenker og ønsker å lære”. +«Dette er dit utviklingen av utdanning i det tjueførste århundret er +på vei», forklarer Brown. Vi må «forstå hvordan unger som +vokser opp digitalt tenker og ønsker å lære».

    -“Likevel”, fortsatte Brown, og som balansen i denne boken vil -føre bevis for, “bygger vi et juridisk system som fullstendig +«Likevel», fortsatte Brown, og som balansen i denne boken vil +føre bevis for, «bygger vi et juridisk system som fullstendig undertrykker den naturlige tendensen i dagens digitale unger. … We bygger en arkitektur som frigjør 60 prosent av hjernen [og] et juridisk -system som stenger ned den delen av hjernen”. -

    +system som stenger ned den delen av hjernen». +

    Vi bygger en teknologi som tar magien til Kodak, mikser inn bevegelige bilder og lyd, og legger inn plass for kommentarer og en mulighet til å spre denne kreativiteten over alt. Men vi bygger loven for å stenge ned denne teknologien.

    -“Ikke måten å drive en kultur på”, sa Brewster Kahle, som vi -møtte i kapittel 9, kommenterte til meg i et sjeldent øyeblikk av +«Ikke måten å drive en kultur på», sa Brewster Kahle, som vi +møtte i kapittel 9, kommenterte til meg i et sjeldent øyeblikk av nedstemthet. -


    [26] +


    [26] Reese V. Jenkins, Images and Enterprise (Baltimore: Johns Hopkins University Press, 1975), 112. -

    [27] +

    [27] Brian Coe, The Birth of Photography (New York: -Taplinger Publishing, 1977), 53. -

    [28] +Taplinger Publishing, 1977), 53. +

    [28] Jenkins, 177. -

    [29] +

    [29] Basert på et diagram i Jenkins, s. 178. -

    [30] +

    [30] Coe, 58. -

    [31] +

    [31] For illustrerende saker, se for eksempel, Pavesich @@ -1917,102 +1917,102 @@ mot N.E. Life Ins. Co., 50 S.E. 68 (Ga. 1905); Foster-Milburn Co. mot Chinn, 123090 S.W. 364, 366 (Ky. 1909); Corliss mot Walker, 64 F. 280 (Mass. Dist. Ct. 1894). -

    [32] +

    [32] -Samuel D. Warren og Louis D. Brandeis, “The Right to Privacy”, -Harvard Law Review 4 (1890): 193. -

    [33] +Samuel D. Warren og Louis D. Brandeis, «The Right to Privacy», +Harvard Law Review 4 (1890): 193. +

    [33] -Se Melville B. Nimmer, “The Right of Publicity”, Law +Se Melville B. Nimmer, «The Right of Publicity», Law and Contemporary Problems 19 (1954): 203; William L. Prosser, -“Privacy”, California Law Review 48 +«Privacy», California Law Review 48 (1960) 398–407; White mot Samsung Electronics America, Inc., 971 F. 2d 1395 (9th Cir. 1992), sert. nektet, 508 U.S. 951 (1993). -

    [34] +

    [34] -H. Edward Goldberg, “Essential Presentation Tools: Hardware and -Software You Need to Create Digital Multimedia Presentations,” +H. Edward Goldberg, «Essential Presentation Tools: Hardware and +Software You Need to Create Digital Multimedia Presentations,» cadalyst, februar 2002, tilgjengelig fra link #7. -

    [35] +

    [35] Judith Van Evra, Television and Child Development -(Hillsdale, N.J.: Lawrence Erlbaum Associates, 1990); “Findings on -Family and TV Study”, Denver Post, 25. mai +(Hillsdale, N.J.: Lawrence Erlbaum Associates, 1990); «Findings on +Family and TV Study», Denver Post, 25. mai 1997, B6. -

    [36] +

    [36] Intervju med Elizabeth Daley og Stephanie Barish, 13. desember 2002. - -

    [37] + +

    [37] -Se Scott Steinberg, “Crichton Gets Medieval on PCs”, E!online, +Se Scott Steinberg, «Crichton Gets Medieval on PCs», E!online, 4. november 2000, tilgjengelig fra link #8; -“Timeline”, 22. november 2000, tilgjengelig fra link #9. -

    [38] +«Timeline», 22. november 2000, tilgjengelig fra link #9. +

    [38] -Intervju med Daley og Barish. -

    [39] +Intervju med Daley og Barish. +

    [39] ibid. -

    [40] +

    [40] Se for eksempel Alexis de Tocqueville, Democracy in America, bk. 1, overs. Henry Reeve (New York: Bantam Books, 2000), kap. 16. -

    [41] +

    [41] -Bruce Ackerman og James Fishkin, “Deliberation Day”, +Bruce Ackerman og James Fishkin, «Deliberation Day», Journal of Political Philosophy 10 (2) (2002): 129. -

    [42] +

    [42] Cass Sunstein, Republic.com (Princeton: Princeton University Press, 2001), 65–80, 175, 182, 183, 192. -

    [43] +

    [43] -Noah Shachtman, “With Incessant Postings, a Pundit Stirs the -Pot”, New York Times, 16. januar 2003, G5. -

    [44] +Noah Shachtman, «With Incessant Postings, a Pundit Stirs the +Pot», New York Times, 16. januar 2003, G5. +

    [44] Telefonintervju med David Winer, 16. april 2003. -

    [45] +

    [45] -John Schwartz, “Loss of the Shuttle: The Internet; A Wealth of -Information Online”, New York Times, 2 februar -2003, A28; Staci D. Kramer, “Shuttle Disaster Coverage Mixed, but -Strong Overall”, Online Journalism Review, 2. februar 2003, +John Schwartz, «Loss of the Shuttle: The Internet; A Wealth of +Information Online», New York Times, 2 februar +2003, A28; Staci D. Kramer, «Shuttle Disaster Coverage Mixed, but +Strong Overall», Online Journalism Review, 2. februar 2003, tilgjengelig fra link #10. -

    [46] +

    [46] -Se Michael Falcone, “Does an Editor's Pencil Ruin a Web Log?” -New York Times, 29. september 2003, C4. (“Ikke +Se Michael Falcone, «Does an Editor's Pencil Ruin a Web Log?» +New York Times, 29. september 2003, C4. («Ikke alle nyhetsorganisasjoner har hatt like stor aksept for ansatte som blogger. Kevin Sites, en CNN-korrespondent i Irak som startet en blogg om sin rapportering av krigen 9. mars, stoppet å publisere 12 dager senere på forespørsel fra sine sjefer. I fjor fikk Steve Olafson, en Houston Chronicle-reporter, sparken for å ha hatt en personlig web-logg, publisert under pseudonym, som handlet om noen av -temaene og folkene som han dekket”) -

    [47] +temaene og folkene som han dekket») +

    [47] -Se for eksempel, Edward Felten og Andrew Appel, “Technological Access -Control Interferes with Noninfringing Scholarship,” +Se for eksempel, Edward Felten og Andrew Appel, «Technological Access +Control Interferes with Noninfringing Scholarship,» Communications of the Association for Computer Machinery 43 (2000): 9. -

    Kapittel 3. Kapittel tre: Kataloger

    +

    Kapittel tre: Kataloger

    Høsten 2001, ble Jesse Jordan fra Oceanside, New York, innrullert som førsteårsstudent ved Rensselaer Polytechnic Institute, i Troy, New York. Hans studieprogram ved RPI var informasjonsteknologi. Selv om han ikke var @@ -2037,7 +2037,7 @@ direkte tilgang til andre medlemmer i RPI-fellesskapet. Søkemotorer er et mål pa hvor nært et nettverk oppleves å være. Google brakte internettet mye nærmere oss alle ved en utrolig forbedring av kvaliteten på søk i nettverket. Spesialiserte søkemotorer kan gjøre dette -enda bedre. Ideen med “intranett”-søkemotorer, søkemotorer som +enda bedre. Ideen med «intranett»-søkemotorer, søkemotorer som kun søker internt i nettverket til en bestemt institusjon, er å tilby brukerne i denne institusjonen bedre tilgang til materiale fra denne institusjonen. Bedrifter gjør dette hele tiden, ved å gi ansatte mulighet @@ -2097,23 +2097,23 @@ Jesse forkynt s disse dokumentene og så på nyhetsrapportene om den, ble han stadig mer forbauset.

    -“Det var absurd”, fortalte han meg. “Jeg mener at jeg +«Det var absurd», fortalte han meg. «Jeg mener at jeg ikke gjorde noe galt. … Jeg mener det ikke er noe galt med søkemotoren som jeg kjørte eller … hva jeg hadde gjort med den. Jeg mener, jeg hadde ikke endret den på noen måte som fremmet eller forbedret arbeidet til pirater. Jeg endret kun søkemotoren slik at den ble enklere å -bruke”—igjen, en søkemotor, som Jesse ikke +bruke»—igjen, en søkemotor, som Jesse ikke 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. -

    +

    Men RIAA kalte Jesse en pirat. De hevdet at han opererte et nettverk og -dermed “med vilje” hadde brutt opphavsrettslovene. De krevde +dermed «med vilje» hadde brutt opphavsrettslovene. De krevde at han betalte dem skadeerstatning for det han hadde gjort galt. I saker -med “krenkelser med vilje”, spesifiserer opphavsrettsloven noe -som advokater kaller “lovbestemte skader”. Disse skadene +med «krenkelser med vilje», spesifiserer opphavsrettsloven noe +som advokater kaller «lovbestemte skader». Disse skadene tillater 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 @@ -2123,24 +2123,24 @@ Lignende s RPI, en ved Michegan Technical University og en ved Princeton. Deres situasjoner var lik den til Jesse. Selv om hver sak hadde forskjellige detaljer, var hovedpoenget nøyaktig det samme: store krav om -“erstatning” som RIAA påsto de hadde rett på. Hvis du summerte +«erstatning» som RIAA påsto de hadde rett på. Hvis du summerte opp disse kravene, ba disse fire søksmålene domstolene i USA å tildele saksøkerne nesten $100 milliarder—seks ganger det totale overskuddet til filmindustrien i -2001.[48] -

    +2001.[48] +

    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. -

    +

    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 hans liv. Han nektet. De fikk han til å forstå at denne prosessen med å bli saksøkt ikke kom til å bli hyggelig. (Som faren til Jesse refererte til -meg, fortalte sjefsadvokaten på saken, Matt Oppenheimer, “Du ønsker -ikke et tannlegebesøk hos meg flere ganger”) Og gjennom det hele +meg, fortalte sjefsadvokaten på saken, Matt Oppenheimer, «Du ønsker +ikke et tannlegebesøk hos meg flere ganger») Og gjennom det hele insisterte RIAA at de ikke ville inngå forlik før de hadde tatt hver eneste øre som Jesse hadde spart opp.

    @@ -2156,15 +2156,15 @@ konkurs.

    Så Jesse hadde et mafia-lignende valg: $250 000 og en sjanse til å vinne, eller $12 000 og et forlik. -

    +

    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 -gjennomsnittelige innspillingsartist tjener $45 900.[49] Det er utallige måter som RIAA kan bruke for å +gjennomsnittelige innspillingsartist tjener $45 900.[49] 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?[50] +student for å drive en søkemotor?[50]

    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 @@ -2177,46 +2177,46 @@ foruts absurd det RIAA har gjort.

    Foreldrene til Jesse avslører en viss stolthet over deres motvillige -aktivist. Som hans far fortalte meg, Jesse “anser seg selv for å være +aktivist. Som hans far fortalte meg, Jesse «anser seg selv for å være konservativ, og det samme gjør jeg. … Han er ingen treklemmer. … Jeg synes det er sært at de ville lage bråk med ham. Men han ønsker å la folk vite at de sender feil budskap. Og han ønsker å -korrigere rullebladet.” -


    [48] +korrigere rullebladet.» +


    [48] -Tim Goral, “Recording Industry Goes After Campus P-2-P Networks: Suit -Alleges $97.8 Billion in Damages,” Professional Media +Tim Goral, «Recording Industry Goes After Campus P-2-P Networks: Suit +Alleges $97.8 Billion in Damages,» Professional Media Group LCC 6 (2003): 5, tilgjengelig fra 2003 WL 55179443. -

    [49] +

    [49] Occupational Employment Survey, U.S. Dept. of Labor (2001) (27–2042—Musikere og Sangere). Se også National Endowment for the Arts, More Than One in a Blue Moon (2000). -

    [50] +

    [50] -Douglas Lichtman kommer med et relatert poeng i “KaZaA and -Punishment,” Wall Street Journal, +Douglas Lichtman kommer med et relatert poeng i «KaZaA and +Punishment,» Wall Street Journal, 10. september 2003, A24. -

    Kapittel 4. Kapittel fire: “Pirater”

    -Hvis “piratvirksomhet” betyr å bruke den kreative eiendommen -til andre uten deres tillatelse—hvis “hvis verdi, så -rettighet” er sant—da er historien om innholdsindustrien en -historie om piratvirksomhet. Hver eneste viktige sektor av “store -medier” i dag—film, plater, radio og kabel-TV—kom fra en +

    Kapittel fire: «Pirater»

    +Hvis «piratvirksomhet» betyr å bruke den kreative eiendommen +til andre uten deres tillatelse—hvis «hvis verdi, så +rettighet» er sant—da er historien om innholdsindustrien en +historie om piratvirksomhet. Hver eneste viktige sektor av «store +medier» i dag—film, plater, radio og kabel-TV—kom fra en slags piratvirksomhet etter den definisjonen. Den konsekvente fortellingen er at forrige generasjon pirater blir del av denne generasjonens borgerskap—inntil nå.

    4.1. Film

    -Filmindustrien i Hollywood var bygget av flyktende pirater.[51] Skapere og regisører migrerte fra østkysten til +Filmindustrien i Hollywood var bygget av flyktende pirater.[51] Skapere og regisører 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 -monopol-“kartell”, The Motion Pictures Patents company, og var +monopol-«kartell», The Motion Pictures Patents company, og var basert på Tomhas Edisons kreative eierrettigheter—patenter. Edison stiftet MPPC for å utøve rettighetene som disse kreative eierrettighetene ga ham, og MPPC var seriøst med kontrollen de krevde. @@ -2231,29 +2231,30 @@ var bevegelsen med uavhenginge i full sving, med produsenter og kinoeiere som brukte ulovlig utstyr og importerte filmlager for å opprette sitt eget undergrunnsmarked.

    -With the country experiencing a tremendous expansion in the number of -nickelodeons, the Patents Company reacted to the independent movement by -forming a strong-arm subsidiary known as the General Film Company to block -the entry of non-licensed independents. With coercive tactics that have -become legendary, General Film confiscated unlicensed equipment, -discontinued product supply to theaters which showed unlicensed films, and -effectively monopolized distribution with the acquisition of all U.S. film -exchanges, except for the one owned by the independent William Fox who -defied the Trust even after his license was revoked.[52] +Med et land som så en kolosal 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 +blokkere innføringen av ulisensierte uavhengige. Med tvangstaktikker som +har blitt legendariske, konfiserte 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.[52]

    -The Napsters of those days, the “independents,” were companies -like Fox. And no less than today, these independents were vigorously -resisted. “Shooting was disrupted by machinery stolen, and -`accidents' resulting in loss of negatives, equipment, buildings and -sometimes life and limb frequently occurred.”[53] That led the independents to flee the East -Coast. California was remote enough from Edison's reach that filmmakers -there could pirate his inventions without fear of the law. And the leaders -of Hollywood filmmaking, Fox most prominently, did just that. +Napsterne i de dager, de «uavhengige», var selskaper som Fox. +Og ikke mindre enn i dag ble disse uavhengige intenst motarbeidet. +«Opptak ble avbrutt av stjålet maskineri, og 'uhell' som førte til +tapte negativer, utstyr, bygninger og noen ganger liv og lemmer skjedde +ofte.»[53] Dette fikk de uavhengige +til å flykte til østkysten. Californa var fjernt nok fra Edisons +innflytelse til at filmskaperne der kunne røve hans nyvinninger uten å +frykte loven. Og lederne blant Hollywods filmskapere, Fox mest +fremtredende, gjorde akkurat dette.

    California vokste naturligvis raskt, og effektiv håndhevelse av føderale lover spredte seg til slutt vestover. Men fordi patenter tildeler -patentinnehaveren et i sannhet “begrenset” monopol (kun sytten +patentinnehaveren et i sannhet «begrenset» monopol (kun sytten 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. @@ -2261,22 +2262,22 @@ kreative rettigheter. 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. -

    +

    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 deres musikk og eksklusive rettigheter til å kontrollere fremføringer av deres musikk. Med andre ord, i 1900, hvis jeg ønsket et kopi av Phil -Russels populære låt “Happy Mose”, sa loven at jeg måtte betale +Russels populære låt «Happy Mose», 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. -

    -Men hva hvis jeg ønsket å spille inn “Happy Mose” ved hjelp av +

    +Men hva hvis jeg ønsket å spille inn «Happy Mose» 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 gjorde innspillingen. Og det var klart nok at jeg måtte betale for enhver offentlig fremførelse av verket jeg spilte inn. Men det var ikke helt klart -at jeg måtte betale for en “offentlig fremføring” hvis jeg +at jeg måtte betale for en «offentlig fremføring» hvis jeg spilte inn sangen i mitt eget hus (selv i dag skylder du ingenting til Beatles hvis du synger en av deres sanger i dusjen), eller hvis jeg spilte inn sangen fra hukommelsen (kopier i din hjerne er @@ -2286,44 +2287,44 @@ 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. -

    +

    Komponistene (og utgiverne) var ikke veldig glade for denne kapasiteten til å røve. Som Senator Alfred Kittredge fra Sør-Dakota formulerte -det, +det,

    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 hjernet til komponisten og utgiveren uten å bry seg -om [deres] rettigheter.[54] -

    -The innovators who developed the technology to record other people's works -were “sponging upon the toil, the work, the talent, and genius of -American composers,”[55] and the -“music publishing industry” was thereby “at the complete -mercy of this one pirate.”[56] As -John Philip Sousa put it, in as direct a way as possible, “When they -make money out of my pieces, I want a share of it.”[57] +om [deres] rettigheter.[54] +

    +Innovatørene som utviklet teknologien for å spille inn andres arbeide +«snyltet på innsatsen, arbeidet, tallentet og geniet til amerikanske +komponister»,[55] og +«musikkpubliseringsindistrien» var dermed «fullstendig i +denne piratens vold».[56] Som John +Philip Sousa formulerte det, så direkte som det kan sies, «når de +tjener penger på mine stykker, så vil jeg ha en andel».[57]

    These arguments have familiar echoes in the wars of our day. So, too, do the arguments on the other side. The innovators who developed the player piano -argued that “it is perfectly demonstrable that the introduction of +argued that «it is perfectly demonstrable that the introduction of automatic music players has not deprived any composer of anything he had -before their introduction.” Rather, the machines increased the sales -of sheet music.[58] In any case, the -innovators argued, the job of Congress was “to consider first the +before their introduction.» Rather, the machines increased the sales +of sheet music.[58] In any case, the +innovators argued, the job of Congress was «to consider first the interest of [the public], whom they represent, and whose servants they -are.” “All talk about `theft,'” the general counsel of -the American Graphophone Company wrote, “is the merest claptrap, for +are.» «All talk about `theft,'» the general counsel of +the American Graphophone Company wrote, «is the merest claptrap, for there exists no property in ideas musical, literary or artistic, except as -defined by statute.”[59] - +defined by statute.»[59] +

    Loven løste snart denne kampen i favør av både komponisten og innspillingsartisten. Kongressen endret loven slik at -komponisten fikk betalt for den “mekaniske reproduksjonen” av +komponisten fikk betalt for den «mekaniske reproduksjonen» av deres musikk. Men i stedet for å ganske enkelt gi komponisten full kontroll over rettigheten til å lage mekaniske reproduksjoner, ga kongressen innspillingsartister rett en til å spille inn musikk, til en pris satt av @@ -2333,8 +2334,8 @@ snart en komponist tillater en innspilling av hans sang, har andre mulighet til å spille inn samme sang, så lenge de betaler den originale komponisten et gebyr fastsatt av loven.

    -Amerikansk lov kaller dette vanligvis en “tvangslisens”, men -jeg vil referere til dette som en “lovbestemt lisens”. En +Amerikansk lov kaller dette vanligvis en «tvangslisens», men +jeg vil referere til dette som en «lovbestemt lisens». En lovbestemt lisens er en lisens hvis nøkkelvilkår er bestemt i lovverket. Etter kongressens endring av opphavsrettsloven i 1909, sto plateselskapene fritt til å distribuere kopier av innspillinger så lenge som de betalte @@ -2346,7 +2347,7 @@ tillatelse til det. Girsham st betaling for den tillatelsen. Prisen for å publisere Grisham er dermed bestemt av Grisham og opphavsrettsloven sier at du ikke har tillatelse til å bruke Grishams verker med mindre du har tillatelse fra Grisham. - +

    But the law governing recordings gives recording artists less. And thus, in effect, the law subsidizes the recording industry @@ -2358,7 +2359,7 @@ gets something of value for less than it otherwise would pay; the public gets access to a much wider range of musical creativity. Indeed, Congress was quite explicit about its reasons for granting this right. Its fear was the monopoly power of rights holders, and that that power would stifle -follow-on creativity.[60] +follow-on creativity.[60]

    Mens musikkindustrien har vært ganske stille om dette i det siste, har de historisk vært høylytte tilhengere av den lovbestemte lisensen for @@ -2376,36 +2377,38 @@ recording rights before 1909 and the 1909 statute adopted the compulsory license as a deliberate anti-monopoly condition on the grant of these rights. They argue that the result has been an outpouring of recorded music, with the public being given lower prices, improved quality, and a greater -choice.[61] +choice.[61]

    Ved å begrense rettighetene musikere hadde, ved å delvis røve deres kreative verk, fikk innspillingsprodusentene, og folket, fordeler.

    4.3. Radio

    Radio kom også fra piratvirksomhet.

    -When a radio station plays a record on the air, that constitutes a -“public performance” of the composer's work.[62] As I described above, the law gives the composer -(or copyright holder) an exclusive right to public performances of his -work. The radio station thus owes the composer money for that performance. +Når en radiostasjon spiller en plate på luften, så utgjør dette en +«offentlig fremføring» av komponistens verk.[62] 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 +fremføringe.

    -But when the radio station plays a record, it is not only performing a copy -of the composer's work. The radio station is also -performing a copy of the recording artist's work. It's -one thing to have “Happy Birthday” sung on the radio by the -local children's choir; it's quite another to have it sung by the Rolling -Stones or Lyle Lovett. The recording artist is adding to the value of the -composition performed on the radio station. And if the law were perfectly -consistent, the radio station would have to pay the recording artist for his -work, just as it pays the composer of the music for his work. +Men når en radiostasjon spiller en plage, så fremfører det ikke bare et +eksemplar av komponistens verk. Radiostasjonen +fremfører også et eksemplar av innspillingsartistens +verk. Det er en ting å få «Happy Birthday» sunget på radio av +det lokale barnekoret. Det er noe ganske annet å få det sunget av Rolling +Stones eller Lyle Lovett. Innspillingsartisten legger til verdi på +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.

    -But it doesn't. Under the law governing radio performances, the radio -station does not have to pay the recording artist. The radio station need -only pay the composer. The radio station thus gets a bit of something for -nothing. It gets to perform the recording artist's work for free, even if it -must pay the composer something for the privilege of playing the song. +Men det gjør den ikke. I følge loven som styrer radiofremføringer, trenger +ikke radiostasjonen å betale noe til innspillingsartisten. Radiostasjonen +trenger kun å betale komponisten. Radiostasjonen får dermed noe uten å +betale. Den får fremføre innspillingsartistens verk gratis, selv om den må +betale komponisten noe for privilegiet det er å spille sangen.

    Denne forskjellen kan bli stor. Forestill deg at du komponerer et stykke musikk. Se for deg at det er ditt første stykke. Du eier de eksklusive @@ -2417,17 +2420,17 @@ godt. Hun bestemmer seg deretter for populær hitlåt. Med vår lov vil du få litt penger hver gang en radiostasjon spiller din sang. Men Madonna får ingenting, fortsett fra de indirekte effektene fra salg av hennes CD-er. Den offentlige fremføringen av hennes -innspilling er ikke en “beskyttet” rettighet. Radiostasjonen +innspilling er ikke en «beskyttet» rettighet. Radiostasjonen får dermed røve verdien av Madonnas arbeid uten å betale henne noen ting. -

    +

    Uten tvil kan en argumentere at, totalt sett, tjener innspillingsartistene på dette. I snitt er reklamen de får verdt mer enn 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 valgen for ham eller henne, gir loven radiostasjonen rett til å ta noe uten å betale. -

    4.4. Kabel-TV

    +

    4.4. Kabel-TV

    Kabel-TV kom også fra en form for piratvirksomhet.

    @@ -2439,30 +2442,30 @@ selling access to television broadcasts, they refused to pay for what they sold. Cable companies were thus Napsterizing broadcasters' content, but more egregiously than anything Napster ever did— Napster never charged for the content it enabled others to give away. -

    +

    Broadcasters and copyright owners were quick to attack this theft. Rosel -Hyde, chairman of the FCC, viewed the practice as a kind of “unfair -and potentially destructive competition.”[63] There may have been a “public interest” in spreading +Hyde, chairman of the FCC, viewed the practice as a kind of «unfair +and potentially destructive competition.»[63] There may have been a «public interest» in spreading the reach of cable TV, but as Douglas Anello, general counsel to the National Association of Broadcasters, asked Senator Quentin Burdick during -testimony, “Does public interest dictate that you use somebody else's -property?”[64] As another +testimony, «Does public interest dictate that you use somebody else's +property?»[64] As another broadcaster put it,

    The extraordinary thing about the CATV business is that it is the only business I know of where the product that is being sold is not paid -for.[65] +for.[65]

    Igjen, kravene til opphavsrettsinnehaverne virket rimelige nok:

    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.[66] -

    -Disse var “gratispassasjerer”, sa presidenten Charlton Heston i -Screen Actor's Guild, som “tok lønna fra -skuespillerne”[67] +ville passe.[66] +

    +Disse var «gratispassasjerer», sa presidenten Charlton Heston i +Screen Actor's Guild, som «tok lønna fra +skuespillerne»[67]

    Men igjen, det er en annen side i debatten. Som assisterende justisminister Edwin Zimmerman sa det, @@ -2472,90 +2475,90 @@ protection at all, the problem here is whether copyright holders who are already compensated, who already have a monopoly, should be permitted to extend that monopoly. … The question here is how much compensation they should have and how far back they should carry their right to -compensation.[68] +compensation.[68]

    Opphavsrettinnehaverne tok kabelselskapene til retten. Høyesterett fant to ganger at kabelselskaper ikke skyldte opphavsrettinnehaverne noen ting.

    It took Congress almost thirty years before it resolved the question of whether cable companies had to pay for the content they -“pirated.” In the end, Congress resolved this question in the +«pirated.» In the end, Congress resolved this question in the same way that it resolved the question about record players and player pianos. Yes, cable companies would have to pay for the content that they broadcast; but the price they would have to pay was not set by the copyright owner. The price was set by law, so that the broadcasters couldn't exercise veto power over the emerging technologies of cable. Cable companies thus -built their empire in part upon a “piracy” of the value created +built their empire in part upon a «piracy» of the value created by broadcasters' content.

    -These separate stories sing a common theme. If “piracy” means +These separate stories sing a common theme. If «piracy» means using value from someone else's creative property without permission from -that creator—as it is increasingly described today[69] — then every industry +that creator—as it is increasingly described today[69] — then every industry affected by copyright today is the product and beneficiary of a certain kind of piracy. Film, records, radio, cable TV. … The list is long and could well be expanded. Every generation welcomes the pirates from the last. Every generation—until now. -


    [51] +


    [51] Jeg er takknemlig til Peter DiMauro for å ha pekt meg i retning av denne ekstraordinære historien. Se også Siva Vaidhyanathan, Copyrights and Copywrongs, 87–93, som forteller detaljer om Edisons -“eventyr” med opphavsrett og patent. -

    [52] - +«eventyr» med opphavsrett og patent. +

    [52] J. A. Aberdeen, Hollywood Renegades: The Society of Independent Motion Picture Producers (Cobblestone Entertainment, 2000) and -expanded texts posted at “The Edison Movie Monopoly: The Motion -Picture Patents Company vs. the Independent Outlaws,” available at +expanded texts posted at «The Edison Movie Monopoly: The Motion +Picture Patents Company vs. the Independent Outlaws,» available at link #11. For a discussion of the economic motive behind both these limits and the limits -imposed by Victor on phonographs, see Randal C. Picker, “From Edison +imposed by Victor on phonographs, see Randal C. Picker, «From Edison to the Broadcast Flag: Mechanisms of Consent and Refusal and the -Propertization of Copyright” (September 2002), University of Chicago +Propertization of Copyright» (September 2002), University of Chicago Law School, James M. Olin Program in Law and Economics, Working Paper -No. 159.

    [53] +No. 159. +

    [53] -Marc Wanamaker, “The First Studios,” The Silents +Marc Wanamaker, «The First Studios,» The Silents Majority, arkivert på link #12. -

    [54] +

    [54] To Amend and Consolidate the Acts Respecting Copyright: Hearings on S. 6330 and H.R. 19853 Before the ( Joint) Committees on Patents, 59th Cong. 59, 1st sess. (1906) (statement of Senator Alfred B. Kittredge, of South Dakota, chairman), reprinted in Legislative History of the Copyright Act, E. Fulton Brylawski and Abe Goldman, eds. (South -Hackensack, N.J.: Rothman Reprints, 1976). -

    [55] +Hackensack, N.J.: Rothman Reprints, 1976). +

    [55] To Amend and Consolidate the Acts Respecting Copyright, 223 (uttalelse fra Nathan Burkan, advokat for the Music Publishers Association). -

    [56] +

    [56] To Amend and Consolidate the Acts Respecting Copyright, 226 (uttalelse fra Nathan Burkan, advokat for the Music Publishers Association). -

    [57] +

    [57] To Amend and Consolidate the Acts Respecting Copyright, 23 (uttalelse fra John Philip Sousa, komponist). -

    [58] +

    [58] To Amend and Consolidate the Acts Respecting Copyright, 283–84 (uttalelse fra Albert Walker, representant for the Auto-Music Perforating Company of New York). -

    [59] +

    [59] -To Amend and Consolidate the Acts Respecting Copyright, 376 (prepared -memorandum of Philip Mauro, general patent counsel of the American -Graphophone Company Association). -

    [60] +To Amend and Consolidate the Acts Respecting Copyright, 376 (forberedt +innspill fra Philip Mauro, sjefspatentrådgiver for the American Graphophone +Company Association). +

    [60] @@ -2565,63 +2568,63 @@ H.R. 11794 Before the ( Joint) Committee on Patents, 60th Cong., 1st sess., Legislative History of the 1909 Copyright Act, E. Fulton Brylawski and Abe Goldman, eds. (South Hackensack, N.J.: Rothman Reprints, 1976). -

    [61] +

    [61] Copyright Law Revision: Report to Accompany H.R. 2512, House Committee on the Judiciary, 90th Cong., 1st sess., House Document no. 83, (8 March -1967). I am grateful to Glenn Brown for drawing my attention to this report.

    [62] +1967). I am grateful to Glenn Brown for drawing my attention to this report.

    [62] See 17 United States Code, sections 106 and 110. At -the beginning, record companies printed “Not Licensed for Radio -Broadcast” and other messages purporting to restrict the ability to +the beginning, record companies printed «Not Licensed for Radio +Broadcast» and other messages purporting to restrict the ability to play a record on a radio station. Judge Learned Hand rejected the argument that a warning attached to a record might restrict the rights of the radio station. See RCA Manufacturing Co. v. Whiteman, 114 F. 2d 86 (2nd -Cir. 1940). See also Randal C. Picker, “From Edison to the Broadcast +Cir. 1940). See also Randal C. Picker, «From Edison to the Broadcast Flag: Mechanisms of Consent and Refusal and the Propertization of -Copyright,” University of Chicago Law Review -70 (2003): 281. -

    [63] +Copyright,» University of Chicago Law Review +70 (2003): 281. +

    [63] Copyright Law Revision—CATV: Hearing on S. 1006 Before the Subcommittee on Patents, Trademarks, and Copyrights of the Senate Committee on the Judiciary, 89th Cong., 2nd sess., 78 (1966) (statement of Rosel -H. Hyde, chairman of the Federal Communications Commission). -

    [64] +H. Hyde, chairman of the Federal Communications Commission). +

    [64] Copyright Law Revision—CATV, 116 (statement of Douglas A. Anello, general counsel of the National Association of Broadcasters). -

    [65] +

    [65] Copyright Law Revision—CATV, 126 (statement of Ernest W. Jennes, general counsel of the Association of Maximum Service Telecasters, Inc.). -

    [66] +

    [66] Copyright Law Revision—CATV, 169 (joint statement of Arthur B. Krim, president of United Artists Corp., and John Sinn, president of United Artists Television, Inc.). -

    [67] +

    [67] Copyright Law Revision—CATV, 209 (vitnemål fra Charlton Heston, -president i Screen Actors Guild). -

    [68] +president i Screen Actors Guild). +

    [68] Copyright Law Revision—CATV, 216 (uttalelse fra Edwin M. Zimmerman, -fungerende assisterende justisministeren). -

    [69] +fungerende assisterende justisministeren). +

    [69] See, for example, National Music Publisher's Association, The Engine of Free Expression: Copyright on the Internet—The Myth of Free -Information, available at link #13. “The threat of +Information, available at link #13. «The threat of piracy—the use of someone else's creative work without permission or -compensation—has grown with the Internet.” -

    Kapittel 5. Kapittel fem: “Piratvirksomhet”

    +compensation—has grown with the Internet.» +

    Kapittel fem: «Piratvirksomhet»

    There is piracy of copyrighted material. Lots of it. This piracy comes in many forms. The most significant is commercial piracy, the unauthorized taking of other people's content within a commercial context. Despite the @@ -2630,19 +2633,19 @@ wrong. No one should condone it, and the law should stop it.

    But as well as copy-shop piracy, there is another kind of -“taking” that is more directly related to the Internet. That +«taking» that is more directly related to the Internet. That taking, too, seems wrong to many, and it is wrong much of the time. Before -we paint this taking “piracy,” however, we should understand +we paint this taking «piracy,» however, we should understand its nature a bit more. For the harm of this taking is significantly more ambiguous than outright copying, and the law should account for that ambiguity, as it has so often done in the past. -

    5.1. Piratvirksomhet I

    +

    5.1. Piratvirksomhet I

    All across the world, but especially in Asia and Eastern Europe, there are businesses that do nothing but take others people's copyrighted content, copy it, and sell it—all without the permission of a copyright owner. The recording industry estimates that it loses about $4.6 billion -every year to physical piracy[70] (that +every year to physical piracy[70] (that works out to one in three CDs sold worldwide). The MPAA estimates that it loses $3 billion annually worldwide to piracy.

    @@ -2677,23 +2680,23 @@ nation, but we will not allow any other nation to have a similar childhood. If a country is to be treated as a sovereign, however, then its laws are its laws regardless of their source. The international law under which these nations live gives them some opportunities to escape the burden of -intellectual property law.[71] In my view, +intellectual property law.[71] In my view, more developing nations should take advantage of that opportunity, but when they don't, then their laws should be respected. And under the laws of these nations, this piracy is wrong. -

    +

    Alternatively, we could try to excuse this piracy by noting that in any case, it does no harm to the industry. The Chinese who get access to American CDs at 50 cents a copy are not people who would have bought those American CDs at $15 a copy. So no one really has any less money than they -otherwise would have had.[72] +otherwise would have had.[72]

    This is often true (though I have friends who have purchased many thousands of pirated DVDs who certainly have enough money to pay for the content they have taken), and it does mitigate to some degree the harm caused by such -taking. Extremists in this debate love to say, “You wouldn't go into +taking. Extremists in this debate love to say, «You wouldn't go into Barnes & Noble and take a book off of the shelf without paying; why -should it be any different with on-line music?” The difference is, of +should it be any different with on-line music?» The difference is, of course, that when you take a book from Barnes & Noble, it has one less book to sell. By contrast, when you take an MP3 from a computer network, there is not one less CD that can be sold. The physics of piracy of the @@ -2707,17 +2710,17 @@ decide the terms under which content is shared. If the copyright owner doesn't want to sell, she doesn't have to. There are exceptions: important statutory licenses that apply to copyrighted content regardless of the wish of the copyright owner. Those licenses give people the right to -“take” copyrighted content whether or not the copyright owner +«take» copyrighted content whether or not the copyright owner wants to sell. But where the law does not give people the right to take content, it is wrong to take that content even if the wrong does no harm. If we have a property system, and that system is properly balanced to the technology of a time, then it is wrong to take property without the -permission of a property owner. That is exactly what “property” +permission of a property owner. That is exactly what «property» means. -

    +

    Finally, we could try to excuse this piracy with the argument that the piracy actually helps the copyright owner. When the Chinese -“steal” Windows, that makes the Chinese dependent on +«steal» Windows, that makes the Chinese dependent on Microsoft. Microsoft loses the value of the software that was taken. But it gains users who are used to life in the Microsoft world. Over time, as the nation grows more wealthy, more and more people will buy software rather @@ -2725,8 +2728,8 @@ than steal it. And hence over time, because that buying will benefit Microsoft, Microsoft benefits from the piracy. If instead of pirating Microsoft Windows, the Chinese used the free GNU/Linux operating system, then these Chinese users would not eventually be buying Microsoft. Without -piracy, then, Microsoft would lose. - +piracy, then, Microsoft would lose. +

    This argument, too, is somewhat true. The addiction strategy is a good one. Many businesses practice it. Some thrive because of it. Law students, @@ -2744,8 +2747,8 @@ give its product away, as it did, for example, with Internet Explorer to fight Netscape. A property right means giving the property owner the right to say who gets access to what—at least ordinarily. And if the law properly balances the rights of the copyright owner with the rights of -access, then violating the law is still wrong. - +access, then violating the law is still wrong. +

    @@ -2758,12 +2761,12 @@ to something that the law says he should not have. Nothing has changed to draw that law into doubt. This form of piracy is flat out wrong.

    But as the examples from the four chapters that introduced this part -suggest, even if some piracy is plainly wrong, not all “piracy” -is. Or at least, not all “piracy” is wrong if that term is +suggest, even if some piracy is plainly wrong, not all «piracy» +is. Or at least, not all «piracy» is wrong if that term is understood in the way it is increasingly used today. Many kinds of -“piracy” are useful and productive, to produce either new +«piracy» are useful and productive, to produce either new content or new ways of doing business. Neither our tradition nor any -tradition has ever banned all “piracy” in that sense of the +tradition has ever banned all «piracy» in that sense of the term.

    This doesn't mean that there are no questions raised by the latest piracy @@ -2780,21 +2783,21 @@ These differences distinguish p2p sharing from true piracy. They should push us to find a way to protect artists while enabling this sharing to survive.

    5.2. Piratvirksomhet II

    -The key to the “piracy” that the law aims to quash is a use -that “rob[s] the author of [his] profit.”[73] This means we must determine whether and how much +The key to the «piracy» that the law aims to quash is a use +that «rob[s] the author of [his] profit.»[73] This means we must determine whether and how much p2p sharing harms before we know how strongly the law should seek to either prevent it or find an alternative to assure the author of his profit.

    Peer-to-peer sharing was made famous by Napster. But the inventors of the Napster technology had not made any major technological innovations. Like every great advance in innovation on the Internet (and, arguably, off the -Internet as well[74]), Shawn Fanning and +Internet as well[74]), Shawn Fanning and crew had simply put together components that had been developed -independently. +independently.

    The result was spontaneous combustion. Launched in July 1999, Napster amassed over 10 million users within nine months. After eighteen months, -there were close to 80 million registered users of the system.[75] Courts quickly shut Napster down, but other +there were close to 80 million registered users of the system.[75] Courts quickly shut Napster down, but other services emerged to take its place. (Kazaa is currently the most popular p2p service. It boasts over 100 million members.) These services' systems are different architecturally, though not very different in function: Each @@ -2805,12 +2808,12 @@ or your 20,000 best friends. According to a number of estimates, a huge proportion of Americans have tasted file-sharing technology. A study by Ipsos-Insight in September 2002 estimated that 60 million Americans had downloaded music—28 percent of -Americans older than 12.[76] A survey by +Americans older than 12.[76] A survey by the NPD group quoted in The New York Times estimated that 43 million citizens used file-sharing networks to exchange content in -May 2003.[77] The vast majority of these +May 2003.[77] The vast majority of these are not kids. Whatever the actual figure, a massive quantity of content is -being “taken” on these networks. The ease and inexpensiveness +being «taken» on these networks. The ease and inexpensiveness of file-sharing networks have inspired millions to enjoy music in a way that they hadn't before.

    @@ -2833,7 +2836,7 @@ these users simply take it. We might quibble about whether everyone who takes it would actually have bought it if sharing didn't make it available for free. Most probably wouldn't have, but clearly there are some who would. The latter are the target of category A: users who download instead -of purchasing. +of purchasing.

  1. @@ -2853,7 +2856,7 @@ transaction costs off the Net are too high. This use of sharing networks is among the most rewarding for many. Songs that were part of your childhood but have long vanished from the marketplace magically appear again on the network. (One friend told me that when she discovered Napster, she spent a -solid weekend “recalling” old songs. She was astonished at the +solid weekend «recalling» old songs. She was astonished at the range and mix of content that was available.) For content not sold, this is still technically a violation of copyright, though because the copyright owner is not selling the content anymore, the economic harm is @@ -2871,7 +2874,7 @@ Hvordan balanserer disse ulike delingstypene?

    Let's start with some simple but important points. From the perspective of the law, only type D sharing is clearly legal. From the perspective of -economics, only type A sharing is clearly harmful.[78] Type B sharing is illegal but plainly +economics, only type A sharing is clearly harmful.[78] Type B sharing is illegal but plainly beneficial. Type C sharing is illegal, yet good for society (since more exposure to music is good) and harmless to the artist (since the work is not otherwise available). So how sharing matters on balance is a hard @@ -2882,15 +2885,15 @@ Whether on balance sharing is harmful depends importantly on how harmful type A sharing is. Just as Edison complained about Hollywood, composers complained about piano rolls, recording artists complained about radio, and broadcasters complained about cable TV, the music industry complains that -type A sharing is a kind of “theft” that is -“devastating” the industry. +type A sharing is a kind of «theft» that is +«devastating» the industry.

    While the numbers do suggest that sharing is harmful, how harmful is harder to reckon. It has long been the recording industry's practice to blame technology for any drop in sales. The history of cassette recording is a good example. As a study by Cap Gemini Ernst & Young put it, -“Rather than exploiting this new, popular technology, the labels -fought it.”[79] The labels claimed +«Rather than exploiting this new, popular technology, the labels +fought it.»[79] The labels claimed that every album taped was an album unsold, and when record sales fell by 11.4 percent in 1981, the industry claimed that its point was proved. Technology was the problem, and banning or regulating technology was @@ -2898,10 +2901,10 @@ the answer.

    Yet soon thereafter, and before Congress was given an opportunity to enact regulation, MTV was launched, and the industry had a record -turnaround. “In the end,” Cap Gemini concludes, “the +turnaround. «In the end,» Cap Gemini concludes, «the `crisis' … was not the fault of the tapers—who did not [stop after MTV came into being]—but had to a large extent resulted from -stagnation in musical innovation at the major labels.”[80] +stagnation in musical innovation at the major labels.»[80]

    But just because the industry was wrong before does not mean it is wrong today. To evaluate the real threat that p2p sharing presents to the industry @@ -2914,7 +2917,7 @@ other types of sharing are.

    We start to answer this question by focusing on the net harm, from the standpoint of the industry as a whole, that sharing networks cause. The -“net harm” to the industry as a whole is the amount by which +«net harm» to the industry as a whole is the amount by which type A sharing exceeds type B. If the record companies sold more records through sampling than they lost through substitution, then sharing networks would actually benefit music companies on balance. They would therefore have @@ -2926,17 +2929,17 @@ sharing? Odd as that might sound, the data about CD sales actually suggest it might be close.

    In 2002, the RIAA reported that CD sales had fallen by 8.9 percent, from 882 -million to 803 million units; revenues fell 6.7 percent.[81] This confirms a trend over the past few years. The +million to 803 million units; revenues fell 6.7 percent.[81] This confirms a trend over the past few years. The RIAA blames Internet piracy for the trend, though there are many other causes that could account for this drop. SoundScan, for example, reports a more than 20 percent drop in the number of CDs released since 1999. That no doubt accounts for some of the decrease in sales. Rising prices could -account for at least some of the loss. “From 1999 to 2001, the average -price of a CD rose 7.2 percent, from $13.04 to $14.19.”[82] Competition from other forms of media could also +account for at least some of the loss. «From 1999 to 2001, the average +price of a CD rose 7.2 percent, from $13.04 to $14.19.»[82] Competition from other forms of media could also account for some of the decline. As Jane Black of -BusinessWeek notes, “The soundtrack to the film +BusinessWeek notes, «The soundtrack to the film High Fidelity has a list price of $18.98. You could -get the whole movie [on DVD] for $19.99.”[83] +get the whole movie [on DVD] for $19.99.»[83]

    @@ -2950,17 +2953,17 @@ percent.

    There are too many different things happening at the same time to explain these numbers definitively, but one conclusion is unavoidable: The recording -industry constantly asks, “What's the difference between downloading a -song and stealing a CD?”—but their own numbers reveal the +industry constantly asks, «What's the difference between downloading a +song and stealing a CD?»—but their own numbers reveal the difference. If I steal a CD, then there is one less CD to sell. Every taking is a lost sale. But on the basis of the numbers the RIAA provides, it is absolutely clear that the same is not true of downloads. If every download -were a lost sale—if every use of Kazaa “rob[bed] the author of -[his] profit”—then the industry would have suffered a 100 +were a lost sale—if every use of Kazaa «rob[bed] the author of +[his] profit»—then the industry would have suffered a 100 percent drop in sales last year, not a 7 percent drop. If 2.6 times the number of CDs sold were downloaded for free, and yet sales revenue dropped by just 6.7 percent, then there is a huge difference between -“downloading a song and stealing a CD.” +«downloading a song and stealing a CD.»

    These are the harms—alleged and perhaps exaggerated but, let's assume, real. What of the benefits? File sharing may impose costs on the recording @@ -2969,7 +2972,7 @@ industry. What value does it produce in addition to these costs? One benefit is type C sharing—making available content that is technically still under copyright but is no longer commercially available. This is not a small category of content. There are millions of tracks that -are no longer commercially available.[84] +are no longer commercially available.[84] And while it's conceivable that some of this content is not available because the artist producing the content doesn't want it to be made available, the vast majority of it is unavailable solely because the @@ -2978,20 +2981,20 @@ publisher or the distributor has decided it no longer makes economic sense

    In real space—long before the Internet—the market had a simple response to this problem: used book and record stores. There are thousands -of used book and used record stores in America today.[85] These stores buy content from owners, then sell the +of used book and used record stores in America today.[85] These stores buy content from owners, then sell the content they buy. And under American copyright law, when they buy and sell this content, even if the content is still under copyright, the copyright owner doesn't get a dime. Used book and record stores are commercial entities; their owners make money from the content they sell; but as with cable companies before statutory licensing, they don't have to pay the copyright owner for the content they sell. -

    +

    Type C sharing, then, is very much like used book stores or used record stores. It is different, of course, because the person making the content available isn't making money from making the content available. It is also different, of course, because in real space, when I sell a record, I don't have it anymore, while in cyberspace, when someone shares my 1949 recording -of Bernstein's “Two Love Songs,” I still have it. That +of Bernstein's «Two Love Songs,» I still have it. That difference would matter economically if the owner of the copyright were selling the record in competition to my sharing. But we're talking about the class of content that is not currently commercially available. The Internet @@ -3013,7 +3016,7 @@ clearly benefits authors and society. Science fiction author Cory Doctorow, for example, released his first novel, Down and Out in the Magic Kingdom, both free on-line and in bookstores on the same day. His (and his publisher's) thinking was that the on-line distribution -would be a great advertisement for the “real” book. People +would be a great advertisement for the «real» book. People would read part on-line, and then decide whether they liked the book or not. If they liked it, they would be more likely to buy it. Doctorow's content is type D content. If sharing networks enable his work to be spread, @@ -3026,14 +3029,14 @@ sharing destroy the opportunity for type D sharing, then we lose something important in order to protect type A content.

    The point throughout is this: While the recording industry understandably -says, “This is how much we've lost,” we must also ask, -“How much has society gained from p2p sharing? What are the +says, «This is how much we've lost,» we must also ask, +«How much has society gained from p2p sharing? What are the efficiencies? What is the content that otherwise would be -unavailable?” +unavailable?»

    For unlike the piracy I described in the first section of this chapter, much -of the “piracy” that file sharing enables is plainly legal and -good. And like the piracy I described in chapter 4, much of this piracy is motivated by a new +of the «piracy» that file sharing enables is plainly legal and +good. And like the piracy I described in chapter 4, much of this piracy is motivated by a new way of spreading content caused by changes in the technology of distribution. Thus, consistent with the tradition that gave us Hollywood, radio, the recording industry, and cable TV, the question we should be @@ -3042,8 +3045,8 @@ minimizing (to the extent possible) the wrongful harm it causes artists. The question is one of balance. The law should seek that balance, and that balance will be found only with time.

    -“Men er ikke krigen bare en krig mot ulovlig deling? Er ikke -angrepsmålet bare det du kaller type-A-deling?” +«Men er ikke krigen bare en krig mot ulovlig deling? Er ikke +angrepsmålet bare det du kaller type-A-deling?»

    You would think. And we should hope. But so far, it is not. The effect of the war purportedly on type A sharing alone has been felt far beyond that @@ -3051,8 +3054,8 @@ one class of sharing. That much is obvious from the Napster case itself. When Napster told the district court that it had developed a technology to block the transfer of 99.4 percent of identified infringing material, the district court told counsel for Napster 99.4 percent was not -good enough. Napster had to push the infringements “down to -zero.”[86] +good enough. Napster had to push the infringements «down to +zero.»[86]

    If 99.4 percent is not good enough, then this is a war on file-sharing technologies, not a war on copyright infringement. There is no way to assure @@ -3071,14 +3074,14 @@ law adjusted, after some time, to the new technology. In this adjustment, the law sought to ensure the legitimate rights of creators while protecting innovation. Sometimes this has meant more rights for creators. Sometimes less. -

    -So, as we've seen, when “mechanical reproduction” threatened +

    +So, as we've seen, when «mechanical reproduction» threatened the interests of composers, Congress balanced the rights of composers against the interests of the recording industry. It granted rights to composers, but also to the recording artists: Composers were to be paid, but at a price set by Congress. But when radio started broadcasting the recordings made by these recording artists, and they complained to Congress -that their “creative property” was not being respected (since +that their «creative property» was not being respected (since the radio station did not have to pay them for the creativity it broadcast), Congress rejected their claim. An indirect benefit was enough.

    @@ -3104,14 +3107,14 @@ broadcasters' content for free, then it would have unfairly subsidized cable. Thus Congress chose a path that would assure compensation without giving the past (broadcasters) control over the future (cable). -

    +

    In the same year that Congress struck this balance, two major producers and distributors of film content filed a lawsuit against another technology, the video tape recorder (VTR, or as we refer to them today, VCRs) that Sony had produced, the Betamax. Disney's and Universal's claim against Sony was relatively simple: Sony produced a device, Disney and Universal claimed, that enabled consumers to engage in copyright infringement. Because the -device that Sony built had a “record” button, the device could +device that Sony built had a «record» button, the device could be used to record copyrighted movies and shows. Sony was therefore benefiting from the copyright infringement of its customers. It should therefore, Disney and Universal claimed, be partially liable for that @@ -3122,7 +3125,7 @@ There was something to Disney's and Universal's claim. Sony did decide to design its machine to make it very simple to record television shows. It could have built the machine to block or inhibit any direct copying from a television broadcast. Or possibly, it could have built the machine to copy -only if there were a special “copy me” signal on the line. It +only if there were a special «copy me» signal on the line. It was clear that there were many television shows that did not grant anyone permission to copy. Indeed, if anyone had asked, no doubt the majority of shows would not have authorized copying. And in the face of this obvious @@ -3131,34 +3134,34 @@ for copyright infringement. It did not, and for that, Disney and Universal wanted to hold it responsible for the architecture it chose.

    MPAA president Jack Valenti became the studios' most vocal champion. Valenti -called VCRs “tapeworms.” He warned, “When there are 20, +called VCRs «tapeworms.» He warned, «When there are 20, 30, 40 million of these VCRs in the land, we will be invaded by millions of `tapeworms,' eating away at the very heart and essence of the most precious -asset the copyright owner has, his copyright.”[87] “One does not have to be trained in -sophisticated marketing and creative judgment,” he told Congress, -“to understand the devastation on the after-theater marketplace caused +asset the copyright owner has, his copyright.»[87] «One does not have to be trained in +sophisticated marketing and creative judgment,» he told Congress, +«to understand the devastation on the after-theater marketplace caused by the hundreds of millions of tapings that will adversely impact on the future of the creative community in this country. It is simply a question of -basic economics and plain common sense.”[88] Indeed, as surveys would later show, percent of VCR owners had -movie libraries of ten videos or more[89] -— a use the Court would later hold was not “fair.” By -“allowing VCR owners to copy freely by the means of an exemption from +basic economics and plain common sense.»[88] Indeed, as surveys would later show, percent of VCR owners had +movie libraries of ten videos or more[89] +— a use the Court would later hold was not «fair.» By +«allowing VCR owners to copy freely by the means of an exemption from copyright infringementwithout creating a mechanism to compensate -copyrightowners,” Valenti testified, Congress would “take from +copyrightowners,» Valenti testified, Congress would «take from the owners the very essence of their property: the exclusive right to control who may use their work, that is, who may copy it and thereby profit -from its reproduction.”[90] +from its reproduction.»[90]

    It took eight years for this case to be resolved by the Supreme Court. In the interim, the Ninth Circuit Court of Appeals, which includes Hollywood in its jurisdiction—leading Judge Alex Kozinski, who sits on that court, -refers to it as the “Hollywood Circuit”—held that Sony +refers to it as the «Hollywood Circuit»—held that Sony would be liable for the copyright infringement made possible by its machines. Under the Ninth Circuit's rule, this totally familiar -technology—which Jack Valenti had called “the Boston Strangler -of the American film industry” (worse yet, it was a +technology—which Jack Valenti had called «the Boston Strangler +of the American film industry» (worse yet, it was a Japanese Boston Strangler of the American film -industry)—was an illegal technology.[91] +industry)—was an illegal technology.[91]

    But the Supreme Court reversed the decision of the Ninth Circuit. And in @@ -3170,27 +3173,27 @@ Congress when major technological innovations alter the market for copyrighted materials. Congress has the constitutional authority and the institutional ability to accommodate fully the varied permutations of competing interests that are inevitably implicated by such new -technology.[92] +technology.[92]

    2. Congress was asked to respond to the Supreme Court's decision. But as with the plea of recording artists about radio broadcasts, Congress ignored the request. Congress was convinced that American film got enough, this -“taking” notwithstanding. If we put these cases together, a +«taking» notwithstanding. If we put these cases together, a pattern is clear: -

    TilfelleHvems verdi ble “røvet”Responsen til domstoleneResponsen til Kongressen
    InnspillingerKomponisterIngen beskyttelseStatutory license
    RadioInnspillingsartisterN/AIngenting
    Kabel-TVKringkastereIngen beskyttelseStatutory license
    VCRFilmskapereIngen beskyttelseIngenting

    +

    TilfelleHvems verdi ble «røvet»Responsen til domstoleneResponsen til Kongressen
    InnspillingerKomponisterIngen beskyttelseStatutory license
    RadioInnspillingsartisterN/AIngenting
    Kabel-TVKringkastereIngen beskyttelseStatutory license
    VCRFilmskapereIngen beskyttelseIngenting

    In each case throughout our history, a new technology changed the way -content was distributed.[93] In each case, -throughout our history, that change meant that someone got a “free -ride” on someone else's work. +content was distributed.[93] In each case, +throughout our history, that change meant that someone got a «free +ride» on someone else's work.

    In none of these cases did either the courts or Congress eliminate all free riding. In none of these cases did the courts or Congress insist that the law should assure that the copyright holder get all the value that his copyright created. In every -case, the copyright owners complained of “piracy.” In every +case, the copyright owners complained of «piracy.» In every case, Congress acted to recognize some of the legitimacy in the behavior of -the “pirates.” In each case, Congress allowed some new +the «pirates.» In each case, Congress allowed some new technology to benefit from content made before. It balanced the interests at stake. @@ -3206,8 +3209,8 @@ every cover band have to hire a lawyer to get permission to record a song?

    We could answer yes to each of these questions, but our tradition has answered no. In our tradition, as the Supreme Court has stated, copyright -“has never accorded the copyright owner complete control over all -possible uses of his work.”[94] +«has never accorded the copyright owner complete control over all +possible uses of his work.»[94] Instead, the particular uses that the law regulates have been defined by balancing the good that comes from granting an exclusive right against the burdens such an exclusive right creates. And this balancing has historically @@ -3217,7 +3220,7 @@ into the mix of technologies that facilitate the distribution of content. We should be doing the same thing today. The technology of the Internet is changing quickly. The way people connect to the Internet (wires vs. wireless) is changing very quickly. No doubt the network should not -become a tool for “stealing” from artists. But neither should +become a tool for «stealing» from artists. But neither should the law become a tool to entrench one particular way in which artists (or more accurately, distributors) get paid. As I describe in some detail in the last chapter of this book, we should be securing income to artists while we @@ -3232,31 +3235,31 @@ This is especially true when a new technology enables a vastly superior mode of distribution. And this p2p has done. P2p technologies can be ideally efficient in moving content across a widely diverse network. Left to develop, they could make the network vastly more efficient. Yet these -“potential public benefits,” as John Schwartz writes in -The New York Times, “could be delayed in the -P2P fight.”[95] Yet when anyone -begins to talk about “balance,” the copyright warriors raise a -different argument. “All this hand waving about balance and -incentives,” they say, “misses a fundamental point. Our -content,” the warriors insist, “is our +«potential public benefits,» as John Schwartz writes in +The New York Times, «could be delayed in the +P2P fight.»[95] Yet when anyone +begins to talk about «balance,» the copyright warriors raise a +different argument. «All this hand waving about balance and +incentives,» they say, «misses a fundamental point. Our +content,» the warriors insist, «is our property. Why should we wait for Congress to `rebalance' our property rights? Do you have to wait before calling the police when your car has been stolen? And why should Congress deliberate at all about the merits of this theft? Do we ask whether the car thief had a -good use for the car before we arrest him?” +good use for the car before we arrest him?»

    -“Det er vår eiendom,” insisterer -krigerne. “og den bør være beskyttet på samme måte som all annen -eiendom er beskyttet.” -


    [70] +«Det er vår eiendom,» insisterer +krigerne. «og den bør være beskyttet på samme måte som all annen +eiendom er beskyttet.» +


    [70] See IFPI (International Federation of the Phonographic Industry), The Recording Industry Commercial Piracy Report 2003, July 2003, available at link -#14. See also Ben Hunt, “Companies Warned on Music Piracy -Risk,” Financial Times, 14 February 2003, 11. -

    [71] +#14. See also Ben Hunt, «Companies Warned on Music Piracy +Risk,» Financial Times, 14 February 2003, 11. +

    [71] See Peter Drahos with John Braithwaite, Information Feudalism: Who Owns the Knowledge Economy? (New York: The New @@ -3271,22 +3274,22 @@ permit governments to use patents for public, noncommercial uses without first obtaining the patent holder's permission. Developing nations may be able to use this to gain the benefits of foreign patents at lower prices. This is a promising strategy for developing nations within the TRIPS -framework. -

    [72] +framework. +

    [72] For an analysis of the economic impact of copying technology, see Stan Liebowitz, Rethinking the Network Economy (New York: -Amacom, 2002), 144–90. “In some instances … the impact of +Amacom, 2002), 144–90. «In some instances … the impact of piracy on the copyright holder's ability to appropriate the value of the work will be negligible. One obvious instance is the case where the individual engaging in pirating would not have purchased an original even if -pirating were not an option.” Ibid., 149. -

    [73] +pirating were not an option.» Ibid., 149. +

    [73] Bach v. Longman, 98 Eng. Rep. 1274 (1777). -

    [74] +

    [74] See Clayton M. Christensen, The Innovator's Dilemma: The Revolutionary National Bestseller That Changed the Way We Do @@ -3296,20 +3299,20 @@ frequently unable to come up with the most creative, paradigm-shifting uses for their own products. This job usually falls to outside innovators, who reassemble existing technology in inventive ways. For a discussion of Christensen's ideas, see Lawrence Lessig, Future, -89–92, 139. -

    [75] - - -See Carolyn Lochhead, “Silicon Valley Dream, Hollywood -Nightmare,” San Francisco Chronicle, 24 -September 2002, A1; “Rock 'n' Roll Suicide,” New -Scientist, 6 July 2002, 42; Benny Evangelista, “Napster -Names CEO, Secures New Financing,” San Francisco -Chronicle, 23 May 2003, C1; “Napster's Wake-Up -Call,” Economist, 24 June 2000, 23; John -Naughton, “Hollywood at War with the Internet” (London) +89–92, 139. +

    [75] + + +See Carolyn Lochhead, «Silicon Valley Dream, Hollywood +Nightmare,» San Francisco Chronicle, 24 +September 2002, A1; «Rock 'n' Roll Suicide,» New +Scientist, 6 July 2002, 42; Benny Evangelista, «Napster +Names CEO, Secures New Financing,» San Francisco +Chronicle, 23 May 2003, C1; «Napster's Wake-Up +Call,» Economist, 24 June 2000, 23; John +Naughton, «Hollywood at War with the Internet» (London) Times, 26 July 2002, 18. -

    [76] +

    [76] @@ -3318,34 +3321,34 @@ Distribution (September 2002), reporting that 28 percent of Americans aged twelve and older have downloaded music off of the Internet and 30 percent have listened to digital music files stored on their computers. -

    [77] +

    [77] -Amy Harmon, “Industry Offers a Carrot in Online Music Fight,” +Amy Harmon, «Industry Offers a Carrot in Online Music Fight,» New York Times, 6 June 2003, A1. -

    [78] +

    [78] Se Liebowitz, Rethinking the Network Economy, -148–49. -

    [79] +148–49. +

    [79] See Cap Gemini Ernst & Young, Technology Evolution and the Music Industry's Business Model Crisis (2003), 3. This report describes the music industry's effort to stigmatize the budding practice of cassette taping in the 1970s, including an advertising campaign featuring a -cassette-shape skull and the caption “Home taping is killing -music.” At the time digital audio tape became a threat, the Office of +cassette-shape skull and the caption «Home taping is killing +music.» At the time digital audio tape became a threat, the Office of Technical Assessment conducted a survey of consumer behavior. In 1988, 40 percent of consumers older than ten had taped music to a cassette format. U.S. Congress, Office of Technology Assessment, Copyright and Home Copying: Technology Challenges the Law, OTA-CIT-422 (Washington, D.C.: U.S. Government Printing -Office, October 1989), 145–56.

    [80] +Office, October 1989), 145–56.

    [80] U.S. Congress, Copyright and Home Copying, 4. -

    [81] +

    [81] See Recording Industry Association of America, 2002 Yearend @@ -3353,21 +3356,21 @@ Statistics, available at Some Facts About Music Piracy, 25 June 2003, available at link #16: -“In the past four years, unit shipments of recorded music have fallen +«In the past four years, unit shipments of recorded music have fallen by 26 percent from 1.16 billion units in to 860 million units in 2002 in the United States (based on units shipped). In terms of sales, revenues are down 14 percent, from $14.6 billion in to $12.6 billion last year (based on U.S. dollar value of shipments). The music industry worldwide has gone from a $39 billion industry in 2000 down to a $32 billion industry in 2002 (based -on U.S. dollar value of shipments).” -

    [82] -Jane Black, “Big Music's Broken Record”, BusinessWeek online, -13. februar 2003, tilgjengelig fra link #17. -

    [83] +on U.S. dollar value of shipments).» +

    [82] +Jane Black, «Big Music's Broken Record», BusinessWeek online, +13. februar 2003, tilgjengelig fra link #17. +

    [83] ibid. -

    [84] +

    [84] By one estimate, 75 percent of the music released by the major labels is no @@ -3375,7 +3378,7 @@ longer in print. See Online Entertainment and Copyright Law—Coming Soon to a Digital Device Near You: Hearing Before the Senate Committee on the Judiciary, 107th Cong., 1st sess. (3 April 2001) (prepared statement of the Future of Music Coalition), available at link #18. -

    [85] +

    [85] While there are not good estimates of the number of used record stores in @@ -3384,9 +3387,9 @@ an increase of 20 percent since 1993. See Book Hunter Press, link #19. Used records accounted for $260 million in sales in 2002. See -National Association of Recording Merchandisers, “2002 Annual Survey -Results,” available at link #20. -

    [86] +National Association of Recording Merchandisers, «2002 Annual Survey +Results,» available at link #20. +

    [86] See Transcript of Proceedings, In Re: Napster Copyright Litigation at 34- 35 @@ -3395,38 +3398,38 @@ See Transcript of Proceedings, In Re: Napster Copyright Litigation at 34- 35 of the litigation and its toll on Napster, see Joseph Menn, All the Rave: The Rise and Fall of Shawn Fanning's Napster (New York: Crown Business, 2003), 269–82. -

    [87] +

    [87] Copyright Infringements (Audio and Video Recorders): Hearing on S. 1758 Before the Senate Committee on the Judiciary, 97th Cong., 1st and 2nd sess., 459 (1982) (testimony of Jack Valenti, president, Motion Picture Association of America, Inc.). -

    [88] +

    [88] Copyright Infringements (Audio and Video Recorders), 475. -

    [89] +

    [89] Universal City Studios, Inc. v. Sony Corp. of America, 480 F. Supp. 429, (C.D. Cal., 1979). -

    [90] +

    [90] Copyright Infringements (Audio and Video Recorders), 485 (testimony of Jack Valenti). -

    [91] +

    [91] Universal City Studios, Inc. mot Sony Corp. of America, 659 F. 2d 963 (9th Cir. 1981). -

    [92] +

    [92] Sony Corp. of America mot Universal City Studios, Inc., 464 U.S. 417, 431 (1984). -

    [93] +

    [93] These are the most important instances in our history, but there are other cases as well. The technology of digital audio tape (DAT), for example, was @@ -3436,21 +3439,21 @@ technology of DAT. See Audio Home Recording Act of 1992 (Title 17 of the United States Code), Pub. L. No. 102-563, 106 Stat. 4237, codified at 17 U.S.C. §1001. Again, however, this regulation did not eliminate the opportunity for free riding in the sense I've described. See -Lessig, Future, 71. See also Picker, “From -Edison to the Broadcast Flag,” University of Chicago Law -Review 70 (2003): 293–96. -

    [94] +Lessig, Future, 71. See also Picker, «From +Edison to the Broadcast Flag,» University of Chicago Law +Review 70 (2003): 293–96. +

    [94] Sony Corp. of America v. Universal City Studios, Inc., 464 U.S. 417, (1984). -

    [95] +

    [95] -John Schwartz, “New Economy: The Attack on Peer-to-Peer Software -Echoes Past Efforts,” New York Times, 22 +John Schwartz, «New Economy: The Attack on Peer-to-Peer Software +Echoes Past Efforts,» New York Times, 22 September 2003, C3. -

    Del II. “Eiendom”

    +

    Del II. «Eiendom»

    @@ -3461,7 +3464,7 @@ bestemmer tilbud og ettersp kan få.

    Men i vanlig språk er det å kalle opphavsrett for en -“eiendoms”-rett litt misvisende, for eindommen i opphavsretten +«eiendoms»-rett litt misvisende, for eindommen i opphavsretten er en merkelig type eiendom. Selve ideen om eienrettigheter til en ide eller et uttrykk er nemlig veldig merkelig. Jeg forstår hva jeg tar når jeg tar en piknik-bord som du plasserte i din bakhage. Jeg tar en ting, @@ -3477,9 +3480,9 @@ rekke med unntak—er ideer sluppet ut i verden frie. Jeg tar ingenting fra deg når jeg kopierer måten du kler deg—selv om det ville se sært ut hvis jeg gjorde det hver dag, og spesielt sært hvis du er en kvinne. Istedet, som Thomas Jefferson sa (og det er spesielt sant når jeg kopierer -hvordan noen andre kler seg), “Den som mottar en idé fra meg, får selv +hvordan noen andre kler seg), «Den som mottar en idé fra meg, får selv information uten å ta noe fra me, på samme måte som den som tenner sitt lys -från min veike får lys utan å forlate meg i mørket”.[96] +från min veike får lys utan å forlate meg i mørket».[96]

    Unntakene til fri bruk er ideer og uttrykk innenfor dekningsområdet til loven om patent og opphavsrett, og noen få andre områder som jeg ikke vil @@ -3489,23 +3492,23 @@ min tilatelse: Loven gj Men hvordan, og i hvilken utstrekning, og i hvilken form—detaljene, med andre ord—betyr noe. For å få en god forståelse om hvordan denne praksis om å gjøre det immaterielle om til eiendom vokste frem, trenger vi å -plassere denne “eiendom” i sin rette sammenheng.[97] +plassere denne «eiendom» i sin rette sammenheng.[97]

    Min strategi for å gjøre detet er den samme som min strategi i den foregående del. Jeg tilbyr fire historier som bidrar til å plassere -“opphavsrettsmateriale er eiendom” i sammenheng. Hvor kom +«opphavsrettsmateriale er eiendom» i sammenheng. Hvor kom ideen fra? Hva er dens begresninger? Hvordan fungerer dette i praksis. Etter disse historiene vil betydningen til dette sanne -utsagnet—“opphavsrettsmateriale er eiendom”— bli +utsagnet—«opphavsrettsmateriale er eiendom»— bli litt mer klart, og dets implikasjoner vil bli avslørt som ganske forskjellig fra implikasjonene som opphavsrettskrigerne vil at vi skal forstå. -


    [96] +


    [96] Brev fra Thomas Jefferson til Isaac McPherson (13. august 1813) i The Writings of Thomas Jefferson, vol. 6 (Andrew A. Lipscomb and Albert Ellery Bergh, eds., 1903), 330, 333–34. -

    [97] +

    [97] Slik de juridiske realistene lærte bort amerikansk lov, var alle @@ -3513,27 +3516,27 @@ eiendomsretter immaterielle. En eiendomsrett er ganske enkelt den retten som et idivid har mot verden til å gjøre eller ikke gjøre visse ting som er eller ikke er knyttet til et fysisk objekt. Retten i seg selv er immateriell, selv om objektet som det er (metafysisk) knyttet til er -materielt. Se Adam Mossoff, “What Is Property? Putting the Pieces -Back Together,” Arizona Law Review 45 (2003): +materielt. Se Adam Mossoff, «What Is Property? Putting the Pieces +Back Together,» Arizona Law Review 45 (2003): 373, 429 n. 241. -

    Kapittel 6. Kapittel seks: Grunnleggerne

    +

    Kapittel seks: Grunnleggerne

    William Shakespeare skrev Romeo og Julie i 1595. Skuespillet ble først utgitt i 1597. Det var det ellevte store skuespillet Shakespeare hadde skrevet. Han fortsatte å skrive skuespill helt til 1613, og stykkene han skrevhar fortsatt å definere angloamerikansk kultur siden. Så dypt har verkene av en 1500-talls forfatter sunket inn i vår kultur at vi ofte ikke engang kjenner kilden. Jeg overhørte en gang noen -som kommentere Kenneth Branaghs utgave av Henry V: “Jeg likte det, men -Shakespeare er så full av klisjeer.” +som kommentere Kenneth Branaghs utgave av Henry V: «Jeg likte det, men +Shakespeare er så full av klisjeer.»

    I 1774, nesten 180 år etter at Romeo og Julie ble -skrevet, mente mange at “opphavsretten” kun tilhørte én eneste -utgiver i London, John Tonson. [98] Tonson -var den mest fremstående av en liten gruppe utgivere kalt “the -Conger”[99], som kontrollerte +skrevet, mente mange at «opphavsretten» kun tilhørte én eneste +utgiver i London, John Tonson. [98] Tonson +var den mest fremstående av en liten gruppe utgivere kalt «the +Conger»[99], som kontrollerte boksalget i England gjennom hele 1700-tallet. The Conger hevdet at de hadde -en evigvarende rett over “kopier” av bøker de hadde fått av +en evigvarende rett over «kopier» av bøker de hadde fått av forfatterne. Denne evigvarende retten innebar at ingen andre kunne publisere kopier av disse bøkene. Slik ble prisen på klassiske bøker holdt oppe; alle konkurrenter som lagde bedre eller billigere utgaver, ble fjernet. @@ -3541,44 +3544,44 @@ konkurrenter som lagde bedre eller billigere utgaver, ble fjernet. Men altså, det er noe spennende med året 1774 for alle som vet litt om opphavsretts-lovgivning. Det mest kjente året for opphavsrett er 1710, da det britiske parlamentet vedtok den første loven. Denne loven er kjent som -“Statute of Anne” og sa at alle publiserte verk skulle være +«Statute of Anne» 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 tillegsår.[100] På +en ekstraperiode på 22 tillegsår.[100] På grunn av denne loven, så skulle Rome og Julie ha falt i det fri i 1731. Hvordan kunne da Tonson fortsatt ha kontroll over verket i 1774?

    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 “Statute of Anne”, var det ingen annen +engelskmennene vedtok «Statute of Anne», var det ingen annen lovgivning om opphavsrett. Den siste loven som regulerte utgivere var lisensieringsloven av 1662, utløpt i 1695. At loven ga utgiverne monopol over publiseringen, noe som gjorde det enklere for kronen å kontrollere hva ble publisert. Men etter at det har utløpt, var det ingen positiv lov som sa -at utgiverne hadde en eksklusiv rett til å trykke bøker. +at utgiverne hadde en eksklusiv rett til å trykke bøker.

    At det ikke fantes noen positiv lov, betydde ikke at det ikke fantes noen lov. Den anglo-amerikanske juridiske tradisjon ser både til lover skapt av politikere (det lovgivende statsorgen)og til lover (prejudikater) skapt av domstolene for å bestemme hvordan folket skal leve. Vi kaller politikernes lover for positiv lov og vi kaller lovene fra -dommerne sedvanerett.“Common law” angir bakgrunnen for de +dommerne sedvanerett.«Common law» angir bakgrunnen for de lovgivendes lovgivning; retten til lovgiving, vanligvis kan trumfe at bakgrunnen bare hvis det går gjennom en lov til å forskyve den. Og så var det virkelige spørsmålet etter lisensiering lover hadde utløpt om felles lov beskyttet opphavsretten, uavhengig av lovverket positiv.

    -Dette spørsmålet var viktig for utgiverne eller “bokselgere”, +Dette spørsmålet var viktig for utgiverne eller «bokselgere», som de ble kalt, fordi det var økende konkurranse fra utenlandske utgivere, Særlig fra Skottland hvor publiseringen og eksporten av bøker til England -hadde økt veldig. Denne konkurransen reduserte fortjenesten til “The -Conger”, som derfor krevde at parlamentet igjen skulle vedta en lov +hadde økt veldig. Denne konkurransen reduserte fortjenesten til «The +Conger», som derfor krevde at parlamentet igjen skulle vedta en lov for å gi dem eksklusiv kontroll over publisering. Dette kravet resulterte i -“Statute of Anne”. +«Statute of Anne».

    -“Statute of Anne” ga forfatteren eller “eieren” av +«Statute of Anne» ga forfatteren eller «eieren» av en bok en eksklusiv rett til å publisere denne boken. Men det var, til bokhandernes forferdelse en viktig begrensning, nemlig hvor lenge denne retten skulle vare. Etter dette gikk trykkeretten bort og verket falt i det @@ -3597,62 +3600,62 @@ kontroversiell p han verket, han gjorde det ikke noe vanskeligere for andre til å lage skuespill. Så hvorfor skulle loven tillate at noen annen kunne komme og ta Shakespeares verkuten hans, eller hans arvingers, tillatelse? Hvilke grunner -finnes for å tillate at noen “stjeler” Shakespeares verk? +finnes for å tillate at noen «stjeler» Shakespeares verk?

    Svaret er todel. Først må vi se på noe spesielt med oppfatningen av -opphavsrett som fantes på tidspunktet da “Statute of Anne” ble +opphavsrett som fantes på tidspunktet da «Statute of Anne» ble vedtatt. Deretter må vi se på noe spesielt med bokhandlerne.

    Først om opphavsretten. I de siste tre hundre år har vi kommet til å bruke -begrepet “copyright” i stadig videre forstand. Men i 1710 var +begrepet «copyright» i stadig videre forstand. Men i 1710 var det ikke så mye et konsept som det var en bestemt rett. Opphavsretten ble født som et svært spesifikt sett med begrensninger: den forbød andre å -reprodusere en bok. I 1710 var “kopi-rett” en rett til å bruke +reprodusere en bok. I 1710 var «kopi-rett» en rett til å bruke en bestemt maskin til å replikere en bestemt arbeid. Den gikk ikke utover dette svært smale formålet. Den kontrollerte ikke mer generelt hvordan et verk kunne brukes. Idag inkluderer retten en stor samling av restriksjoner på andres frihet: den gir forfatteren eksklusiv rett til å kopiere, eksklusiv rett til å distribuere, eksklusiv rett til å fremføre, og så videre. -

    +

    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 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. “Kopi-retten” var bare en eksklusiv rett +lov til å lage filmer. «Kopi-retten» var bare en eksklusiv rett til å trykke--ikke noe mindre, selvfølgelig, men heller ikke mer. -

    +

    Selv dnne begrensede retten ble møtt med skepsis av britene. De hadde hatt -en lang og stygg erfaring med “eksklusive rettigheter”, -spesielt “enerett” gitt av kronen. Engelskmennene hadde +en lang og stygg erfaring med «eksklusive rettigheter», +spesielt «enerett» gitt av kronen. Engelskmennene hadde utkjempet en borgerkrig delvis mot kronens praksis med å dele ut monopoler--spesielt monopoler for verk som allerede eksisterte. Kong Henrik VIII hadde gitt patent til å trykke Bibelen og monopol til Darcy for å lage spillkort. Det engelske parlamentet begynte å kjempe tilbake mot denne -makten hos kronen. I 1656 ble “Statute of Monopolis” vedtatt +makten hos kronen. I 1656 ble «Statute of Monopolis» vedtatt for å begrense monopolene på patenter for nye oppfinnelser. Og i 1710 var parlamentet ivrig etter å håndtere det voksende monopolet på publisering.

    -Dermed ble “kopi-retten”, når den sees på som en monopolrett, +Dermed ble «kopi-retten», når den sees på som en monopolrett, en rettighet som bør være begrenset. (Uansett hvor overbevisende påstanden -om at “det er min eiendom, og jeg skal ha for alltid,” prøv -hvor overbevisende det er når men sier “det er mitt monopol, og jeg -skal ha det for alltid.”) Staten ville beskytte eneretten, men bare +om at «det er min eiendom, og jeg skal ha for alltid,» prøv +hvor overbevisende det er når men sier «det er mitt monopol, og jeg +skal ha det for alltid.») Staten ville beskytte eneretten, men bare så lenge det gavnet samfunnet. Britene så skadene særinteresserte kunne skape; de vedtok en lov for å stoppe dem.

    Dernest, om bokhandlerne. Det var ikke bare at kopiretten var et monopol. Det var også et monopol holdt av bokhandlerne. En bokhandler høres greie og ufarlige ut for oss, men slik var det ikke i syttenhundretallets -England. Medlemmene i “the Conger” ble av en voksende mengde +England. Medlemmene i «the Conger» ble av en voksende mengde sett på som monopolister av verste sort - et verktøy for kronens undertrykkelse, de solgte Englands frihet mot å være garantert en monopolskinntekt. Men monopolistene ble kvast kritisert: Milton beskrev dem -som “gamle patentholdere og monopolister i bokhandlerkunsten”; -de var “menn som derfor ikke hadde et ærlig arbeide hvor utdanning er -nødvendig.”[101] +som «gamle patentholdere og monopolister i bokhandlerkunsten»; +de var «menn som derfor ikke hadde et ærlig arbeide hvor utdanning er +nødvendig.»[101]

    Mange trodde at den makten bokhandlerne utøvde over spredning av kunnskap, var til skade for selve spredningen, men på dette tidspunktet viste @@ -3671,7 +3674,7 @@ mellom utgivere, og slik en skapelse og spredning av kultur.

    Når 1731 (1710+21) kom, ble bokhandlerne engstelige. De så konsekvensene av mer konkurranse, og som alle konkurrenter, likte de det ikke. Først -ignorerte bokhandlere ganske enkelt “Statute of Anne”, og +ignorerte bokhandlere ganske enkelt «Statute of Anne», og fortsatte å kreve en evigvarende rett til å kontrollere publiseringen. Men i 1735 og 1737 de prøvde å tvinge Parlamentet til å utvide periodene. Tjueen år var ikke nok, sa de; de trengte mer tid. @@ -3684,66 +3687,66 @@ 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.[102] +bokhandlernes personlige rikdom.[102]

    Etter å ha mislyktes i Parlamentet gikk utgiverne til rettssalen i en rekke -saker. Deres argument var enkelt og direkte: “Statute of Anne” +saker. Deres argument var enkelt og direkte: «Statute of Anne» ga forfatterne en viss beskyttelse gjennom positiv loven, men denne beskyttelsenvar ikke ment som en erstatning for felles lov. Istedet var de ment å supplere felles lov. Ifølge sedvanerett var det galt å ta en annen -persons kreative eiendom og bruke den uten hans tillatelse. “Statute -of Anne”, hevdet bokhandlere, endret ikke dette faktum. Derfor -betydde ikke det at beskyttelsen gitt av “Statute of Anne” +persons kreative eiendom og bruke den uten hans tillatelse. «Statute +of Anne», hevdet bokhandlere, endret ikke dette faktum. Derfor +betydde ikke det at beskyttelsen gitt av «Statute of Anne» utløp, at beskyttelsen fra sedvaneretten utløp: Ifølge sedvaneretten hadde de rett til å fordømme publiseringen av en bok, selv følgelig om -“Statute of Anne” sa at de var falt i det fri. Dette, mente de, +«Statute of Anne» sa at de var falt i det fri. Dette, mente de, var den eneste måten å beskytte forfatterne.

    Dette var et godt argument, og hadde støtte fra flere av den tidens ledende jurister. Det viste også en ekstraordinær chutzpah. Inntail da, som -jusprofessor Raymond Pattetson har sagt, “var utgiverne … like -bekymret for forfatterne som en gjeter for sine lam.”[103] Bokselgerne brydde seg ikke det spor om +jusprofessor Raymond Pattetson har sagt, «var utgiverne … like +bekymret for forfatterne som en gjeter for sine lam.»[103] Bokselgerne brydde seg ikke det spor om forfatternes rettigheter. Deres bekymring var den monopolske inntekten forfatterens verk ga.

    Men bokhandlernes argument ble ikke godtatt uten kamp. Helten fra denne -kampen var den skotske bokselgeren Alexander Donaldson.[104] +kampen var den skotske bokselgeren Alexander Donaldson.[104]

    -Donaldson var en fremmed for Londons “the Conger”. Han startet +Donaldson var en fremmed for Londons «the Conger». Han startet in karriere i Edinburgh i 1750. Hans forretningsidé var billige kopier av -standardverk falt i det fri, ihvertfall fri ifølge “Statute of -Anne”.[105] Donaldsons forlag vokste -og ble “et sentrum for litterære skotter.” “Blant -dem,” skriver professor Mark Rose, var “den unge James Boswell +standardverk falt i det fri, ihvertfall fri ifølge «Statute of +Anne».[105] Donaldsons forlag vokste +og ble «et sentrum for litterære skotter.» «Blant +dem,» skriver professor Mark Rose, var «den unge James Boswell som, sammen med sin venn Andrew Erskine, publiserte en hel antologi av -skotsk samtidspoesi sammen med Donaldson.”[106] +skotsk samtidspoesi sammen med Donaldson.»[106]

    Da Londons bokselgere prøvde å få stengt Donaldsons butikk i Skottland, så -flyttet han butikken til London. Her solgte han billige utgaver av “de +flyttet han butikken til London. Her solgte han billige utgaver av «de mest populære, engelske bøker, i kamp mot sedvanerettens rett til litterær -eiendom.” [107] Bøkene hans var -mellom 30% og 50% billigere enn “the Conger”s, og han baserte -sin rett til denne konkurransen på at bøkene, takket være “Statute of -Anne”, var falt i det fri. +eiendom.» [107] Bøkene hans var +mellom 30% og 50% billigere enn «the Conger»s, og han baserte +sin rett til denne konkurransen på at bøkene, takket være «Statute of +Anne», var falt i det fri.

    -Londons bokselgere begynte straks å slå ned mot “pirater” som +Londons bokselgere begynte straks å slå ned mot «pirater» som Donaldson. Flere tiltak var vellykkede, den viktigste var den tidlig seieren i kampen mellom Millar og Taylor. -

    +

    Millar var en bokhandler som i 1729 hadde kjøpt opp rettighetene til James -Thomsons dikt “The Seasons”. Millar hadde da full beskyttelse -gjennom “Statute of Anne”, men etter at denne beskyttelsen var +Thomsons dikt «The Seasons». Millar hadde da full beskyttelse +gjennom «Statute of Anne», men etter at denne beskyttelsen var uløpt, begynte Robert Taylor å trykke et konkurrerende bind. Millar gikk til sak, og hevdet han hadde en evig rett gjennom sedvaneretten, uansett hva -“Statute of Anne” sa.[108] +«Statute of Anne» sa.[108]

    Til moderne juristers forbløffelse, var en av, ikke bare datidens, men en av de største dommere i engelsk historie, Lord Mansfield, enig med -bokhandlerne. Uansett hvilken beskyttelse “Statute of Anne” gav +bokhandlerne. Uansett hvilken beskyttelse «Statute of Anne» gav bokhandlerne, så sa han at den ikke fortrengte noe fra sedvaneretten. Spørsmålet var hvorvidt sedvaneretten beskyttet forfatterne -mot “pirater”. Mansfield svar var ja: Sedvaneretten nektet +mot «pirater». Mansfield svar var ja: Sedvaneretten nektet Taylor å reprodusere Thomsons dikt uten Millars tillatelse. Slik gav sedvaneretten bokselgerne en evig publiseringsrett til bøker solgt til dem.

    @@ -3757,13 +3760,13 @@ 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. -

    -Kampen for å forsvare “Statute of Anne”s begrensninger sluttet +

    +Kampen for å forsvare «Statute of Anne»s begrensninger sluttet uansett ikke der, for nå kommer Donaldson. -

    +

    Millar døde kort tid etter sin seier. Boet hans solgte rettighetene over Thomsons dikt til et syndikat av utgivere, deriblant Thomas -Beckett.[109] Da ga Donaldson ut en +Beckett.[109] Da ga Donaldson ut en uautorisert utgave av Thomsons verk. Etter avgjørelsen i Millar-saken, gikk Beckett til sak mot Donaldson. Donaldson tok saken inn for Overhuset, som da fungerte som en @@ -3773,16 +3776,16 @@ Parlamentets mening med ut Rettssaken Donaldson mot Beckett fikk en enorm oppmerksomhet i hele Storbritannia. Donaldsons advokater mente at selv om det før fantes en del -rettigheter i sedvaneretten, så var disse fortrengt av “Statute of -Anne”. Etter at “Statute of Anne” var blitt vedtatt, +rettigheter i sedvaneretten, så var disse fortrengt av «Statute of +Anne». Etter at «Statute of Anne» var blitt vedtatt, skulle den eneste lovlige beskyttelse for trykkerett kom derfra. Og derfor, -mente de, i tråd med vilkårene i “Statute of Anne”, falle i det +mente de, i tråd med vilkårene i «Statute of Anne», falle i det fri så fort beskyttelsesperioden var over.

    Overhuset var en merkelig institusjon. Juridiske spørsmål ble presentert for -huset, og ble først stemt over av “juslorder”, medlemmer av +huset, og ble først stemt over av «juslorder», medlemmer av enspesiell rettslig gruppe som fungerte nesten slik som justiariusene i vår -Høyesterett. Deretter, etter at “juslordene” hadde stemt, +Høyesterett. Deretter, etter at «juslordene» hadde stemt, stemte resten av Overhuset.

    @@ -3793,23 +3796,23 @@ hvordan resten av Overhuset stemte. Med en majoritet p hadde tolket sedvaneretten, var nå kopiretten begrenset til en periode, og etter denne ville verket falle i det fri.

    -“Å falle i det fri”. Før rettssaken +«Å falle i det fri». Før rettssaken Donaldson mot Beckett var det ingen klar oppfatning om hva å falle i det fri innebar. Før 1774 var det jo 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. +frie.

    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 piratugiverne hadde holdt til, ble avgjørelsen feiret i gatene. Som -Edinburgh Advertiser skrev “Ingen privatsak har +Edinburgh Advertiser skrev «Ingen privatsak har noen gang fått slik oppmerksomhet fra folket, og ingen sak som har blitt -prøvet i Overhuset har interessert så mange enkeltmennesker.” -“Stor glede i Edinburgh etter seieren over litterær eiendom: bål og -*illuminations*.”[110] +prøvet i Overhuset har interessert så mange enkeltmennesker.» +«Stor glede i Edinburgh etter seieren over litterær eiendom: bål og +*illuminations*.»[110]

    I London, ihvertfall blant utgiverne, var reaksjonen like sterk, men i motsatt retning. Morning Chronicle skrev: @@ -3819,11 +3822,11 @@ 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.[111] +familien, sitter nå uten en shilling til sine.[111]

    -“Ruinert” er en overdrivelse. Men det er ingen overdrivelse å +«Ruinert» er en overdrivelse. Men det er ingen overdrivelse å si at endringen var stor. Vedtaket fra Overhuset betydde at bokhandlerne ikke lenger kunnen kontrollere hvordan kulturen i England ville vokse og utvikle seg. Kulturen i England var etter dette @@ -3844,35 +3847,35 @@ og hvor deres tilgang til den ble styrt av noen f 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. -


    [98] +


    [98] Jacob Tonson er vanligvis husket for sin omgang med 1700-tallets litterære -storheter, spesielt John Dryden, og for hans kjekke“ferdige -versjoner” av klassiske verk. I tillegg til Romeo og +storheter, spesielt John Dryden, og for hans kjekke«ferdige +versjoner» av klassiske verk. I tillegg til Romeo og Julie, utga han en utrolig rekke liste av verk som ennå er hjertet av den engelske kanon, inkludert de samlede verk av Shakespeare, Ben -Jonson, John Milton, og John Dryden. Se Keith Walker: “Jacob Tonson, -Bookseller”, American Scholar 61:3 (1992): +Jonson, John Milton, og John Dryden. Se Keith Walker: «Jacob Tonson, +Bookseller», American Scholar 61:3 (1992): 424-­31. -

    [99] +

    [99] Lyman Ray Patterson, Copyright in Historical Perspective (Nashville: Vanderbilt University Press, 1968), 151–52. -

    [100] +

    [100] Som Siva Vaidhyanathan så pent argumenterer, er det feilaktige å kalle dette -en “opphavsrettslov”. Se Vaidhyanathan, Copyrights -and Copywrongs, 40. -

    [101] +en «opphavsrettslov». Se Vaidhyanathan, Copyrights +and Copywrongs, 40. +

    [101] Philip Wittenberg, The Protection and Marketing of Literary Property (New York: J. Messner, Inc., 1937), 31. -

    [102] +

    [102] A Letter to a Member of Parliament concerning the Bill now depending in the @@ -3882,49 +3885,49 @@ 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, Eldred v. Ashcroft, 537 U.S. 186 (2003) (No. 01-618). -

    [103] +

    [103] -Lyman Ray Patterson, “Free Speech, Copyright, and Fair Use”, +Lyman Ray Patterson, «Free Speech, Copyright, and Fair Use», Vanderbilt Law Review 40 (1987): 28. For en fantastisk overbevisende fortelling, se Vaidhyanathan, 37–48. - -

    [104] + +

    [104] For a compelling account, see David Saunders, Authorship and Copyright (London: Routledge, 1992), 62–69. -

    [105] +

    [105] Mark Rose, Authors and Owners (Cambridge: Harvard -University Press, 1993), 92. -

    [106] +University Press, 1993), 92. +

    [106] Ibid., 93. -

    [107] +

    [107] Lyman Ray Patterson, Copyright in Historical Perspective, 167 (quoting Borwell). -

    [108] +

    [108] -Howard B. Abrams, “The Historic Foundation of American Copyright Law: -Exploding the Myth of Common Law Copyright”, Wayne Law +Howard B. Abrams, «The Historic Foundation of American Copyright Law: +Exploding the Myth of Common Law Copyright», Wayne Law Review 29 (1983): 1152. -

    [109] +

    [109] Ibid., 1156. -

    [110] +

    [110] Rose, 97. -

    [111] +

    [111] ibid. -

    Kapittel 7. Kapittel sju: Innspillerne

    +

    Kapittel sju: Innspillerne

    Jon Else er en filmskaper. Han er mest kjent for sine dokumentarer og har på ypperlig vis klart å spre sin kunst. Han er også en lærer, som meg selv, og jeg misunner den lojaliteten og beundringen hans studenter har for ham. (Ved @@ -3938,7 +3941,7 @@ 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. +scenen.

    Under en forestilling, filmet Else noen stagehands som spilte *checkers*. I @@ -3951,7 +3954,7 @@ S finansieringen, ville Else skaffe rettigheter til å bruke disse få sekundene med The Simpson. For disse få sekundene var selvsagt beskyttet av opphavsretten, og for å bruke beskyttet materiale må man ha -tillatelse fra eieren, dersom det ikke er “rimelig bruk” eller +tillatelse fra eieren, dersom det ikke er «rimelig bruk» eller det foreligger spesielle avtaler.

    Else kontaktet Simpson-skaper Matt Groenings kontor @@ -3959,42 +3962,42 @@ for 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. +programmet.

    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 hjørnet i bakgrunnen i ett rom i filmen. Matt Groening hadde allerede gitt -sin tillatelse, sa Else. Han ville bare få det avklart med Fox. +sin tillatelse, sa Else. Han ville bare få det avklart med Fox.

    -Deretter, fortalte Else: “skjedde to ting. Først oppdaget vi … +Deretter, fortalte Else: «skjedde to ting. Først oppdaget vi … at Matt Groening ikke eide sitt eget verk — ihvertfall at noen [hos -Fox] trodde at han ikke eide sitt eget verk.” Som det andre krevde -Fox “ti tusen dollar i lisensavgift for disse fire og et halvt +Fox] trodde at han ikke eide sitt eget verk.» Som det andre krevde +Fox «ti tusen dollar i lisensavgift for disse fire og et halvt sekundene med … fullstendig tilfeldig Simpson -som var i et hjørne i ett opptak.” +som var i et hjørne i ett opptak.»

    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 -“det må være en feil her … Vi ber deg om en utdanningssats på -dette.” Og de hadde fått utdanningssats, fortalte Herrera. Kort tid +«det må være en feil her … Vi ber deg om en utdanningssats på +dette.» Og de hadde fått utdanningssats, fortalte Herrera. Kort tid etter ringte Else igjen for å få dette bekreftet.

    -“Jeg måtte være sikker på at jeg hadde riktige opplysninger foran -meg”, sa han. “Ja, du har riktige opplysninger”, sa +«Jeg måtte være sikker på at jeg hadde riktige opplysninger foran +meg», sa han. «Ja, du har riktige opplysninger», sa hun. Det ville koste $10 000 å bruke dette lille klippet av The Simpson, plassert bakerst i et hjørne i en scene i en dokumentar om Wagners Ring Cycle. Som om det ikke var nok, forbløffet Herrera Else med -å si “Og om du siterer meg, vil du høre fra våre advokater.” En -av Herreras assistenter fortalte Else at “De bryr seg ikke i det -heletatt. Alt de vil ha er pengene.” +å si «Og om du siterer meg, vil du høre fra våre advokater.» En +av Herreras assistenter fortalte Else at «De bryr seg ikke i det +heletatt. Alt de vil ha er pengene.»

    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 fjernsynet, et klipp fra en av hans andre filmer The Day After -Trinity fra ti år tidligere. +Trinity fra ti år tidligere.

    Det er ingen tvil om at noen, enten det er er Matt Groening eller Fox, eier rettighetene til The Simpsons. Rettighetene er deres @@ -4005,41 +4008,41 @@ beskyttelse, s det. Og i et fritt markes er det eieren som bestemmer hvor mye han/hun vil ta for hvilken som helst bruk (hvor loven krever tillatelse fra eier).

    -For eksempel “offentlig fremvisning”* av The +For eksempel «offentlig fremvisning»* av The Simpson er en form for bruk hvor loven gir eieren kontroll. Dersom du velger ut dine favorittepisoder, leier en kinosal og -selger billetter til “Mine -Simpson-favoritter”, så må du ha tillatelse +selger billetter til «Mine +Simpson-favoritter», så må du ha tillatelse fra rettighetsinnhaveren (eieren). Og eieren kan (med rette, slik jeg ser det) kreve hvor mye han vil; $10ellr $1 000 000. Det er hans rett ifølge loven.

    Men når jurister hører denne historien om Jon Else og Fox, så er deres -første tanke “rimelig bruk”.[112] Elses bruk av 4,5 sekunder med et indirekte klipp av en +første tanke «rimelig bruk».[112] Elses bruk av 4,5 sekunder med et indirekte klipp av en Simpsons-episode er et klart eksempel på -“rimelig bruk” av The Simpsons— og -“rimelig bruk” krever ingen tillatelse fra noen. +«rimelig bruk» av The Simpsons— og +«rimelig bruk» krever ingen tillatelse fra noen.

    -Så jeg spurte Else om hvorfor han ikke bare stolte på “fair -use”. Og her er hans svar: +Så jeg spurte Else om hvorfor han ikke bare stolte på «fair +use». Og her er hans svar:

    Simpsons-fiaskoen lærte meg om hvor stor avstand det var mellom det jurister finner urelevant på en abstrakt måte, og hva som er knusende relevant på en konkret måte for oss som prøver å lage og kringkaste -dokumentarer. Jeg tvilte aldri på at dette helt klart var “rimelig -bruk”, men jeg kunne ikke stole på konseptet på noen konkret måte. Og +dokumentarer. Jeg tvilte aldri på at dette helt klart var «rimelig +bruk», men jeg kunne ikke stole på konseptet på noen konkret måte. Og dette er grunnen:

    1. Før våre filmer kan kringkastes, krever nettverket at vi kjøper en -“Errors and Omissions”-forsikring. Den krever en detailjert -“visual cue sheet” med alle kilder og lisens-status på alle -scener i filmen. De har et smalt syn på “fair use”, og å påstå +«Errors and Omissions»-forsikring. Den krever en detailjert +«visual cue sheet» med alle kilder og lisens-status på alle +scener i filmen. De har et smalt syn på «fair use», og å påstå at noe er nettopp det kan forsinke, og i verste fall stoppe, prosessen. -

    2. +

    3. Jeg skulle nok aldri ha bedt om Matt Groenings tillatelse. Men jeg visste (ihvertfall fra rykter) at Fox tidligere hadde brukt å jakte på og stoppe @@ -4056,37 +4059,37 @@ for Jeg snakket faktisk med en av dine kolleger på Stanford Law School … som bekreftet at dette var rimelig bruk. Han bekreftet også at Fox ville -“depose and litigate you to within an inch of your life”, +«depose and litigate you to within an inch of your life», uavhengig av sannheten i mine krav. Han gjorde det klart at alt ville koke ned til hvem som hadde flest jurister og dypest lommer, jeg eller dem.

    4. -Spørsmålet om “fair use” dukker om regel opp helt mot slutten +Spørsmålet om «fair use» dukker om regel opp helt mot slutten av prosjektet, når vi nærmer oss siste frist og er tomme for penger.

    -I teorien betyr “fair use” at du ikke trenger +I teorien betyr «fair use» at du ikke trenger tillatelse. Teorien støtter derfor den frie kultur og arbeider mot -tillatelseskulturen. Men i praksis fungerer “fair use” helt +tillatelseskulturen. Men i praksis fungerer «fair use» helt annerledes. Men de uklare linjene i lovverket, samt de fryktelige konsekvensene dersom man tar feil, gjør at mange kunstnere ikke stoler på -“fair use”. Loven har en svært god hensikt, men praksisen har +«fair use». Loven har en svært god hensikt, men praksisen har ikke fulgt opp.

    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. -


    [112] +


    [112] -Ønsker du å lese en flott redegjørelse om hvordan dette er “fair -use”, og hvordan advokatene ikke anerkjenner det, så les Richard -A. Posner og William F. Patry, “Fair Use and Statutory Reform in the -Wake of Eldred ” (utkast arkivert hos +Ønsker du å lese en flott redegjørelse om hvordan dette er «fair +use», og hvordan advokatene ikke anerkjenner det, så les Richard +A. Posner og William F. Patry, «Fair Use and Statutory Reform in the +Wake of Eldred » (utkast arkivert hos forfatteren), University of Chicago Law School, 5. august 2003. -

    Kapittel 8. Kapittel åtte: Omformere

    +

    Kapittel åtte: Omformere

    In 1993, Alex Alben was a lawyer working at Starwave, Inc. Starwave was an innovative company founded by Microsoft cofounder Paul Allen to develop digital entertainment. Long before the Internet became popular, Starwave @@ -4114,20 +4117,20 @@ scripts, and other material relating to the films Eastwood made. Most of his career was spent at Warner Brothers, and so it was relatively easy to get permission for that content.

    -Then Alben and his team decided to include actual film clips. “Our +Then Alben and his team decided to include actual film clips. «Our goal was that we were going to have a clip from every one of Eastwood's -films,” Alben told me. It was here that the problem arose. “No -one had ever really done this before,” Alben explained. “No one +films,» Alben told me. It was here that the problem arose. «No +one had ever really done this before,» Alben explained. «No one had ever tried to do this in the context of an artistic look at an actor's -career.” +career.»

    Alben brought the idea to Michael Slade, the CEO of Starwave. Slade asked, -“Well, what will it take?” +«Well, what will it take?»

    -Alben replied, “Well, we're going to have to clear rights from +Alben replied, «Well, we're going to have to clear rights from everyone who appears in these films, and the music and everything else that -we want to use in these film clips.” Slade said, “Great! Go for -it.”[113] +we want to use in these film clips.» Slade said, «Great! Go for +it.»[113]

    The problem was that neither Alben nor Slade had any idea what clearing those rights would mean. Every actor in each of the films could have a claim @@ -4141,7 +4144,7 @@ recounted just what they did:

    So we very mechanically went about looking up the film clips. We made some artistic decisions about what film clips to include—of course we were -going to use the “Make my day” clip from Dirty +going to use the «Make my day» clip from Dirty Harry. But you then need to get the guy on the ground who's wiggling under the gun and you need to get his permission. And then you have to decide what you are going to pay him. @@ -4156,29 +4159,29 @@ hard to identify because in Eastwood movies you can't tell who's the guy crashing through the glass—is it the actor or is it the stuntman? And then we just, we put together a team, my assistant and some others, and we just started calling people. -

    +

    Some actors were glad to help—Donald Sutherland, for example, followed up himself to be sure that the rights had been cleared. Others were -dumbfounded at their good fortune. Alben would ask, “Hey, can I pay -you $600 or maybe if you were in two films, you know, $1,200?” And -they would say, “Are you for real? Hey, I'd love to get -$1,200.” And some of course were a bit difficult (estranged ex-wives, +dumbfounded at their good fortune. Alben would ask, «Hey, can I pay +you $600 or maybe if you were in two films, you know, $1,200?» And +they would say, «Are you for real? Hey, I'd love to get +$1,200.» And some of course were a bit difficult (estranged ex-wives, in particular). But eventually, Alben and his team had cleared the rights to this retrospective CD-ROM on Clint Eastwood's career.

    -It was one year later—“and even then we -weren't sure whether we were totally in the clear.” +It was one year later—«and even then we +weren't sure whether we were totally in the clear.»

    Alben is proud of his work. The project was the first of its kind and the only time he knew of that a team had undertaken such a massive project for the purpose of releasing a retrospective.

    Everyone thought it would be too hard. Everyone just threw up their hands -and said, “Oh, my gosh, a film, it's so many copyrights, there's the +and said, «Oh, my gosh, a film, it's so many copyrights, there's the music, there's the screenplay, there's the director, there's the -actors.” But we just broke it down. We just put it into its -constituent parts and said, “Okay, there's this many actors, this many -directors, … this many musicians,” and we just went at it very +actors.» But we just broke it down. We just put it into its +constituent parts and said, «Okay, there's this many actors, this many +directors, … this many musicians,» and we just went at it very systematically and cleared the rights.

    @@ -4186,16 +4189,16 @@ systematically and cleared the rights. And no doubt, the product itself was exceptionally good. Eastwood loved it, and it sold very well. -

    +

    But I pressed Alben about how weird it seems that it would have to take a year's work simply to clear rights. No doubt Alben had done this -efficiently, but as Peter Drucker has famously quipped, “There is +efficiently, but as Peter Drucker has famously quipped, «There is nothing so useless as doing efficiently that which should not be done at -all.”[114] Did it make sense, I asked +all.»[114] Did it make sense, I asked Alben, that this is the way a new work has to be made?

    -For, as he acknowledged, “very few … have the time and -resources, and the will to do this,” and thus, very few such works +For, as he acknowledged, «very few … have the time and +resources, and the will to do this,» and thus, very few such works would ever be made. Does it make sense, I asked him, from the standpoint of what anybody really thought they were ever giving rights for originally, that you would have to go clear rights for these kinds of clips? @@ -4225,10 +4228,10 @@ performed. But it would be a known cost. That's the thing that trips everybody up and makes this kind of product hard to get off the ground. If you knew I have a hundred minutes of film in this product and it's going to cost me X, then you build your budget around it, and you can get investments -and everything else that you need to produce it. But if you say, “Oh, +and everything else that you need to produce it. But if you say, «Oh, I want a hundred minutes of something and I have no idea what it's going to cost me, and a certain number of people are going to hold me up for -money,” then it becomes difficult to put one of these things +money,» then it becomes difficult to put one of these things together.

    Alben worked for a big company. His company was backed by some of the @@ -4236,7 +4239,7 @@ richest investors in the world. He therefore had authority and access that the average Web designer would not have. So if it took him a year, how long would it take someone else? And how much creativity is never made just because the costs of clearing the rights are so high? -

    +

    These costs are the burdens of a kind of regulation. Put on a Republican hat for a moment, and get angry for a bit. The government defines the scope of these rights, and the scope defined determines how much it's going to cost @@ -4245,8 +4248,8 @@ imagine the pilot purchasing flythrough rights as he negotiates to fly from Los Angeles to San Francisco.) These rights might well have once made sense; but as circumstances change, they make no sense at all. Or at least, a well-trained, regulationminimizing Republican should look at the rights -and ask, “Does this still make sense?” -

    +and ask, «Does this still make sense?» +

    I've seen the flash of recognition when people get this point, but only a few times. The first was at a conference of federal judges in California. @@ -4259,14 +4262,14 @@ Videoen var en glimrende sammenstilling av filmer fra hver periode i det tjuende århundret, rammet inn rundt idéen om en episode i TV-serien 60 Minutes. Utførelsen var perfekt, ned til seksti minutter stoppeklokken. Dommerne elsket enhver minutt av den. -

    +

    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: “Vet dere hvor mange føderale lover som nettopp -brutt i dette rommet?” -

    +tale med et spørsmål: «Vet dere hvor mange føderale lover som nettopp +brutt i dette rommet?» +

    For of course, the two brilliantly talented creators who made this film hadn't done what Alben did. They hadn't spent a year clearing the rights to these clips; technically, what they had done violated the law. Of course, @@ -4280,12 +4283,13 @@ the law would not be friendly to the capacities that this technology would enable. Technology means you can now do amazing things easily; but you couldn't easily do them legally.

    -We live in a “cut and paste” culture enabled by +We live in a «cut and paste» culture enabled by technology. Anyone building a presentation knows the extraordinary freedom that the cut and paste architecture of the Internet created—in a second you can find just about any image you want; in another second, you can have it planted in your presentation. -

    +

    + But presentations are just a tiny beginning. Using the Internet and its archives, musicians are able to string together mixes of sound never before imagined; filmmakers are able to build movies out of clips on computers @@ -4293,10 +4297,10 @@ around the world. An extraordinary site in Sweden takes images of politicians and blends them with music to create biting political commentary. A site called Camp Chaos has produced some of the most biting criticism of the record industry that there is through the mixing of Flash! -and music. +and music.

    All of these creations are technically illegal. Even if the creators wanted -to be “legal,” the cost of complying with the law is impossibly +to be «legal,» the cost of complying with the law is impossibly high. Therefore, for the law-abiding sorts, a wealth of creativity is never made. And for that part that is made, if it doesn't follow the clearance rules, it doesn't get released. @@ -4304,13 +4308,13 @@ rules, it doesn't get released. To some, these stories suggest a solution: Let's alter the mix of rights so that people are free to build upon our culture. Free to add or mix as they see fit. We could even make this change without necessarily requiring that -the “free” use be free as in “free beer.” Instead, +the «free» use be free as in «free beer.» Instead, the system could simply make it easy for follow-on creators to compensate artists without requiring an army of lawyers to come along: a rule, for -example, that says “the royalty owed the copyright owner of an +example, that says «the royalty owed the copyright owner of an unregistered work for the derivative reuse of his work will be a flat 1 percent of net revenues, to be held in escrow for the copyright -owner.” Under this rule, the copyright owner could benefit from some +owner.» Under this rule, the copyright owner could benefit from some royalty, but he would not have the benefit of a full property right (meaning the right to name his own price) unless he registers the work.

    @@ -4323,19 +4327,19 @@ would anyone have to oppose it? In February 2003, DreamWorks studios announced an agreement with Mike Myers, the comic genius of Saturday Night Live and Austin Powers. According to the announcement, Myers and Dream-Works would work -together to form a “unique filmmaking pact.” Under the -agreement, DreamWorks “will acquire the rights to existing motion +together to form a «unique filmmaking pact.» Under the +agreement, DreamWorks «will acquire the rights to existing motion picture hits and classics, write new storylines and—with the use of stateof-the-art digital technology—insert Myers and other actors into -the film, thereby creating an entirely new piece of entertainment.” +the film, thereby creating an entirely new piece of entertainment.»

    -The announcement called this “film sampling.” As Myers -explained, “Film Sampling is an exciting way to put an original spin +The announcement called this «film sampling.» As Myers +explained, «Film Sampling is an exciting way to put an original spin on existing films and allow audiences to see old movies in a new light. Rap artists have been doing this for years with music and now we are able to -take that same concept and apply it to film.” Steven Spielberg is -quoted as saying, “If anyone can create a way to bring old films to -new audiences, it is Mike.” +take that same concept and apply it to film.» Steven Spielberg is +quoted as saying, «If anyone can create a way to bring old films to +new audiences, it is Mike.»

    Spielberg is right. Film sampling by Myers will be brilliant. But if you don't think about it, you might miss the truly astonishing point about this @@ -4347,9 +4351,9 @@ presumed for us all, is now a privilege reserved for the funny and famous—and presumably rich.

    This privilege becomes reserved for two sorts of reasons. The first -continues the story of the last chapter: the vagueness of “fair -use.” Much of “sampling” should be considered -“fair use.” But few would rely upon so weak a doctrine to +continues the story of the last chapter: the vagueness of «fair +use.» Much of «sampling» should be considered +«fair use.» But few would rely upon so weak a doctrine to create. That leads to the second reason that the privilege is reserved for the few: The costs of negotiating the legal rights for the creative reuse of content are astronomically high. These costs mirror the costs with fair @@ -4357,22 +4361,22 @@ use: You either pay a lawyer to defend your fair use rights or pay a lawyer to track down permissions so you don't have to rely upon fair use rights. Either way, the creative process is a process of paying lawyers—again a privilege, or perhaps a curse, reserved for the few. -


    [113] +


    [113] Technically, the rights that Alben had to clear were mainly those of publicity—rights an artist has to control the commercial exploitation -of his image. But these rights, too, burden “Rip, Mix, Burn” -creativity, as this chapter evinces. - -

    [114] +of his image. But these rights, too, burden «Rip, Mix, Burn» +creativity, as this chapter evinces. + +

    [114] U.S. Department of Commerce Office of Acquisition Management, Seven Steps to Performance-Based Services Acquisition, available at link #22. -

    Kapittel 9. Kapittel ni: Samlere

    -In April 1996, millions of “bots”—computer codes designed -to “spider,” or automatically search the Internet and copy +

    Kapittel ni: Samlere

    +In April 1996, millions of «bots»—computer codes designed +to «spider,» or automatically search the Internet and copy content—began running across the Net. Page by page, these bots copied Internet-based information onto a small set of computers located in a basement in San Francisco's Presidio. Once the bots finished the whole of @@ -4382,7 +4386,7 @@ months, these bits of code took copies of the Internet and stored them. By October 2001, the bots had collected more than five years of copies. And at a small announcement in Berkeley, California, the archive that these copies created, the Internet Archive, was opened to the world. Using a -technology called “the Way Back Machine,” you could enter a Web +technology called «the Way Back Machine,» you could enter a Web page, and see all of its copies going back to 1996, as well as when those pages changed.

    @@ -4402,12 +4406,12 @@ 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—constantly updated, without any reliable memory. -

    +

    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.[115] +forget.[115]

    We take it for granted that we can go back to see what we remember reading. Think about newspapers. If you wanted to study the reaction of your @@ -4443,11 +4447,11 @@ 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. -

    +

    The Way Back Machine is the largest archive of human knowledge in human -history. At the end of 2002, it held “two hundred and thirty terabytes -of material”—and was “ten times larger than the Library -of Congress.” And this was just the first of the archives that Kahle +history. At the end of 2002, it held «two hundred and thirty terabytes +of material»—and was «ten times larger than the Library +of Congress.» And this was just the first of the archives that Kahle set out to build. In addition to the Internet Archive, Kahle has been constructing the Television Archive. Television, it turns out, is even more ephemeral than the Internet. While much of twentieth-century culture was @@ -4455,11 +4459,11 @@ constructed through television, only a tiny proportion of that culture is available for anyone to see today. Three hours of news are recorded each evening by Vanderbilt University—thanks to a specific exemption in the copyright law. That content is indexed, and is available to scholars for a -very low fee. “But other than that, [television] is almost -unavailable,” Kahle told me. “If you were Barbara Walters you +very low fee. «But other than that, [television] is almost +unavailable,» Kahle told me. «If you were Barbara Walters you could get access to [the archives], but if you are just a graduate -student?” As Kahle put it, -

    +student?» As Kahle put it, +

    Do you remember when Dan Quayle was interacting with Murphy Brown? Remember that back and forth surreal experience of a politician interacting with a @@ -4486,17 +4490,17 @@ These rules applied to film as well. But in 1915, the Library of Congress made an exception for film. Film could be copyrighted so long as such deposits were made. But the filmmaker was then allowed to borrow back the deposits—for an unlimited time at no cost. In 1915 alone, there were -more than 5,475 films deposited and “borrowed back.” Thus, when +more than 5,475 films deposited and «borrowed back.» Thus, when the copyrights to films expire, there is no copy held by any library. The copy exists—if it exists at all—in the library archive of the -film company.[116] +film company.[116]

    The same is generally true about television. Television broadcasts were originally not copyrighted—there was no way to capture the broadcasts, -so there was no fear of “theft.” But as technology enabled +so there was no fear of «theft.» But as technology enabled capturing, broadcasters relied increasingly upon the law. The law required they make a copy of each broadcast for the work to be -“copyrighted.” But those copies were simply kept by the +«copyrighted.» But those copies were simply kept by the broadcasters. No library had any right to them; the government didn't demand them. The content of this part of American culture is practically invisible to anyone who would look. @@ -4509,9 +4513,9 @@ 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. -

    +

    Kahle had the same idea with film. Working with Rick Prelinger, whose -archive of film includes close to 45,000 “ephemeral films” +archive of film includes close to 45,000 «ephemeral films» (meaning films other than Hollywood movies, films that were never copyrighted), Kahle established the Movie Archive. Prelinger let Kahle digitize 1,300 films in this archive and post those films on the Internet to @@ -4522,7 +4526,7 @@ dramatically. People could easily find the material they wanted to use. Some downloaded that material and made films on their own. Others purchased copies to enable other films to be made. Either way, the archive enabled access to this important part of our culture. Want to see a copy of the -“Duck and Cover” film that instructed children how to save +«Duck and Cover» film that instructed children how to save themselves in the middle of nuclear attack? Go to archive.org, and you can download the film in a few minutes—for free.

    @@ -4540,7 +4544,7 @@ second life that all creative property has—a noncommercial life.

    For here is an idea that we should more clearly recognize. Every bit of -creative property goes through different “lives.” In its first +creative property goes through different «lives.» In its first life, if the creator is lucky, the content is sold. In such cases the commercial market is successful for the creator. The vast majority of creative property doesn't enjoy such success, but some clearly does. For @@ -4555,7 +4559,7 @@ about our history. In this second life, the content can continue to inform even if that information is no longer sold.

    The same has always been true about books. A book goes out of print very -quickly (the average today is after about a year[117]). After it is out of print, it can be sold in used book stores +quickly (the average today is after about a year[117]). 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 @@ -4590,7 +4594,7 @@ 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, -

    +

    It looks like there's about two to three million recordings of music. Ever. There are about a hundred thousand theatrical releases of movies, … and about one to two million movies [distributed] during the @@ -4618,45 +4622,45 @@ the dream of the Library of Alexandria real again.

    Technologists have thus removed the economic costs of building such an archive. But lawyers' costs remain. For as much as we might like to call -these “archives,” as warm as the idea of a -“library” might seem, the “content” that is -collected in these digital spaces is also someone's “property.” +these «archives,» as warm as the idea of a +«library» might seem, the «content» that is +collected in these digital spaces is also someone's «property.» And the law of property restricts the freedoms that Kahle and others would exercise. -


    [115] +


    [115] The temptations remain, however. Brewster Kahle reports that the White House changes its own press releases without notice. A May 13, 2003, press release -stated, “Combat Operations in Iraq Have Ended.” That was later -changed, without notice, to “Major Combat Operations in Iraq Have -Ended.” E-mail from Brewster Kahle, 1 December 2003. -

    [116] +stated, «Combat Operations in Iraq Have Ended.» That was later +changed, without notice, to «Major Combat Operations in Iraq Have +Ended.» E-mail from Brewster Kahle, 1 December 2003. +

    [116] -Doug Herrick, “Toward a National Film Collection: Motion Pictures at -the Library of Congress,” Film Library +Doug Herrick, «Toward a National Film Collection: Motion Pictures at +the Library of Congress,» Film Library Quarterly 13 nos. 2–3 (1980): 5; Anthony Slide, Nitrate Won't Wait: A History of Film Preservation in the United States ( Jefferson, N.C.: McFarland & Co., 1992), 36. -

    [117] +

    [117] -Dave Barns, “Fledgling Career in Antique Books: Woodstock Landlord, -Bar Owner Starts a New Chapter by Adopting Business,” +Dave Barns, «Fledgling Career in Antique Books: Woodstock Landlord, +Bar Owner Starts a New Chapter by Adopting Business,» Chicago Tribune, 5 September 1997, at Metro Lake 1L. Of books published between 1927 and 1946, only 2.2 percent were in print -in 2002. R. Anthony Reese, “The First Sale Doctrine in the Era of -Digital Networks,” Boston College Law Review +in 2002. R. Anthony Reese, «The First Sale Doctrine in the Era of +Digital Networks,» Boston College Law Review 44 (2003): 593 n. 51. -

    Kapittel 10. Kapittel ti: “Eiendom”

    +

    Kapittel ti: «Eiendom»

    Jack Valenti has been the president of the Motion Picture Association of America since 1966. He first came to Washington, D.C., with Lyndon Johnson's administration—literally. The 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. +Washington.

    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 @@ -4666,8 +4670,8 @@ distributors of entertainment for television, video, and cable. Its board is made up of the chairmen and presidents of the seven major producers and distributors of motion picture and television programs in the United States: Walt Disney, Sony Pictures Entertainment, MGM, Paramount Pictures, Twentieth -Century Fox, Universal Studios, and Warner Brothers. - +Century Fox, Universal Studios, and Warner Brothers. +

    @@ -4687,7 +4691,7 @@ system, it has probably avoided a great deal of speech-regulating harm. But there is an aspect to the organization's mission that is both the most radical and the most important. This is the organization's effort, epitomized in Valenti's every act, to redefine the meaning of -“creative property.” +«creative property.»

    In 1982, Valenti's testimony to Congress captured the strategy perfectly:

    @@ -4698,15 +4702,15 @@ animates this entire debate: Creative property owners accorded the same rights and protection resident in all other property owners in the nation. 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.[118] +debates to follow must rest.[118]

    The strategy of this rhetoric, like the strategy of most of Valenti's rhetoric, is brilliant and simple and brilliant because simple. The -“central theme” to which “reasonable men and -women” will return is this: “Creative property owners must be +«central theme» to which «reasonable men and +women» will return is this: «Creative property owners must be accorded the same rights and protections resident in all other property -owners in the nation.” There are no second-class citizens, Valenti +owners in the nation.» There are no second-class citizens, Valenti might have continued. There should be no second-class property owners.

    This claim has an obvious and powerful intuitive pull. It is stated with @@ -4715,17 +4719,17 @@ elections to pick presidents. But in fact, there is no more extreme a claim made by anyone who is serious in this debate than this claim of Valenti's. Jack Valenti, however sweet and however brilliant, is perhaps the nation's foremost extremist when it comes to the nature and -scope of “creative property.” His views have +scope of «creative property.» His views have no reasonable connection to our actual legal tradition, even if the subtle pull of his Texan charm has slowly redefined that tradition, at least in Washington.

    -While “creative property” is certainly “property” +While «creative property» is certainly «property» in a nerdy and precise sense that lawyers are trained to -understand,[119] it has never been the case, -nor should it be, that “creative property owners” have been -“accorded the same rights and protection resident in all other -property owners.” Indeed, if creative property owners were given the +understand,[119] it has never been the case, +nor should it be, that «creative property owners» have been +«accorded the same rights and protection resident in all other +property owners.» Indeed, if creative property owners were given the same rights as all other property owners, that would effect a radical, and radically undesirable, change in our tradition.

    @@ -4756,29 +4760,29 @@ threaten the old. To get just a hint that there is something fundamentally wrong in Valenti's argument, we need look no further than the United States Constitution itself.

    -The framers of our Constitution loved “property.” Indeed, so +The framers of our Constitution loved «property.» Indeed, so strongly did they love property that they built into the Constitution an important requirement. If the government takes your property—if it condemns your house, or acquires a slice of land from your farm—it is -required, under the Fifth Amendment's “Takings Clause,” to pay -you “just compensation” for that taking. The Constitution thus +required, under the Fifth Amendment's «Takings Clause,» to pay +you «just compensation» for that taking. The Constitution thus guarantees that property is, in a certain sense, sacred. It cannot ever be taken from the property owner unless the government pays for the privilege.

    Yet the very same Constitution speaks very differently about what Valenti -calls “creative property.” In the clause granting Congress the -power to create “creative property,” the Constitution -requires that after a “limited time,” +calls «creative property.» In the clause granting Congress the +power to create «creative property,» the Constitution +requires that after a «limited time,» Congress take back the rights that it has granted and set the -“creative property” free to the public domain. Yet when +«creative property» free to the public domain. Yet when Congress does this, when the expiration of a copyright term -“takes” your copyright and turns it over to the public domain, -Congress does not have any obligation to pay “just -compensation” for this “taking.” Instead, the same +«takes» your copyright and turns it over to the public domain, +Congress does not have any obligation to pay «just +compensation» for this «taking.» Instead, the same Constitution that requires compensation for your land requires that you lose -your “creative property” right without any compensation at all. +your «creative property» right without any compensation at all.

    The Constitution thus on its face states that these two forms of property are not to be accorded the same rights. They are plainly to be treated @@ -4804,7 +4808,7 @@ given the same rights as all other property? Why did they require that for creative property there must be a public domain?

    To answer this question, we need to get some perspective on the history of -these “creative property” rights, and the control that they +these «creative property» rights, and the control that they enabled. Once we see clearly how differently these rights have been defined, we will be in a better position to ask the question that should be at the core of this war: Not whether creative property @@ -4837,8 +4841,8 @@ 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. -

    +by the state. +

    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 @@ -4847,7 +4851,7 @@ 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. -

    +

    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—it is @@ -4855,9 +4859,9 @@ 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. -

    +

    Finally, and for the moment, perhaps, most mysteriously, -“architecture”—the physical world as one finds +«architecture»—the physical world as one finds it—is a constraint on behavior. A fallen bridge might constrain your ability to get across a river. Railroad tracks might constrain the ability of a community to integrate its social life. As with the market, @@ -4865,7 +4869,7 @@ architecture does not effect its constraint through ex post punishments. Instead, also as with the market, architecture effects its constraint through simultaneous conditions. These conditions are imposed not by courts enforcing contracts, or by police punishing theft, but by nature, -by “architecture.” If a 500-pound boulder blocks your way, it +by «architecture.» If a 500-pound boulder blocks your way, it is the law of gravity that enforces this constraint. If a $500 airplane ticket stands between you and a flight to New York, it is the market that enforces this constraint. @@ -4884,8 +4888,8 @@ 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. -

    -So, for example, consider the “freedom” to drive a car at a +

    +So, for example, consider the «freedom» to drive a car at a high speed. That freedom is in part restricted by laws: speed limits that say how fast you can drive in particular places at particular times. It is in part restricted by architecture: speed bumps, for example, slow most @@ -4900,7 +4904,7 @@ 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.[120] The law, in +in affecting the three.[120] 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 @@ -4910,12 +4914,12 @@ reckless driving. Or the law might be used to require that other laws be more strict—a federal requirement that states decrease the speed limit, for example—so as to decrease the attractiveness of fast driving. -

    Figur 10.2. Law has a special role in affecting the three.

    Law has a special role in affecting the three.

    +

    Figur 10.2. Law has a special role in affecting the three.

    Law has a special role in affecting the three.

    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.[121] +modality might be displaced by another.[121]

    10.1. Hvorfor Hollywood har rett

    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 @@ -4923,7 +4927,7 @@ courts to defend copyright. This model helps us see why that rallying makes sense.

    Let's say this is the picture of copyright's regulation before the Internet: -

    Figur 10.3. Copyright's regulation before the Internet.

    Copyright's regulation before the Internet.

    +

    Figur 10.3. Copyright's regulation before the Internet.

    Copyright's regulation before the Internet.

    There is balance between law, norms, market, and architecture. The law @@ -4952,7 +4956,7 @@ of Saddam, but this time no government is justifying the looting that results.

    Figur 10.4. effective state of anarchy after the Internet.

    effective state of anarchy after the Internet.

    Neither this analysis nor the conclusions that follow are new to the -warriors. Indeed, in a “White Paper” prepared by the Commerce +warriors. Indeed, in a «White Paper» prepared by the Commerce Department (one heavily influenced by the copyright warriors) in 1995, this mix of regulatory modalities had already been identified and the strategy to respond already mapped. In response to the changes the Internet had @@ -4960,7 +4964,7 @@ 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. -

    +

    This mixed strategy is just what copyright needed—if it was to preserve the particular balance that existed before the change induced by @@ -4980,40 +4984,39 @@ to protect itself from the harmful consequences of a technological innovation. And I would be the last person to argue that the changing technology of the Internet has not had a profound effect on the content industry's way of doing business, or as John Seely Brown describes it, its -“architecture of revenue.” -

    +«architecture of revenue.» +

    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.[122] Does anyone believe the +cameras.[122] 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 for the purpose of protecting the railroads? Closer to the subject of this book, remote channel changers have -weakened the “stickiness” of television advertising (if a +weakened the «stickiness» of television advertising (if a boring commercial comes on the TV, the remote makes it easy to surf ), and it may well be that this change has weakened the television advertising market. But does anyone believe we should regulate remotes to reinforce commercial television? (Maybe by limiting them to function only once a second, or to switch to only ten channels within an hour?) -

    +

    The 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 others. Its role is not to pick winners and protect them against loss. If the government did this generally, then we would never have any progress. As Microsoft chairman Bill Gates wrote in 1991, in a memo criticizing software -patents, “established companies have an interest in excluding future -competitors.”[123] And relative to a +patents, «established companies have an interest in excluding future +competitors.»[123] And relative to a startup, established companies also have the means. (Think RCA and FM radio.) A world in which competitors with new ideas must fight not only the market but also the government is a world in which competitors with new ideas will not succeed. It is a world of stasis and increasingly concentrated stagnation. It is the Soviet Union under Brezhnev. -

    Thus, while it is understandable for industries threatened with new technologies that change the way they do business to look to the government @@ -5030,15 +5033,15 @@ way that burdens speech and creativity, policy makers should be especially wary of the request. It is always a bad deal for the government to get into the business of regulating speech markets. The risks and dangers of that game are precisely why our framers created the First Amendment to our -Constitution: “Congress shall make no law … abridging the -freedom of speech.” So when Congress is being asked to pass laws that -would “abridge” the freedom of speech, it should ask— +Constitution: «Congress shall make no law … abridging the +freedom of speech.» So when Congress is being asked to pass laws that +would «abridge» the freedom of speech, it should ask— carefully—whether such regulation is justified.

    My argument just now, however, has nothing to do with whether the changes that are being pushed by the copyright warriors are -“justified.” My argument is about their effect. For before we +«justified.» My argument is about their effect. For before we get to the question of justification, a hard question that depends a great deal upon your values, we should first ask whether we understand the effect of the changes the content industry wants. @@ -5049,16 +5052,16 @@ 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 used around the world to kill disease-carrying pests. It was also used to -increase farm production. +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. -

    +

    But in 1962, Rachel Carson published Silent Spring, which argued that DDT, whatever its primary benefits, was also having unintended environmental consequences. Birds were losing the ability to -reproduce. Whole chains of the ecology were being destroyed. +reproduce. Whole chains of the ecology were being destroyed.

    No one set out to destroy the environment. Paul Müller certainly did not aim to harm any birds. But the effort to solve one set of problems produced @@ -5067,14 +5070,14 @@ 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. -

    +

    It is to this image precisely that Duke University law professor James Boyle -appeals when he argues that we need an “environmentalism” for -culture.[124] His point, and the point I +appeals when he argues that we need an «environmentalism» for +culture.[124] His point, and the point I want to develop in the balance of this chapter, is not that the aims of copyright are flawed. Or that authors should not be paid for their work. Or -that music should be given away “for free.” The point is that +that music should be given away «for free.» The point is that some of the ways in which we might protect authors will have unintended consequences for the cultural environment, much like DDT had for the natural environment. And just as criticism of DDT is not an endorsement of malaria @@ -5095,13 +5098,13 @@ for creativity.

    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. -

    10.2. Opphav

    +

    10.2. Opphav

    America copied English copyright law. Actually, we copied and improved -English copyright law. Our Constitution makes the purpose of “creative -property” rights clear; its express limitations reinforce the English +English copyright law. Our Constitution makes the purpose of «creative +property» rights clear; its express limitations reinforce the English aim to avoid overly powerful publishers.

    -The power to establish “creative property” rights is granted to +The power to establish «creative property» rights is granted to Congress in a way that, for our Constitution, at least, is very odd. Article I, section 8, clause 8 of our Constitution states that:

    @@ -5109,21 +5112,21 @@ I, section 8, clause 8 of our Constitution states that: Congress has the power to promote the Progress of Science and useful Arts, by securing for limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries. We can call this the -“Progress Clause,” for notice what this clause does not say. It -does not say Congress has the power to grant “creative property -rights.” It says that Congress has the power to promote +«Progress Clause,» for notice what this clause does not say. It +does not say Congress has the power to grant «creative property +rights.» It says that Congress has the power to promote progress. The grant of power is its purpose, and its purpose is a public one, not the purpose of enriching publishers, nor even primarily the purpose of rewarding authors.

    The Progress Clause expressly limits the term of copyrights. As we saw in -chapter 6, the +chapter 6, the English limited the term of copyright so as to assure that a few would not exercise disproportionate control over culture by exercising disproportionate control over publishing. We can assume the framers followed the English for a similar purpose. Indeed, unlike the English, the framers -reinforced that objective, by requiring that copyrights extend “to -Authors” only. +reinforced that objective, by requiring that copyrights extend «to +Authors» only.

    The design of the Progress Clause reflects something about the Constitution's design in general. To avoid a problem, the framers built @@ -5139,9 +5142,9 @@ checks and balances into the constitutional frame, structured to prevent otherwise inevitable concentrations of power.

    I doubt the framers would recognize the regulation we call -“copyright” today. The scope of that regulation is far beyond +«copyright» today. The scope of that regulation is far beyond anything they ever considered. To begin to understand what they did, we need -to put our “copyright” in context: We need to see how it has +to put our «copyright» in context: We need to see how it has changed in the 210 years since they first struck its design.

    @@ -5150,7 +5153,7 @@ technology, and some in light of changes in technology given a particular concentration of market power. In terms of our model, we started here:

    Figur 10.5. Copyright's regulation before the Internet.

    Copyright's regulation before the Internet.

    Vi kommer til å ende opp her: -

    Figur 10.6. “Opphavsrett” i dag.

    Opphavsrett i dag.

    +

    Figur 10.6. «Opphavsrett» i dag.

    Opphavsrett i dag.

    La meg forklare hvordan. @@ -5159,7 +5162,7 @@ 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.[125] This meant that there was no guaranteed public +rights that already protected creative authorship.[125] 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 @@ -5184,7 +5187,7 @@ 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.[126] +14 år.[126]

    Dette fornyelsessystemet var en avgjørende del av det amerikanske systemet @@ -5196,11 +5199,11 @@ 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.[127] +work to pass into the public domain.[127]

    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.[128] When that +print after one year.[128] When that happens, the used books are traded free of copyright regulation. Thus the books are no longer effectively controlled by copyright. The only practical commercial use of the books at that time is to @@ -5242,7 +5245,7 @@ be those that had some continuing commercial value.

    The United States abandoned this sensible system in 1976. For all works created after 1978, there was only one copyright term—the maximum -term. For “natural” authors, that term was life plus fifty +term. For «natural» authors, that term was life plus fifty years. For corporations, the term was seventy-five years. Then, in 1992, Congress abandoned the renewal requirement for all works created before 1978. All works still under copyright would be accorded the maximum term @@ -5253,28 +5256,28 @@ that works that were no longer exploited passed into the public domain. And indeed, after these changes, it is unclear whether it is even possible to put works into the public domain. The public domain is orphaned by these changes in copyright law. Despite the requirement that terms be -“limited,” we have no evidence that anything will limit them. +«limited,» we have no evidence that anything will limit them.

    The effect of these changes on the average duration of copyright is dramatic. In 1973, more than 85 percent of copyright owners failed to renew their copyright. That meant that the average term of copyright in 1973 was just 32.2 years. Because of the elimination of the renewal requirement, the average term of copyright is now the maximum term. In thirty years, then, -the average term has tripled, from 32.2 years to 95 years.[129] +the average term has tripled, from 32.2 years to 95 years.[129]

    10.4. Loven: Virkeområde

    -The “scope” of a copyright is the range of rights granted by +The «scope» of a copyright is the range of rights granted by the law. The scope of American copyright has changed dramatically. Those changes are not necessarily bad. But we should understand the extent of the changes if we're to keep this debate in context.

    -In 1790, that scope was very narrow. Copyright covered only “maps, -charts, and books.” That means it didn't cover, for example, music or +In 1790, that scope was very narrow. Copyright covered only «maps, +charts, and books.» That means it didn't cover, for example, music or architecture. More significantly, the right granted by a copyright gave the -author the exclusive right to “publish” copyrighted works. That +author the exclusive right to «publish» copyrighted works. That means someone else violated the copyright only if he republished the work without the copyright owner's permission. Finally, the right granted by a copyright was an exclusive right to that particular book. The right did not -extend to what lawyers call “derivative works.” It would not, +extend to what lawyers call «derivative works.» It would not, therefore, interfere with the right of someone other than the author to translate a copyrighted book, or to adapt the story to a different form (such as a drama based on a published book). @@ -5284,10 +5287,10 @@ are extremely hard to describe simply, in general terms, the right covers practically any creative work that is reduced to a tangible form. It covers music as well as architecture, drama as well as computer programs. It gives the copyright owner of that creative work not only the exclusive right to -“publish” the work, but also the exclusive right of control -over any “copies” of that work. And most significant for our +«publish» the work, but also the exclusive right of control +over any «copies» of that work. And most significant for our purposes here, the right gives the copyright owner control over not only his -or her particular work, but also any “derivative work” that +or her particular work, but also any «derivative work» that might grow out of the original work. In this way, the right covers more creative work, protects the creative work more broadly, and protects works that are based in a significant way on the initial creative work. @@ -5316,7 +5319,7 @@ that after the copyright expired, there would be a copy of the work somewhere so that it could be copied by others without locating the original author.

    -All of these “formalities” were abolished in the American +All of these «formalities» were abolished in the American system when we decided to follow European copyright law. There is no requirement that you register a work to get a copyright; the copyright now is automatic; the copyright exists whether or not you mark your work with a @@ -5330,7 +5333,7 @@ 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.[130] The Copyright Act was +United States.[130] The Copyright Act was thus a tiny regulation of a tiny proportion of a tiny part of the creative market in the United States—publishers.

    @@ -5356,8 +5359,8 @@ republish it or to share an excerpt.

    That much is the obvious part. Any system of copyright would control competing publishing. But there's a second part to the copyright of today -that is not at all obvious. This is the protection of “derivative -rights.” If you write a book, no one can make a movie out of your +that is not at all obvious. This is the protection of «derivative +rights.» If you write a book, no one can make a movie out of your book without permission. No one can translate it without permission. CliffsNotes can't make an abridgment unless permission is granted. All of these derivative uses of your original work are controlled by the copyright @@ -5381,20 +5384,20 @@ computer. I understand the wrong in duplicating and selling someone else's work. But whatever that wrong is, transforming someone else's work is a different wrong. Some view transformation as no wrong at all—they believe that our law, as the framers penned it, should not -protect derivative rights at all.[131] +protect derivative rights at all.[131] Whether or not you go that far, it seems plain that whatever wrong is involved is fundamentally different from the wrong of direct piracy.

    Yet copyright law treats these two different wrongs in the same way. I can go to court and get an injunction against your pirating my book. I can go to court and get an injunction against your transformative use of my -book.[132] These two different uses of my +book.[132] These two different uses of my creative work are treated the same.

    This again may seem right to you. If I wrote a book, then why should you be able to write a movie that takes my story and makes money from it without paying me or crediting me? Or if Disney creates a creature called -“Mickey Mouse,” why should you be able to make Mickey Mouse +«Mickey Mouse,» why should you be able to make Mickey Mouse toys and be the one to trade on the value that Disney originally created?

    These are good arguments, and, in general, my point is not that the @@ -5405,14 +5408,14 @@ 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.[133] +and the core of the regulation of copyright law is copies.[133]

    -“Copies.” That certainly sounds like the obvious thing for +«Copies.» That certainly sounds like the obvious thing for copyright law to regulate. But as with Jack Valenti's -argument at the start of this chapter, that “creative property” -deserves the “same rights” as all other property, it is the +argument at the start of this chapter, that «creative property» +deserves the «same rights» as all other property, it is the obvious that we need to be most careful about. For while it may be obvious that in the world before the Internet, copies were the obvious trigger for copyright law, upon reflection, it should be obvious @@ -5423,7 +5426,7 @@ 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,[134] +copyright automatically applies,[134] because it is clear that the current reach of copyright was never contemplated, much less chosen, by the legislators who enacted copyright law. @@ -5452,8 +5455,8 @@ paradigmatic use properly regulated by copyright regulation (see first diagram on next page).

    Til slutt er det en tynn skive av ellers regulert kopierings-bruk som -forblir uregluert på grunn av at loven anser dette som “rimelig -bruk”. +forblir uregluert på grunn av at loven anser dette som «rimelig +bruk».

    Figur 10.9. Republishing stands at the core of this circle of possible uses of a copyrighted work.

    Republishing stands at the core of this circle of possible uses of a copyrighted work.

    These are uses that themselves involve copying, but which the law treats as @@ -5462,19 +5465,19 @@ are free to quote from this book, even in a review that is quite negative, without my permission, even though that quoting makes a copy. That copy would ordinarily give the copyright owner the exclusive right to say whether the copy is allowed or not, but the law denies the owner any exclusive right -over such “fair uses” for public policy (and possibly First +over such «fair uses» for public policy (and possibly First Amendment) reasons. -

    Figur 10.10. Uregulert kopiering anses som “rimelig bruk”.

    Uregulert kopiering anses som rimelig bruk.

    Figur 10.11. Uses that before were presumptively unregulated are now presumptively +

    Figur 10.10. Uregulert kopiering anses som «rimelig bruk».

    Uregulert kopiering anses som rimelig bruk.

    Figur 10.11. Uses that before were presumptively unregulated are now presumptively regulated.

    Uses that before were presumptively unregulated are now presumptively regulated.

    In real space, then, the possible uses of a book are divided into three sorts: (1) unregulated uses, (2) regulated uses, and (3) regulated uses that -are nonetheless deemed “fair” regardless of the copyright +are nonetheless deemed «fair» regardless of the copyright owner's views.

    Enter the Internet—a distributed, digital network where every use of a -copyrighted work produces a copy.[135] And +copyrighted work produces a copy.[135] 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 @@ -5521,7 +5524,7 @@ 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 any transformation you make of creative work using a -machine. “Copy and paste” and “cut and paste” +machine. «Copy and paste» and «cut and paste» become crimes. Tinkering with a story and releasing it to others exposes the tinkerer to at least a requirement of justification. However troubling the expansion with respect to copying a particular work, it is extraordinarily @@ -5529,7 +5532,7 @@ troubling with respect to transformative uses of creative work.

    Third, this shift from category 1 to category 2 puts an extraordinary burden -on category 3 (“fair use”) that fair use never before had to +on category 3 («fair use») that fair use never before had to bear. If a copyright owner now tried to control how many times I could read a book on-line, the natural response would be to argue that this is a violation of my fair use rights. But there has never been any litigation @@ -5547,15 +5550,15 @@ when everything becomes presumptively regulated, then the protections of fair use are not enough.

    The case of Video Pipeline is a good example. Video Pipeline was in the -business of making “trailer” advertisements for movies +business of making «trailer» advertisements for movies available to video stores. The video stores displayed the trailers as a way to sell videos. Video Pipeline got the trailers from the film distributors, put the trailers on tape, and sold the tapes to the retail stores.

    The company did this for about fifteen years. Then, in 1997, it began to think about the Internet as another way to distribute these previews. The -idea was to expand their “selling by sampling” technique by -giving on-line stores the same ability to enable “browsing.” +idea was to expand their «selling by sampling» technique by +giving on-line stores the same ability to enable «browsing.» Just as in a bookstore you can read a few pages of a book before you buy the book, so, too, you would be able to sample a bit from the movie on-line before you bought it. @@ -5569,13 +5572,13 @@ talk about the matter—he had built a business on distributing this content as a way to help sell Disney films; he had customers who depended upon his delivering this content. Disney would agree to talk only if Video Pipeline stopped the distribution immediately. Video Pipeline thought it -was within their “fair use” rights to distribute the clips as +was within their «fair use» rights to distribute the clips as they had. So they filed a lawsuit to ask the court to declare that these rights were in fact their rights.

    Disney countersued—for $100 million in damages. Those damages were -predicated upon a claim that Video Pipeline had “willfully -infringed” on Disney's copyright. When a court makes a finding of +predicated upon a claim that Video Pipeline had «willfully +infringed» on Disney's copyright. When a court makes a finding of willful infringement, it can award damages not on the basis of the actual harm to the copyright owner, but on the basis of an amount set in the statute. Because Video Pipeline had distributed seven hundred clips of @@ -5589,19 +5592,19 @@ 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. -

    +

    Now, you might think this is a close case, and I think the courts would consider it a close case. My point here is to map the change that gives Disney this power. Before the Internet, Disney couldn't really control how people got access to their content. Once a video was in the marketplace, the -“first-sale doctrine” would free the seller to use the video as +«first-sale doctrine» would free the seller to use the video as he wished, including showing portions of it in order to engender sales of the entire movie video. But with the Internet, it becomes possible for Disney to centralize control over access to this content. Because each use of the Internet produces a copy, use on the Internet becomes subject to the copyright owner's control. The technology expands the scope of effective control, because the technology builds a copy into every transaction. -

    +

    No doubt, a potential is not yet an abuse, and so the potential for control @@ -5634,16 +5637,16 @@ 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. -

    +

    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 Casablanca. 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.[136] +juridiske konsekvenser hvis de gikk videre med sin plan.[136]

    Dette fikk Marx-brødrene til å svare tilbake med samme mynt. De advarte -Warner Brothers om at Marx-brødrene “var brødre lenge før dere var -det”.[137] Marx-brødrene eide derfor +Warner Brothers om at Marx-brødrene «var brødre lenge før dere var +det».[137] Marx-brødrene eide derfor ordet Brothers, og hvis Warner Brothers insisterte på å forsøke å kontrollere Casablanca, så ville Marx-brødrene insistere på kontroll over Brothers. @@ -5660,7 +5663,7 @@ 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. -

    +

    La oss se på livet til min Adobe eBook Reader.

    En ebok er en bok levert i elektronisk form. En Adobe eBook er ikke en bok @@ -5693,32 +5696,32 @@ button to hear Middlemarch read aloud through the computer.

    Her er e-boken for et annet allemannseid verk (inkludert oversettelsen): -Aristoteles Politikk -

    Figur 10.14. E-bok av Aristoteles “Politikk”

    E-bok av Aristoteles Politikk

    +Aristoteles Politikk +

    Figur 10.14. E-bok av Aristoteles «Politikk»

    E-bok av Aristoteles Politikk

    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.

    Figur 10.15. Liste med tillatelser for Aristotles "Politikk".

    Liste med tillatelser for Aristotles "Politikk".

    Finally (and most embarrassingly), here are the permissions for the original e-book version of my last book, The Future of Ideas: -

    Figur 10.16. Liste med tillatelser for “The Future of Ideas”.

    Liste med tillatelser for The Future of Ideas.

    +

    Figur 10.16. Liste med tillatelser for «The Future of Ideas».

    Liste med tillatelser for The Future of Ideas.

    Ingen kopiering, ingen utskrift, og våg ikke å prøve å lytte til denne boken!

    Now, the Adobe eBook Reader calls these controls -“permissions”— as if the publisher has the power to +«permissions»— as if the publisher has the power to control how you use these works. For works under copyright, the copyright owner certainly does have the power—up to the limits of the copyright law. But for work not under copyright, there is no such copyright -power.[138] When my e-book of +power.[138] When my e-book of Middlemarch says I have the permission to copy only ten text selections into the memory every ten days, what that really means is that the eBook Reader has enabled the publisher to control how I use the book on my computer, far beyond the control that the law would enable.

    The control comes instead from the code—from the technology within -which the e-book “lives.” Though the e-book says that these are -permissions, they are not the sort of “permissions” that most -of us deal with. When a teenager gets “permission” to stay out +which the e-book «lives.» Though the e-book says that these are +permissions, they are not the sort of «permissions» that most +of us deal with. When a teenager gets «permission» to stay out till midnight, she knows (unless she's Cinderella) that she can stay out till 2 A.M., but will suffer a punishment if she's caught. But when the Adobe eBook Reader says I have the permission to make ten copies of the text @@ -5733,8 +5736,8 @@ simply won't read aloud. These are controls, not permissions. Imagine a world where the Marx Brothers sold word processing software that, when you tried -to type “Warner Brothers,” erased “Brothers” from -the sentence. +to type «Warner Brothers,» erased «Brothers» from +the sentence.

    This is the future of copyright law: not so much copyright law as copyright code. The @@ -5758,12 +5761,12 @@ relations nightmare. Among the books that you could download for free on the Adobe site was a copy of Alice's Adventures in Wonderland. This wonderful book is in the public domain. Yet when you clicked on Permissions for that book, you got the following report: - -

    Figur 10.17. Liste med tillatelser for “Alice i Eventyrland”.

    Liste med tillatelser for Alice i Eventyrland.

    + +

    Figur 10.17. Liste med tillatelser for «Alice i Eventyrland».

    Liste med tillatelser for Alice i Eventyrland.

    Here was a public domain children's book that you were not allowed to copy, not allowed to lend, not allowed to give, and, as the -“permissions” indicated, not allowed to “read -aloud”! +«permissions» indicated, not allowed to «read +aloud»!

    The public relations nightmare attached to that final permission. For the text did not say that you were not permitted to use the Read Aloud button; @@ -5788,11 +5791,11 @@ 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. -

    +

    To see the point in a particularly absurd context, consider a favorite story of mine that makes the same point.

    -Consider the robotic dog made by Sony named “Aibo.” The Aibo +Consider the robotic dog made by Sony named «Aibo.» The Aibo learns tricks, cuddles, and follows you around. It eats only electricity and that doesn't leave that much of a mess (at least in your house).

    @@ -5804,12 +5807,12 @@ up aibopet.com (and aibohack.com, but that resolves to the same site), and on that site he provided information about how to teach an Aibo to do tricks in addition to the ones Sony had taught it.

    -“Teach” here has a special meaning. Aibos are just cute +«Teach» here has a special meaning. Aibos are just cute computers. You teach a computer how to do something by programming it differently. So to say that aibopet.com was giving information about how to teach the dog to do new tricks is just to say that aibopet.com was giving information to users of the Aibo pet about how to hack their computer -“dog” to make it do new tricks (thus, aibohack.com). +«dog» to make it do new tricks (thus, aibohack.com).

    If you're not a programmer or don't know many programmers, the word hack has a particularly unfriendly @@ -5819,7 +5822,7 @@ movies do even worse. But to programmers, or coders, as I call them, term. Hack just means code that enables the program to do something it wasn't originally intended or enabled to do. If you buy a new printer for an old computer, you might find the old computer doesn't -run, or “drive,” the printer. If you discovered that, you'd +run, or «drive,» the printer. If you discovered that, you'd later be happy to discover a hack on the Net by someone who has written a driver to enable the computer to drive the printer you just bought.

    @@ -5834,7 +5837,7 @@ 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. -

    +

    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 @@ -5857,7 +5860,7 @@ 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.

    -But Felten's bravery was really tested in April 2001.[139] He and a group of colleagues were working on a +But Felten's bravery was really tested in April 2001.[139] 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. @@ -5865,9 +5868,9 @@ Initiative as a technique to control the distribution of music. The SDMI coalition had as its goal a technology to enable content owners to exercise much better control over their content than the Internet, as it originally stood, granted them. Using encryption, SDMI hoped to develop a -standard that would allow the content owner to say “this music cannot -be copied,” and have a computer respect that command. The technology -was to be part of a “trusted system” of control that would get +standard that would allow the content owner to say «this music cannot +be copied,» and have a computer respect that command. The technology +was to be part of a «trusted system» of control that would get content owners to trust the system of the Internet much more.

    When SDMI thought it was close to a standard, it set up a competition. In @@ -5902,7 +5905,7 @@ 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. -

    +

    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: @@ -5911,7 +5914,7 @@ RIAA lawyer that read: Any disclosure of information gained from participating in the Public Challenge would be outside the scope of activities permitted by the Agreement and could subject you and your research team to actions under the -Digital Millennium Copyright Act (“DMCA”). +Digital Millennium Copyright Act («DMCA»).

    In both cases, this weirdly Orwellian law was invoked to control the spread of information. The Digital Millennium Copyright Act made spreading such @@ -5938,7 +5941,7 @@ 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. -

    +

    Aibopet.com and Felten make the point. The Aibo hack circumvented a copyright protection system for the purpose of enabling the dog to dance @@ -5956,30 +5959,30 @@ 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. -

    +

    The bizarreness of these arguments is captured in a cartoon drawn in 1981 by Paul Conrad. At that time, a court in California had held that the VCR could be banned because it was a copyright-infringing technology: It enabled consumers to copy films without the permission of the copyright owner. No doubt there were uses of the technology that were legal: Fred Rogers, aka -“Mr. Rogers,” for example, had testified +«Mr. Rogers,» for example, had testified in that case that he wanted people to feel free to tape Mr. Rogers' -Neighborhood. +Neighborhood.

    Some public stations, as well as commercial stations, program the -“Neighborhood” at hours when some children cannot use it. I +«Neighborhood» at hours when some children cannot use it. I think that it's a real service to families to be able to record such programs and show them at appropriate times. I have always felt that with the advent of all of this new technology that allows people to tape the -“Neighborhood” off-the-air, and I'm speaking for the -“Neighborhood” because that's what I produce, that they then +«Neighborhood» off-the-air, and I'm speaking for the +«Neighborhood» because that's what I produce, that they then become much more active in the programming of their family's television life. Very frankly, I am opposed to people being programmed by others. My -whole approach in broadcasting has always been “You are an important -person just the way you are. You can make healthy decisions.” Maybe +whole approach in broadcasting has always been «You are an important +person just the way you are. You can make healthy decisions.» Maybe I'm going on too long, but I just feel that anything that allows a person to be more active in the control of his or her life, in a healthy way, is -important.[140] +important.[140]

    @@ -5988,7 +5991,7 @@ that were illegal, the court held the companies producing the VCR responsible.

    This led Conrad to draw the cartoon below, which we can adopt to the DMCA. - +

    No argument I have can top this picture, but let me try to get close.

    @@ -6010,8 +6013,8 @@ are legal, despite the harm they can do, while VCRs (and circumvention technologies) are illegal. Flash: No one ever died from copyright circumvention. 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. -

    +guns, despite the obvious and tragic harm they do. +

    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 @@ -6045,7 +6048,7 @@ For example, imagine you were part of a Star Trek 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.[141] +continue it.[141]

    Before the Internet, this was, in effect, a totally unregulated activity. No matter what happened inside your club room, you would never be interfered @@ -6103,13 +6106,13 @@ Det er her to sorter endringer: omfanget av konsentrasjon, og dens natur.

    Changes in scope are the easier ones to describe. As Senator John McCain summarized the data produced in the FCC's review of media ownership, -“five companies control 85 percent of our media -sources.”[142] The five recording +«five companies control 85 percent of our media +sources.»[142] 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.[143] The “five largest cable companies pipe +Group, and EMI control 84.8 percent of the U.S. music market.[143] The «five largest cable companies pipe programming to 74 percent of the cable subscribers -nationwide.”[144] - +nationwide.»[144] +

    The story with radio is even more dramatic. Before deregulation, the @@ -6133,7 +6136,7 @@ market.

    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, +article about Rupert Murdoch,

    Murdoch's companies now constitute a production system unmatched in its integration. They supply content—Fox movies … Fox TV shows @@ -6143,7 +6146,7 @@ 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.[145] +system will serve the same function in the United States.[145]

    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 @@ -6163,7 +6166,7 @@ begynt

    Her er en representativ historie som kan foreslå hvorfor denne integreringen er viktig. -

    +

    I 1969 laget Norman Lear en polit for All in the Family. 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 @@ -6174,7 +6177,7 @@ 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.[146] +nettverk-kontroll.[146]

    @@ -6184,23 +6187,23 @@ networks from controlling the content they syndicated. The law required a separation between the networks and the content producers; that separation would guarantee Lear freedom. And as late as 1992, because of these rules, the vast majority of prime time television—75 percent of it—was -“independent” of the networks. +«independent» of the networks.

    In 1994, the FCC abandoned the rules that required this independence. After that change, the networks quickly changed the balance. In 1985, there were twenty-five independent television production studios; in 2002, only five -independent television studios remained. “In 1992, only 15 percent of +independent television studios remained. «In 1992, only 15 percent of new series were produced for a network by a company it controlled. Last year, the percentage of shows produced by controlled companies more than -quintupled to 77 percent.” “In 1992, 16 new series were +quintupled to 77 percent.» «In 1992, 16 new series were produced independently of conglomerate control, last year there was -one.”[147] In 2002, 75 percent of -prime time television was owned by the networks that ran it. “In the +one.»[147] In 2002, 75 percent of +prime time television was owned by the networks that ran it. «In the ten-year period between 1992 and 2002, the number of prime time television hours per week produced by network studios increased over 200%, whereas the number of prime time television hours per week produced by independent -studios decreased 63%.”[148] -

    +studios decreased 63%.»[148] +

    Today, another Norman Lear with another All in the Family 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 @@ -6208,14 +6211,14 @@ increasingly owned by the network.

    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, - +

    Well, if you have companies that produce, that finance, that air on their channel and then distribute worldwide everything that goes through their controlled distribution system, then what you get is fewer and fewer actual voices participating in the process. [We u]sed to have dozens and dozens of thriving independent production companies producing television programs. Now -you have less than a handful.[149] +you have less than a handful.[149]

    This narrowing has an effect on what is produced. The product of such large and concentrated networks is increasingly homogenous. Increasingly @@ -6226,16 +6229,16 @@ feel a bit like the communist party. No one can question without risk of consequence—not necessarily banishment to Siberia, but punishment nonetheless. Independent, critical, different views are quashed. This is not the environment for a democracy. -

    +

    Economics itself offers a parallel that explains why this integration affects creativity. Clay Christensen has written about the -“Innovator's Dilemma”: the fact that large traditional firms +«Innovator's Dilemma»: the fact that large traditional firms find it rational to ignore new, breakthrough technologies that compete with their core business. The same analysis could help explain why large, traditional media companies would find it rational to ignore new cultural -trends.[150] Lumbering giants not only +trends.[150] 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. +there will be far too little sprinting.

    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 @@ -6268,7 +6271,7 @@ through votes that we are to choose policy. But to do that, we depend fundamentally upon the press to help inform Americans about these issues.

    Beginning in 1998, the Office of National Drug Control Policy launched a -media campaign as part of the “war on drugs.” The campaign +media campaign as part of the «war on drugs.» The campaign produced scores of short film clips about issues related to illegal drugs. In one series (the Nick and Norm series) two men are in a bar, discussing the idea of legalizing drugs as a way to avoid some of the @@ -6293,13 +6296,13 @@ world to help you get your message out. Can you be sure your message will be heard then?

    No. You cannot. Television stations have a general policy of avoiding -“controversial” ads. Ads sponsored by the government are deemed +«controversial» ads. Ads sponsored by the government are deemed uncontroversial; ads disagreeing with the government are controversial. This selectivity might be thought inconsistent with the First Amendment, but the Supreme Court has held that stations have the right to choose what they run. Thus, the major channels of commercial media will refuse one side of a crucial debate the opportunity to present its case. And the courts will -defend the rights of the stations to be this biased.[151] +defend the rights of the stations to be this biased.[151]

    I'd be happy to defend the networks' rights, as well—if we lived in a media market that was truly diverse. But concentration in the media throws @@ -6309,21 +6312,21 @@ 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. -

    10.8. Sammen

    +

    10.8. Sammen

    There is something innocent and obvious about the claim of the copyright -warriors that the government should “protect my property.” In +warriors that the government should «protect my property.» In the abstract, it is obviously true and, ordinarily, totally harmless. No sane sort who is not an anarchist could disagree.

    -But when we see how dramatically this “property” has +But when we see how dramatically this «property» has changed— when we recognize how it might now interact with both technology and markets to mean that the effective constraint on the liberty to cultivate our culture is dramatically different—the claim begins to seem less innocent and obvious. Given (1) the power of technology to supplement the law's control, and (2) the power of concentrated markets to weaken the opportunity for dissent, if strictly enforcing the massively -expanded “property” rights granted by copyright fundamentally +expanded «property» rights granted by copyright fundamentally changes the freedom within this culture to cultivate and build upon our past, then we have to ask whether this property should be redefined.

    @@ -6372,7 +6375,7 @@ part of the creative energy of a nation at the founding—is now a massive regulation of the overall creative process. Law plus technology plus the market now interact to turn this historically benign regulation into the most significant regulation of culture that our free society has -known.[152] +known.[152]

    This has been a long chapter. Its point can now be briefly stated.

    @@ -6423,31 +6426,31 @@ I have no doubt that it does good in regulating commercial copying. But I also have no doubt that it does more harm than good when regulating (as it regulates just now) noncommercial copying and, especially, noncommercial transformation. And increasingly, for the reasons sketched especially in -chapters 7 and -8, one might +chapters 7 and +8, one might well wonder whether it does more harm than good for commercial transformation. More commercial transformative work would be created if derivative rights were more sharply restricted.

    The issue is therefore not simply whether copyright is property. Of course -copyright is a kind of “property,” and of course, as with any +copyright is a kind of «property,» and of course, as with any property, the state ought to protect it. But first impressions notwithstanding, historically, this property right (as with all property -rights[153]) has been crafted to balance +rights[153]) has been crafted to balance the important need to give authors and artists incentives with the equally important need to assure access to creative work. This balance has always been struck in light of new technologies. And for almost half of our -tradition, the “copyright” did not control at +tradition, the «copyright» did not control at all 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. -

    +

    We achieved that free culture because our law respected important limits on -the scope of the interests protected by “property.” The very -birth of “copyright” as a statutory right recognized those +the scope of the interests protected by «property.» The very +birth of «copyright» as a statutory right recognized those limits, by granting copyright owners protection for a limited time only (the -story of chapter 6). The tradition of “fair use” is animated by +story of chapter 6). The tradition of «fair use» is animated by a similar concern that is increasingly under strain as the costs of exercising any fair use right become unavoidably high (the story of chapter 7). Adding statutory rights where markets might stifle innovation is another @@ -6468,7 +6471,7 @@ 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. -


    [118] +


    [118] Home Recording of Copyrighted Works: Hearings on H.R. 4783, H.R. 4794, @@ -6476,18 +6479,18 @@ 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). -

    [119] +

    [119] -Lawyers speak of “property” not as an absolute thing, but as a +Lawyers speak of «property» not as an absolute thing, but as a bundle of rights that are sometimes associated with a particular -object. Thus, my “property right” to my car gives me the right +object. Thus, my «property right» to my car gives me the right to exclusive use, but not the right to drive at 150 miles an hour. For the -best effort to connect the ordinary meaning of “property” to -“lawyer talk,” see Bruce Ackerman, Private Property +best effort to connect the ordinary meaning of «property» to +«lawyer talk,» see Bruce Ackerman, Private Property and the Constitution (New Haven: Yale University Press, 1977), 26–27. -

    [120] +

    [120] By describing the way law affects the other three modalities, I don't mean @@ -6496,11 +6499,11 @@ only distinction is that it alone speaks as if it has a right self-consciously to change the other three. The right of the other three is more timidly expressed. See Lawrence Lessig, Code: And Other Laws of Cyberspace (New York: Basic Books, 1999): 90–95; -Lawrence Lessig, “The New Chicago School,” Journal +Lawrence Lessig, «The New Chicago School,» Journal of Legal Studies, June 1998. -

    [121] +

    [121] -Some people object to this way of talking about “liberty.” They +Some people object to this way of talking about «liberty.» They object because their focus when considering the constraints that exist at any particular moment are constraints imposed exclusively by the government. For instance, if a storm destroys a bridge, these people think @@ -6517,7 +6520,7 @@ defended freedom of speech, for example, from the tyranny of narrow minds, not from the fear of government prosecution; John Stuart Mill, On Liberty (Indiana: Hackett Publishing Co., 1978), 19. John R. Commons famously defended the economic freedom of labor from constraints -imposed by the market; John R. Commons, “The Right to Work,” in +imposed by the market; John R. Commons, «The Right to Work,» in Malcom Rutherford and Warren J. Samuels, eds., John R. Commons: Selected Essays (London: Routledge: 1997), 62. The Americans with Disabilities Act increases the liberty of people with physical @@ -6526,37 +6529,37 @@ making access to those places easier; 42 United States Code, 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. - -

    [122] +the effective liberty that each of these groups might face. + +

    [122] -See Geoffrey Smith, “Film vs. Digital: Can Kodak Build a -Bridge?” BusinessWeek online, 2 August 1999, available at link #23. For a more recent +See Geoffrey Smith, «Film vs. Digital: Can Kodak Build a +Bridge?» BusinessWeek online, 2 August 1999, available at link #23. For a more recent analysis of Kodak's place in the market, see Chana R. Schoenberger, -“Can Kodak Make Up for Lost Moments?” Forbes.com, 6 October +«Can Kodak Make Up for Lost Moments?» Forbes.com, 6 October 2003, available at link #24. -

    [123] +

    [123] Fred Warshofsky, The Patent Wars (New York: Wiley, 1994), 170–71. -

    [124] +

    [124] -Se for eksempel James Boyle, “A Politics of Intellectual Property: -Environmentalism for the Net?” Duke Law +Se for eksempel James Boyle, «A Politics of Intellectual Property: +Environmentalism for the Net?» Duke Law Journal 47 (1997): 87. -

    [125] +

    [125] William W. Crosskey, Politics and the Constitution in the History of the United States (London: Cambridge University Press, 1953), -vol. 1, 485–86: “extinguish[ing], by plain implication of `the +vol. 1, 485–86: «extinguish[ing], by plain implication of `the supreme Law of the Land,' the perpetual rights which authors had, -or were supposed by some to have, under the Common Law” -(emphasis added). -

    [126] +or were supposed by some to have, under the Common Law» +(emphasis added). +

    [126] Although 13,000 titles were published in the United States from 1790 to @@ -6572,85 +6575,85 @@ 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.

    [127] +years. Copyright Act of May 31, 1790, §1, 1 stat. 124.

    [127] Few copyright holders ever chose to renew their copyrights. For instance, of the 25,006 copyrights registered in 1883, only 894 were renewed in 1910. For a year-by-year analysis of copyright renewal rates, see Barbara A. Ringer, -“Study No. 31: Renewal of Copyright,” Studies on +«Study No. 31: Renewal of Copyright,» Studies on Copyright, vol. 1 (New York: Practicing Law Institute, 1963), 618. For a more recent and comprehensive analysis, see William M. Landes and -Richard A. Posner, “Indefinitely Renewable Copyright,” +Richard A. Posner, «Indefinitely Renewable Copyright,» University of Chicago Law Review 70 (2003): 471, -498–501, and accompanying figures.

    [128] +498–501, and accompanying figures.

    [128] -Se Ringer, kap. 9, n. 2.

    [129] +Se Ringer, kap. 9, n. 2.

    [129] These statistics are understated. Between the years 1910 and 1962 (the first year the renewal term was extended), the average term was never more than thirty-two years, and averaged thirty years. See Landes and Posner, -“Indefinitely Renewable Copyright,” loc. cit. -

    [130] +«Indefinitely Renewable Copyright,» loc. cit. +

    [130] -See Thomas Bender and David Sampliner, “Poets, Pirates, and the -Creation of American Literature,” 29 New York University +See Thomas Bender and David Sampliner, «Poets, Pirates, and the +Creation of American Literature,» 29 New York University Journal of International Law and Politics 255 (1997), and James Gilraeth, ed., Federal Copyright Records, 1790–1800 (U.S. G.P.O., 1987). -

    [131] +

    [131] -Jonathan Zittrain, “The Copyright Cage”, Legal -Affairs, julu/august 2003,tilgjengelig fra link #26. -

    [132] +Jonathan Zittrain, «The Copyright Cage», Legal +Affairs, julu/august 2003,tilgjengelig fra link #26. +

    [132] Professor Rubenfeld has presented a powerful constitutional argument about the difference that copyright law should draw (from the perspective of the -First Amendment) between mere “copies” and derivative -works. See Jed Rubenfeld, “The Freedom of Imagination: Copyright's -Constitutionality,” Yale Law Journal 112 -(2002): 1–60 (see especially pp. 53–59). -

    [133] +First Amendment) between mere «copies» and derivative +works. See Jed Rubenfeld, «The Freedom of Imagination: Copyright's +Constitutionality,» Yale Law Journal 112 +(2002): 1–60 (see especially pp. 53–59). +

    [133] This is a simplification of the law, but not much of one. The law certainly -regulates more than “copies”—a public performance of a +regulates more than «copies»—a public performance of a copyrighted song, for example, is regulated even though performance per se doesn't make a copy; 17 United States Code, section -106(4). And it certainly sometimes doesn't regulate a “copy”; +106(4). And it certainly sometimes doesn't regulate a «copy»; 17 United States Code, section 112(a). But the -presumption under the existing law (which regulates “copies;” +presumption under the existing law (which regulates «copies;» 17 United States Code, section 102) is that if there is a copy, there is a right. -

    [134] +

    [134] 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. -

    [135] +

    [135] -I don't mean “nature” in the sense that it couldn't be +I don't mean «nature» in the sense that it couldn't be different, but rather that its present instantiation entails a copy. Optical networks need not make copies of content they transmit, and a digital network could be designed to delete anything it copies so that the same number of copies remain. -

    [136] +

    [136] -Se David Lange, “Recognizing the Public Domain”, Law +Se David Lange, «Recognizing the Public Domain», Law and Contemporary Problems 44 (1981): 172–73. -

    [137] +

    [137] Ibid. Se også Vaidhyanathan, Copyrights and -Copywrongs, 1–3. -

    [138] +Copywrongs, 1–3. +

    [138] In principle, a contract might impose a requirement on me. I might, for @@ -6659,62 +6662,62 @@ 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. -

    [139] +

    [139] -See Pamela Samuelson, “Anticircumvention Rules: Threat to -Science,” Science 293 (2001): 2028; Brendan -I. Koerner, “Play Dead: Sony Muzzles the Techies Who Teach a Robot Dog -New Tricks,” American Prospect, January 2002; -“Court Dismisses Computer Scientists' Challenge to DMCA,” +See Pamela Samuelson, «Anticircumvention Rules: Threat to +Science,» Science 293 (2001): 2028; Brendan +I. Koerner, «Play Dead: Sony Muzzles the Techies Who Teach a Robot Dog +New Tricks,» American Prospect, January 2002; +«Court Dismisses Computer Scientists' Challenge to DMCA,» Intellectual Property Litigation Reporter, 11 -December 2001; Bill Holland, “Copyright Act Raising Free-Speech -Concerns,” Billboard, May 2001; Janelle Brown, -“Is the RIAA Running Scared?” Salon.com, April 2001; Electronic -Frontier Foundation, “Frequently Asked Questions about +December 2001; Bill Holland, «Copyright Act Raising Free-Speech +Concerns,» Billboard, May 2001; Janelle Brown, +«Is the RIAA Running Scared?» Salon.com, April 2001; Electronic +Frontier Foundation, «Frequently Asked Questions about Felten and USENIX v. RIAA -Legal Case,” available at link #27. -

    [140] +Legal Case,» available at link #27. +

    [140] Sony Corporation of America v. Universal City Studios, Inc., 464 U.S. 417, 455 fn. 27 (1984). Rogers never changed his view about the VCR. See James Lardner, Fast Forward: Hollywood, the Japanese, and the Onslaught of the VCR -(New York: W. W. Norton, 1987), 270–71. -

    [141] +(New York: W. W. Norton, 1987), 270–71. +

    [141] -For an early and prescient analysis, see Rebecca Tushnet, “Legal -Fictions, Copyright, Fan Fiction, and a New Common Law,” +For an early and prescient analysis, see Rebecca Tushnet, «Legal +Fictions, Copyright, Fan Fiction, and a New Common Law,» Loyola of Los Angeles Entertainment Law Journal 17 (1997): 651. -

    [142] +

    [142] FCC Oversight: Hearing Before the Senate Commerce, Science and Transportation Committee, 108th Cong., 1st sess. (22 May 2003) (statement -of Senator John McCain).

    [143] +of Senator John McCain).

    [143] -Lynette Holloway, “Despite a Marketing Blitz, CD Sales Continue to -Slide,” New York Times, 23 December 2002. -

    [144] +Lynette Holloway, «Despite a Marketing Blitz, CD Sales Continue to +Slide,» New York Times, 23 December 2002. +

    [144] -Molly Ivins, “Media Consolidation Must Be Stopped,” +Molly Ivins, «Media Consolidation Must Be Stopped,» Charleston Gazette, 31 May 2003. -

    [145] +

    [145] -James Fallows, “The Age of Murdoch”, Atlantic -Monthly (September 2003): 89. -

    [146] +James Fallows, «The Age of Murdoch», Atlantic +Monthly (September 2003): 89. +

    [146] -Leonard Hill, “The Axis of Access,” remarks before Weidenbaum -Center Forum, “Entertainment Economics: The Movie Industry,” +Leonard Hill, «The Axis of Access,» remarks before Weidenbaum +Center Forum, «Entertainment Economics: The Movie Industry,» St. Louis, Missouri, 3 April 2003 (transcript of prepared remarks available at link #28; for the Lear story, not included in the prepared remarks, see link #29). -

    [147] +

    [147] NewsCorp./DirecTV Merger and Media Consolidation: Hearings on Media @@ -6723,148 +6726,148 @@ sess. (2003) (testimony of Gene Kimmelman on behalf of Consumers Union and the Consumer Federation of America), available at link #30. Kimmelman quotes Victoria Riskin, president of Writers Guild of America, West, in her Remarks at FCC En Banc Hearing, Richmond, Virginia, 27 February 2003. -

    [148] +

    [148] ibid. -

    [149] +

    [149] -“Barry Diller Takes on Media Deregulation”, Now with +«Barry Diller Takes on Media Deregulation», Now with Bill Moyers, Bill Moyers, 25 April 2003, redigert avskrift tilgjengelig fra link #31. -

    [150] +

    [150] Clayton M. Christensen, The Innovator's Dilemma: The Revolutionary National Bestseller that Changed the Way We Do Business (Cambridge: Harvard Business School Press, 1997). Christensen acknowledges that the idea was first suggested by Dean -Kim Clark. See Kim B. Clark, “The Interaction of Design Hierarchies -and Market Concepts in Technological Evolution,” Research +Kim Clark. See Kim B. Clark, «The Interaction of Design Hierarchies +and Market Concepts in Technological Evolution,» Research Policy 14 (1985): 235–51. For a more recent study, see Richard Foster and Sarah Kaplan, Creative Destruction: Why Companies That Are Built to Last Underperform the Market—and How to Successfully Transform Them (New York: Currency/Doubleday, -2001).

    [151] +2001).

    [151] The Marijuana Policy Project, in February 2003, sought to place ads that directly responded to the Nick and Norm series on stations within the -Washington, D.C., area. Comcast rejected the ads as “against [their] -policy.” The local NBC affiliate, WRC, rejected the ads without +Washington, D.C., area. Comcast rejected the ads as «against [their] +policy.» The local NBC affiliate, WRC, rejected the ads without reviewing them. The local ABC affiliate, WJOA, originally agreed to run the ads and accepted payment to do so, but later decided not to run the ads and returned the collected fees. Interview with Neal Levine, 15 October 2003. These restrictions are, of course, not limited to drug policy. See, for -example, Nat Ives, “On the Issue of an Iraq War, Advocacy Ads Meet -with Rejection from TV Networks,” New York +example, Nat Ives, «On the Issue of an Iraq War, Advocacy Ads Meet +with Rejection from TV Networks,» New York Times, 13 March 2003, C4. Outside of election-related air time there is very little that the FCC or the courts are willing to do to even -the playing field. For a general overview, see Rhonda Brown, “Ad Hoc +the playing field. For a general overview, see Rhonda Brown, «Ad Hoc Access: The Regulation of Editorial Advertising on Television and -Radio,” Yale Law and Policy Review 6 (1988): +Radio,» Yale Law and Policy Review 6 (1988): 449–79, and for a more recent summary of the stance of the FCC and the courts, see Radio-Television News Directors Association v. FCC, 184 F. 3d 872 (D.C. Cir. 1999). Municipal authorities exercise the same authority as the networks. In a recent example from San Francisco, the San Francisco transit authority rejected an ad that criticized its Muni diesel buses. Phillip -Matier and Andrew Ross, “Antidiesel Group Fuming After Muni Rejects -Ad,” SFGate.com, 16 June 2003, available at link #32. The ground was that -the criticism was “too controversial.” - -

    [152] +Matier and Andrew Ross, «Antidiesel Group Fuming After Muni Rejects +Ad,» SFGate.com, 16 June 2003, available at link #32. The ground was that +the criticism was «too controversial.» + +

    [152] -Siva Vaidhyanathan fanger et lignende poeng i hans “fire -kapitulasjoner” for opphavsrettsloven i den digitale tidsalder. Se -Vaidhyanathan, 159–60. -

    [153] +Siva Vaidhyanathan fanger et lignende poeng i hans «fire +kapitulasjoner» for opphavsrettsloven i den digitale tidsalder. Se +Vaidhyanathan, 159–60. +

    [153] It was the single most important contribution of the legal realist movement to demonstrate that all property rights are always crafted to balance public -and private interests. See Thomas C. Grey, “The Disintegration of -Property,” in Nomos XXII: Property, J. Roland +and private interests. See Thomas C. Grey, «The Disintegration of +Property,» in Nomos XXII: Property, J. Roland Pennock and John W. Chapman, eds. (New York: New York University Press, -1980). -

    Del III. Nøtter

    Kapittel 11. Kapittel elleve: Chimera

    +1980). +

    Del III. Nøtter

    Kapittel elleve: Chimera

    In a well-known short story by H. G. Wells, a mountain climber named Nunez trips (literally, down an ice slope) into an unknown and isolated valley in -the Peruvian Andes.[154] The valley is -extraordinarily beautiful, with “sweet water, pasture, an even +the Peruvian Andes.[154] The valley is +extraordinarily beautiful, with «sweet water, pasture, an even climate, slopes of rich brown soil with tangles of a shrub that bore an -excellent fruit.” But the villagers are all blind. Nunez takes this -as an opportunity. “In the Country of the Blind,” he tells -himself, “the One-Eyed Man is King.” So he resolves to live +excellent fruit.» But the villagers are all blind. Nunez takes this +as an opportunity. «In the Country of the Blind,» he tells +himself, «the One-Eyed Man is King.» So he resolves to live with the villagers to explore life as a king.

    Things don't go quite as he planned. He tries to explain the idea of sight to the villagers. They don't understand. He tells them they are -“blind.” They don't have the word +«blind.» They don't have the word blind. They think he's just thick. Indeed, as they increasingly notice the things he can't do (hear the sound of grass being stepped on, for example), they increasingly try to control him. He, in turn, -becomes increasingly frustrated. “`You don't understand,' he cried, in +becomes increasingly frustrated. «`You don't understand,' he cried, in a voice that was meant to be great and resolute, and which broke. `You are -blind and I can see. Leave me alone!'” +blind and I can see. Leave me alone!'»

    The villagers don't leave him alone. Nor do they see (so to speak) the virtue of his special power. Not even the ultimate target of his affection, -a young woman who to him seems “the most beautiful thing in the whole -of creation,” understands the beauty of sight. Nunez's description of -what he sees “seemed to her the most poetical of fancies, and she +a young woman who to him seems «the most beautiful thing in the whole +of creation,» understands the beauty of sight. Nunez's description of +what he sees «seemed to her the most poetical of fancies, and she listened to his description of the stars and the mountains and her own sweet -white-lit beauty as though it was a guilty indulgence.” “She -did not believe,” Wells tells us, and “she could only half -understand, but she was mysteriously delighted.” -

    -When Nunez announces his desire to marry his “mysteriously -delighted” love, the father and the village object. “You see, -my dear,” her father instructs, “he's an idiot. He has -delusions. He can't do anything right.” They take Nunez to the +white-lit beauty as though it was a guilty indulgence.» «She +did not believe,» Wells tells us, and «she could only half +understand, but she was mysteriously delighted.» +

    +When Nunez announces his desire to marry his «mysteriously +delighted» love, the father and the village object. «You see, +my dear,» her father instructs, «he's an idiot. He has +delusions. He can't do anything right.» They take Nunez to the village doctor.

    -After a careful examination, the doctor gives his opinion. “His brain -is affected,” he reports. +After a careful examination, the doctor gives his opinion. «His brain +is affected,» he reports.

    -“What affects it?” the father asks. “Those queer things +«What affects it?» the father asks. «Those queer things that are called the eyes … are diseased … in such a way as to -affect his brain.” +affect his brain.»

    -The doctor continues: “I think I may say with reasonable certainty +The doctor continues: «I think I may say with reasonable certainty that in order to cure him completely, all that we need to do is a simple and easy surgical operation—namely, to remove these irritant bodies [the -eyes].” +eyes].»

    -“Thank Heaven for science!” says the father to the doctor. They +«Thank Heaven for science!» says the father to the doctor. They inform Nunez of this condition necessary for him to be allowed his bride. (You'll have to read the original to learn what happens in the end. I believe in free culture, but never in giving away the end of a story.) It sometimes happens that the eggs of twins fuse in the mother's womb. That -fusion produces a “chimera.” A chimera is a single creature +fusion produces a «chimera.» A chimera is a single creature with two sets of DNA. The DNA in the blood, for example, might be different from the DNA of the skin. This possibility is an underused plot for murder -mysteries. “But the DNA shows with 100 percent certainty that she was -not the person whose blood was at the scene. …” -

    +mysteries. «But the DNA shows with 100 percent certainty that she was +not the person whose blood was at the scene. …» +

    Before I had read about chimeras, I would have said they were impossible. A single person can't have two sets of DNA. The very idea of DNA is that it is the code of an individual. Yet in fact, not only can two individuals have the same set of DNA (identical twins), but one person can have two different -sets of DNA (a chimera). Our understanding of a “person” should +sets of DNA (a chimera). Our understanding of a «person» should reflect this reality.

    The more I work to understand the current struggle over copyright and culture, which I've sometimes called unfairly, and sometimes not unfairly -enough, “the copyright wars,” the more I think we're dealing -with a chimera. For example, in the battle over the question “What is -p2p file sharing?” both sides have it right, and both sides have it -wrong. One side says, “File sharing is just like two kids taping each +enough, «the copyright wars,» the more I think we're dealing +with a chimera. For example, in the battle over the question «What is +p2p file sharing?» both sides have it right, and both sides have it +wrong. One side says, «File sharing is just like two kids taping each others' records—the sort of thing we've been doing for the last thirty -years without any question at all.” That's true, at least in +years without any question at all.» That's true, at least in part. When I tell my best friend to try out a new CD that I've bought, but rather than just send the CD, I point him to my p2p server, that is, in all relevant respects, just like what every executive in every recording company @@ -6873,18 +6876,18 @@ no doubt did as a kid: sharing music. But the description is also false in part. For when my p2p server is on a p2p network through which anyone can get access to my music, then sure, my friends can get access, but it stretches the meaning of -“friends” beyond recognition to say “my ten thousand best -friends” can get access. Whether or not sharing my music with my best -friend is what “we have always been allowed to do,” we have not -always been allowed to share music with “our ten thousand best -friends.” +«friends» beyond recognition to say «my ten thousand best +friends» can get access. Whether or not sharing my music with my best +friend is what «we have always been allowed to do,» we have not +always been allowed to share music with «our ten thousand best +friends.»

    -Likewise, when the other side says, “File sharing is just like walking +Likewise, when the other side says, «File sharing is just like walking into a Tower Records and taking a CD off the shelf and walking out with -it,” that's true, at least in part. If, after Lyle Lovett (finally) +it,» that's true, at least in part. If, after Lyle Lovett (finally) releases a new album, rather than buying it, I go to Kazaa and find a free copy to take, that is very much like stealing a copy from Tower. - +

    @@ -6909,9 +6912,9 @@ 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.[155] +been proposed or actually implemented.[155] -

    +

    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 @@ -6937,7 +6940,7 @@ a kind of control over our culture that they have never had before. And in this extremism, many an opportunity for new innovation and new creativity will be lost.

    -I'm not talking about the opportunities for kids to “steal” +I'm not talking about the opportunities for kids to «steal» music. My focus instead is the commercial and cultural innovation that this war will also kill. We have never seen the power to innovate spread so broadly among our citizens, and we have just begun to see the innovation @@ -6963,33 +6966,33 @@ 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.[156] +everyone's interests.[156]

    In April 2001, eMusic.com was purchased by Vivendi Universal, one of -“the major labels.” Its position on these matters has now -changed. +«the major labels.» Its position on these matters has now +changed.

    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. -


    [154] +


    [154] -H. G. Wells, “The Country of the Blind” (1904, 1911). Se +H. G. Wells, «The Country of the Blind» (1904, 1911). Se H. G. Wells, The Country of the Blind and Other Stories, Michael Sherborne, ed. (New York: Oxford University Press, 1996). -

    [155] +

    [155] For an excellent summary, see the report prepared by GartnerG2 and the Berkman Center for Internet and Society at Harvard Law School, -“Copyright and Digital Media in a Post-Napster World,” 27 June +«Copyright and Digital Media in a Post-Napster World,» 27 June 2003, available at link #33. Reps. John Conyers Jr. (D-Mich.) and Howard L. Berman (D-Calif.) have introduced a bill that would treat unauthorized on-line copying as a felony offense with punishments ranging as high as five years -imprisonment; see Jon Healey, “House Bill Aims to Up Stakes on -Piracy,” Los Angeles Times, 17 July 2003, +imprisonment; see Jon Healey, «House Bill Aims to Up Stakes on +Piracy,» Los Angeles Times, 17 July 2003, available at link #34. Civil penalties are currently set at $150,000 per copied song. For a recent (and unsuccessful) legal challenge to the RIAA's demand @@ -7002,13 +7005,13 @@ furnish the RIAA with a powerful arsenal in its prosecution of file sharers. Settlements ranging from $12,000 to $17,500 for four students accused of heavy file sharing on university networks must have seemed a mere pittance next to the $98 billion the RIAA could seek should the matter -proceed to court. See Elizabeth Young, “Downloading Could Lead to -Fines,” redandblack.com, August 2003, available at link #35. For an example of the +proceed to court. See Elizabeth Young, «Downloading Could Lead to +Fines,» redandblack.com, August 2003, available at link #35. For an example of the RIAA's targeting of student file sharing, and of the subpoenas issued to universities to reveal student file-sharer identities, see James Collins, -“RIAA Steps Up Bid to Force BC, MIT to Name Students,” -Boston Globe, 8 August 2003, D3, available at link #36. -

    [156] +«RIAA Steps Up Bid to Force BC, MIT to Name Students,» +Boston Globe, 8 August 2003, D3, available at link #36. +

    [156] WIPO and the DMCA One Year Later: Assessing Consumer Access to Digital @@ -7016,28 +7019,28 @@ Entertainment on the Internet and Other Media: Hearing Before the Subcommittee on Telecommunications, Trade, and Consumer Protection, House Committee on Commerce, 106th Cong. 29 (1999) (statement of Peter Harter, vice president, Global Public Policy and Standards, EMusic.com), available -in LEXIS, Federal Document Clearing House Congressional Testimony File.

    Kapittel 12. Kapittel tolv: Skader

    -To fight “piracy,” to protect “property,” the +in LEXIS, Federal Document Clearing House Congressional Testimony File.

    Kapittel tolv: Skader

    +To fight «piracy,» to protect «property,» the content industry has launched a war. Lobbying and lots of campaign contributions have now brought the government into this war. As with any war, this one will have both direct and collateral damage. As with any war of prohibition, these damages will be suffered most by our own people.

    My aim so far has been to describe the consequences of this war, in -particular, the consequences for “free culture.” But my aim now +particular, the consequences for «free culture.» But my aim now is to extend this description of consequences into an argument. Is this war justified?

    In my view, it is not. There is no good reason why this time, for the first time, the law should defend the old against the new, just when the power of -the property called “intellectual property” is at its greatest +the property called «intellectual property» is at its greatest in our history. -

    -Yet “common sense” does not see it this way. Common sense is +

    +Yet «common sense» does not see it this way. Common sense is still on the side of the Causbys and the content industry. The extreme claims of control in the name of property still resonate; the uncritical -rejection of “piracy” still has play. -

    +rejection of «piracy» still has play. +

    There will be many consequences of continuing this war. I want to describe @@ -7059,11 +7062,11 @@ statement. You could write a poem to express your love, or you could weave together a string—a mash-up— of songs from your favorite artists in a collage and make it available on the Net.

    -This digital “capturing and sharing” is in part an extension of +This digital «capturing and sharing» is in part an extension of the capturing and sharing that has always been integral to our culture, and in part it is something new. It is continuous with the Kodak, but it explodes the boundaries of Kodak-like technologies. The technology of -digital “capturing and sharing” promises a world of +digital «capturing and sharing» promises a world of extraordinarily diverse creativity that can be easily and broadly shared. And as that creativity is applied to democracy, it will enable a broad range of citizens to use technology to express and criticize and @@ -7095,32 +7098,32 @@ was just one) were threatened with a $98 billion lawsuit for building search engines that permitted songs to be copied. Yet World-Com—which defrauded investors of $11 billion, resulting in a loss to investors in market capitalization of over $200 billion—received a fine of a mere -$750 million.[157] And under legislation +$750 million.[157] 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.[158] Can +damages for pain and suffering.[158] 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? -

    +negligently butchering a patient? +

    The consequence of this legal uncertainty, tied to these extremely high penalties, is that an extraordinary amount of creativity will either never be exercised, or never be exercised in the open. We drive this creative process underground by branding the modern-day Walt Disneys -“pirates.” We make it impossible for businesses to rely upon a +«pirates.» We make it impossible for businesses to rely upon a public domain, because the boundaries of the public domain are designed to be unclear. It never pays to do anything except pay for the right to create, and hence only those who can pay are allowed to create. As was the case in the Soviet Union, though for very different reasons, we will begin to see a world of underground art—not because the message is necessarily political, or because the subject is controversial, but because the very act -of creating the art is legally fraught. Already, exhibits of “illegal -art” tour the United States.[159] In -what does their “illegality” consist? In the act of mixing the +of creating the art is legally fraught. Already, exhibits of «illegal +art» tour the United States.[159] In +what does their «illegality» consist? In the act of mixing the culture around us with an expression that is critical or reflective.

    Part of the reason for this fear of illegality has to do with the changing -law. I described that change in detail in chapter 10. But an even bigger part has to do with +law. I described that change in detail in chapter 10. But an even bigger part has to do with the increasing ease with which infractions can be tracked. As users of file-sharing systems discovered in 2002, it is a trivial matter for copyright owners to get courts to order Internet service providers to reveal @@ -7139,7 +7142,7 @@ monopolized market in cultural icons; the right to cultivate and transform them is not similarly free.

    Lawyers rarely see this because lawyers are rarely empirical. As I described -in chapter 7, in +in chapter 7, in response to the story about documentary filmmaker Jon Else, I have been lectured again and again by lawyers who insist Else's use was fair use, and hence I am wrong to say that the law regulates such a use. @@ -7157,20 +7160,20 @@ For everyone else, it is an embarrassment to a tradition that prides itself on the rule of law.

    Judges and lawyers can tell themselves that fair use provides adequate -“breathing room” between regulation by the law and the access +«breathing room» between regulation by the law and the access the law should allow. But it is a measure of how out of touch our legal system has become that anyone actually believes this. The rules that publishers impose upon writers, the rules that film distributors impose upon filmmakers, the rules that newspapers impose upon journalists— these are the real laws governing creativity. And these rules have little -relationship to the “law” with which judges comfort themselves. +relationship to the «law» with which judges comfort themselves.

    For in a world that threatens $150,000 for a single willful infringement of a copyright, and which demands tens of thousands of dollars to even defend against a copyright infringement claim, and which would never return to the wrongfully accused defendant anything of the costs she suffered to defend her right to speak—in that world, the astonishingly broad regulations -that pass under the name “copyright” silence speech and +that pass under the name «copyright» silence speech and creativity. And in that world, it takes a studied blindness for people to continue to believe they live in a culture that is free.

    @@ -7182,7 +7185,7 @@ being forced not to express themselves. Thoughts are not being expressed. And while a lot of stuff may [still] be created, it still won't get distributed. Even if the stuff gets made … you're not going to get it distributed in the mainstream media unless you've got a little note -from a lawyer saying, “This has been cleared.” You're not even +from a lawyer saying, «This has been cleared.» You're not even going to get it on PBS without that kind of permission. That's the point at which they control it.

    12.2. Constraining Innovators

    @@ -7197,10 +7200,10 @@ But there's an aspect of this story that is not lefty in any sense. Indeed, it is an aspect that could be written by the most extreme promarket ideologue. And if you're one of these sorts (and a special one at that, 188 pages into a book like this), then you can see this other aspect by -substituting “free market” every place I've spoken of -“free culture.” The point is the same, even if the interests +substituting «free market» every place I've spoken of +«free culture.» The point is the same, even if the interests affecting culture are more fundamental. -

    +

    The charge I've been making about the regulation of culture is the same charge free marketers make about regulating markets. Everyone, of course, concedes that some regulation of markets is necessary—at a minimum, we @@ -7211,22 +7214,22 @@ 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. -

    +

    This is the single most dramatic effect of the shift in regulatory strategy -that I described in chapter 10. The consequence of this massive threat of liability +that I described in chapter 10. The consequence of this massive threat of liability tied to the murky boundaries of copyright law is that innovators who want to innovate in this space can safely innovate only if they have the sign-off from last generation's dominant industries. That lesson has been taught through a series of cases that were designed and executed to teach venture capitalists a lesson. That lesson—what former Napster CEO Hank Barry -calls a “nuclear pall” that has fallen over the +calls a «nuclear pall» that has fallen over the Valley—has been learned.

    Consider one example to make the point, a story whose beginning I told in The Future of Ideas and which has progressed in a way that even I (pessimist extraordinaire) would never have predicted. -

    +

    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 @@ -7238,7 +7241,7 @@ To make this system work, however, MP3.com needed a reliable way to recommend music to its users. The idea behind this alternative was to leverage the revealed preferences of music listeners to recommend new artists. If you like Lyle Lovett, you're likely to enjoy Bonnie Raitt. And -so on. +so on.

    This idea required a simple way to gather data about user preferences. MP3.com came up with an extraordinarily clever way to gather this preference @@ -7293,11 +7296,11 @@ 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. -

    +

    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).[160] The claim here, as well, was that the VC should +cofounder ( John Hummer), and general partner (Hank Barry).[160] 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 @@ -7307,17 +7310,17 @@ not just in the marketplace, but in the courtroom as well. Your investment buys you not only a company, it also buys you a lawsuit. So extreme has the environment become that even car manufacturers are afraid of technologies that touch content. In an article in Business 2.0, -Rafe Needleman describes a discussion with BMW: -

    +Rafe Needleman describes a discussion with BMW: +

    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. … [161] +sold in the United States with bona fide MP3 players. … [161]

    -Dette er verden til mafiaen—fylt med “penger eller -livet”-trusler, som ikke er regulert av domstolene men av trusler som +Dette er verden til mafiaen—fylt med «penger eller +livet»-trusler, som ikke er regulert av domstolene men av trusler som loven gir rettighetsinnehaver mulighet til å komme med. Det er et system som åpenbart og nødvendigvis vil kvele ny innovasjon. Det er vanskelig nok å starte et selskap. Det blir helt umulig hvis selskapet er stadig truet av @@ -7327,7 +7330,7 @@ s The point is not that businesses should have a right to start illegal -enterprises. The point is the definition of “illegal.” The law +enterprises. The point is the definition of «illegal.» The law is a mess of uncertainty. We have no good way to know how it should apply to new technologies. Yet by reversing our tradition of judicial deference, and by embracing the astonishingly high penalties that copyright law imposes, @@ -7337,9 +7340,9 @@ 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. -

    +

    The point is directly parallel to the crunchy-lefty point about fair -use. Whatever the “real” law is, realism about the effect of +use. Whatever the «real» law is, realism about the effect of law in both contexts is the same. This wildly punitive system of regulation will systematically stifle creativity and innovation. It will protect some industries and some creators, but it will harm industry and creativity @@ -7371,22 +7374,22 @@ content. The motivation for this response is obvious. The Internet enables the efficient spread of content. That efficiency is a feature of the Internet's design. But from the perspective of the content industry, this feature is a -“bug.” The efficient spread of content means that content +«bug.» The efficient spread of content means that content distributors have a harder time controlling the distribution of content. One obvious response to this efficiency is thus to make the Internet less -efficient. If the Internet enables “piracy,” then, this +efficient. If the Internet enables «piracy,» then, this response says, we should break the kneecaps of the Internet. -

    +

    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.[162] Congress has already launched proceedings to -explore a mandatory “broadcast flag” that would be required on +or not, and to disable the spread of protected content.[162] Congress has already launched proceedings to +explore a mandatory «broadcast flag» that would be required on any device capable of transmitting digital video (i.e., a computer), and that would disable the copying of any content that is marked with a broadcast flag. Other members of Congress have proposed immunizing content providers from liability for technology they might deploy that would hunt -down copyright violators and disable their machines.[163] +down copyright violators and disable their machines.[163]

    In one sense, these solutions seem sensible. If the problem is the code, why @@ -7397,9 +7400,9 @@ will likely be eclipsed by advances around exactly those requirements.

    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.[164] Their argument was obviously +impose.[164] Their argument was obviously not that copyright should not be protected. Instead, they argued, any -protection should not do more harm than good. +protection should not do more harm than good.

    There is one more obvious way in which this war has harmed innovation—again, a story that will be quite familiar to the free @@ -7410,9 +7413,9 @@ 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.

    -As I described in chapter 10, despite this feature of copyright as regulation, and +As I described in chapter 10, despite this feature of copyright as regulation, and subject to important qualifications outlined by Jessica Litman in her book -Digital Copyright,[165] overall this history of copyright is not bad. As chapter 10 +Digital Copyright,[165] 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 @@ -7424,22 +7427,22 @@ 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.

    -The response by the courts has been fairly universal.[166] It has been mirrored in the responses threatened +The response by the courts has been fairly universal.[166] It has been mirrored in the responses threatened and actually implemented by Congress. I won't catalog all of those responses -here.[167] But there is one example that +here.[167] But there is one example that captures the flavor of them all. This is the story of the demise of Internet radio. -

    +

    -As I described in chapter 4, when a radio station plays a song, the recording artist -doesn't get paid for that “radio performance” unless he or she +As I described in chapter 4, when a radio station plays a song, the recording artist +doesn't get paid for that «radio performance» unless he or she is also the composer. So, for example if Marilyn Monroe had recorded a -version of “Happy Birthday”—to memorialize her famous +version of «Happy Birthday»—to memorialize her famous performance before President Kennedy at Madison Square Garden— then whenever that recording was played on the radio, the current copyright -owners of “Happy Birthday” would get some money, whereas -Marilyn Monroe would not. +owners of «Happy Birthday» would get some money, whereas +Marilyn Monroe would not.

    The reasoning behind this balance struck by Congress makes some sense. The justification was that radio was a kind of advertising. The recording artist @@ -7453,7 +7456,7 @@ compensation to the recording artists. Enter Internet radio. Like regular radio, Internet radio is a technology to stream content from a broadcaster to a listener. The broadcast travels across the Internet, not across the ether of radio spectrum. Thus, I can -“tune in” to an Internet radio station in Berlin while sitting +«tune in» to an Internet radio station in Berlin while sitting in San Francisco, even though there's no way for me to tune in to a regular radio station much beyond the San Francisco metropolitan area.

    @@ -7467,7 +7470,7 @@ 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. -

    +

    @@ -7489,11 +7492,11 @@ 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.[168] +shackles.[168]

    This potential for FM radio was never realized—not because Armstrong was wrong about the technology, but because he underestimated the power of -“vested interests, habits, customs and legislation”[169] to retard the growth of this competing technology. +«vested interests, habits, customs and legislation»[169] to retard the growth of this competing technology.

    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 @@ -7508,7 +7511,7 @@ lobby, the RIAA. Thus when Congress considered the phenomenon of Internet radio in 1995, the lobbyists had primed Congress to adopt a different rule for Internet radio than the rule that applies to terrestrial radio. While terrestrial radio does not have to pay our hypothetical Marilyn Monroe when -it plays her hypothetical recording of “Happy Birthday” on the +it plays her hypothetical recording of «Happy Birthday» on the air, Internet radio does. Not only is the law not neutral toward Internet radio—the law actually burdens Internet radio more than it burdens terrestrial radio. @@ -7517,9 +7520,9 @@ 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.[170] A regular radio station +year.[170] A regular radio station broadcasting the same content would pay no equivalent fee. -

    +

    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 every listening @@ -7587,7 +7590,7 @@ 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? -

    +

    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, @@ -7597,17 +7600,17 @@ The RIAA, which was representing the record labels, presented some testimony about what they thought a willing buyer would pay to a willing seller, and it was much higher. It was ten times higher than what radio stations pay to perform the same songs for the same period of time. And so the attorneys -representing the webcasters asked the RIAA, … “How do you come +representing the webcasters asked the RIAA, … «How do you come up with a rate that's so much higher? Why is it worth more than radio? Because here we have hundreds of thousands of webcasters who want to pay, and that should establish the market rate, and if you set the rate so high, -you're going to drive the small webcasters out of business. …” -

    -And the RIAA experts said, “Well, we don't really model this as an +you're going to drive the small webcasters out of business. …» +

    +And the RIAA experts said, «Well, we don't really model this as an industry with thousands of webcasters, we think it should be an industry with, you know, five or seven big players who can pay a high rate -and it's a stable, predictable market.” (Emphasis added.) -

    +and it's a stable, predictable market.» (Emphasis added.) +

    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 @@ -7627,7 +7630,7 @@ 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 The New York Times, 43 -million Americans downloaded music in May 2002.[171] According to the RIAA, the behavior of those 43 million Americans +million Americans downloaded music in May 2002.[171] 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 @@ -7646,7 +7649,7 @@ money he had in the world ($12,000) to make the suit go away. The same strategy animates the RIAA's suits against individual users. In September 2003, the RIAA sued 261 individuals—including a twelve-year-old girl living in public housing and a seventy-year-old man who had no idea what -file sharing was.[172] As these scapegoats +file sharing was.[172] 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 @@ -7661,19 +7664,19 @@ 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.[173] We have launched a war +were criminals.[173] We have launched a war on drugs aimed at reducing the consumption of regulated narcotics that 7 -percent (or 16 million) Americans now use.[174] That is a drop from the high (so to speak) in 1979 of 14 percent of +percent (or 16 million) Americans now use.[174] 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.[175] We pride ourselves on our “free -society,” but an endless array of ordinary behavior is regulated +that a majority of cash businesses regularly cheat.[175] We pride ourselves on our «free +society,» but an endless array of ordinary behavior is regulated within our society. And as a result, a huge proportion of Americans -regularly violate at least some law. +regularly violate at least some law.

    This state of affairs is not without consequence. It is a particularly salient issue for teachers like me, whose job it is to teach law students -about the importance of “ethics.” As my colleague Charlie +about the importance of «ethics.» As my colleague Charlie Nesson told a class at Stanford, each year law schools admit thousands of students who have illegally downloaded music, illegally consumed alcohol and sometimes drugs, illegally worked without paying taxes, illegally driven @@ -7684,8 +7687,8 @@ separate, or honor a demand to disclose a document that will mean that your case is over. Generations of Americans—more significantly in some parts of America than in others, but still, everywhere in America today—can't live their lives both normally and legally, since -“normally” entails a certain degree of illegality. - +«normally» entails a certain degree of illegality. +

    The response to this general illegality is either to enforce the law more severely or to change the law. We, as a society, have to learn how to make @@ -7715,8 +7718,8 @@ incarcerate the rapist. But I do care whether my students respect the law. And I do care if the rules of law sow increasing disrespect because of the extreme of regulation they impose. Twenty million Americans have come of age since the Internet introduced this different idea of -“sharing.” We need to be able to call these twenty million -Americans “citizens,” not “felons.” +«sharing.» We need to be able to call these twenty million +Americans «citizens,» not «felons.»

    When at least forty-three million citizens download content from the Internet, and when they use tools to combine that content in ways @@ -7735,18 +7738,18 @@ We all own CDs. Many of us still own phonograph records. These pieces of plastic encode music that in a certain sense we have bought. The law protects our right to buy and sell that plastic: It is not a copyright infringement for me to sell all my classical records at a used record store -and buy jazz records to replace them. That “use” of the +and buy jazz records to replace them. That «use» of the recordings is free.

    But as the MP3 craze has demonstrated, there is another use of phonograph records that is effectively free. Because these recordings were made without -copy-protection technologies, I am “free” to copy, or -“rip,” music from my records onto a computer hard disk. Indeed, -Apple Corporation went so far as to suggest that “freedom” was -a right: In a series of commercials, Apple endorsed the “Rip, Mix, -Burn” capacities of digital technologies. -

    -This “use” of my records is certainly valuable. I have begun a +copy-protection technologies, I am «free» to copy, or +«rip,» music from my records onto a computer hard disk. Indeed, +Apple Corporation went so far as to suggest that «freedom» was +a right: In a series of commercials, Apple endorsed the «Rip, Mix, +Burn» capacities of digital technologies. +

    +This «use» of my records is certainly valuable. I have begun a large process at home of ripping all of my and my wife's CDs, and storing them in one archive. Then, using Apple's iTunes, or a wonderful program called Andromeda, we can build different play lists of our music: Bach, @@ -7773,7 +7776,7 @@ bother you much. In any case, for the vast majority of people, these protection technologies would effectively destroy the archiving use of CDs. The technology, in other words, would force us all back to the world where we either listened to music by manipulating pieces of plastic or were -part of a massively complex “digital rights management” system. +part of a massively complex «digital rights management» system.

    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 @@ -7811,23 +7814,23 @@ but not so charming as to justify giving up a tradition as deep and important as our tradition of free culture. There's one more aspect to this corruption that is particularly important to civil liberties, and follows directly from any war of prohibition. As Electronic Frontier Foundation -attorney Fred von Lohmann describes, this is the “collateral -damage” that “arises whenever you turn a very large percentage -of the population into criminals.” This is the collateral damage to -civil liberties generally. +attorney Fred von Lohmann describes, this is the «collateral +damage» that «arises whenever you turn a very large percentage +of the population into criminals.» This is the collateral damage to +civil liberties generally.

    -“Hvis du kan behandle noen som en antatt lovbryter”, forklarer -von Lohmann, +«Hvis du kan behandle noen som en antatt lovbryter», forklarer +von Lohmann,

    then all of a sudden a lot of basic civil liberty protections evaporate to one degree or another. … If you're a copyright infringer, how can you hope to have any privacy rights? If you're a copyright infringer, how can you hope to be secure against seizures of your computer? How can you hope to continue to receive Internet access? … Our sensibilities change as -soon as we think, “Oh, well, but that person's a criminal, a -lawbreaker.” Well, what this campaign against file sharing has done +soon as we think, «Oh, well, but that person's a criminal, a +lawbreaker.» Well, what this campaign against file sharing has done is turn a remarkable percentage of the American Internet-using population -into “lawbreakers.” +into «lawbreakers.»

    And the consequence of this transformation of the American public into criminals is that it becomes trivial, as a matter of due process, to @@ -7847,26 +7850,26 @@ 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.[176] +these families, just as they had sued Jesse Jordan.[176]

    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.[177] Using a +to track Napster users.[177] Using a sophisticated hashing algorithm, the RIAA took what is in effect a fingerprint of every song in the Napster catalog. Any copy of one of those -MP3s will have the same “fingerprint.” +MP3s will have the same «fingerprint.»

    So imagine the following not-implausible scenario: Imagine a friend gives a CD to your daughter—a collection of songs just like the cassettes you used to make as a kid. You don't know, and neither does your daughter, where these songs came from. But she copies these songs onto her computer. She then takes her computer to college and connects it to a college network, and -if the college network is “cooperating” with the RIAA's +if the college network is «cooperating» with the RIAA's espionage, and she hasn't properly protected her content from the network (do you know how to do that yourself ?), then the RIAA will be able to -identify your daughter as a “criminal.” And under the rules -that universities are beginning to deploy,[178] your daughter can lose the right to use the university's computer +identify your daughter as a «criminal.» And under the rules +that universities are beginning to deploy,[178] your daughter can lose the right to use the university's computer network. She can, in some cases, be expelled.

    Now, of course, she'll have the right to defend herself. You can hire a @@ -7874,10 +7877,10 @@ lawyer for her (at $300 per hour, if you're lucky), and she can plead that she didn't know anything about the source of the songs or that they came from Napster. And it may well be that the university believes her. But the university might not believe her. It might treat this -“contraband” as presumptive of guilt. And as any number of +«contraband» as presumptive of guilt. And as any number of college students have already learned, our presumptions about innocence disappear in the middle of wars of prohibition. This war is no different. -Says von Lohmann, +Says von Lohmann,

    So when we're talking about numbers like forty to sixty million Americans that are essentially copyright infringers, you create a situation where the @@ -7897,71 +7900,71 @@ slippery slope to lose a lot of civil liberties for all forty to sixty million of them.

    When forty to sixty million Americans are considered -“criminals” under the law, and when the law could achieve the +«criminals» under the law, and when the law could achieve the same objective— securing rights to authors—without these -millions being considered “criminals,” who is the villain? +millions being considered «criminals,» who is the villain? Americans or the law? Which is American, a constant war on our own people or a concerted effort through our democracy to change our law? -


    [157] +


    [157] Se Lynne W. Jeter, Disconnected: Deceit and Betrayal at WorldCom (Hoboken, N.J.: John Wiley & Sons, 2003), 176, 204; -for detaljer om dette forliket, se pressemelding fra MCI, “MCI Wins -U.S. District Court Approval for SEC Settlement” (7. juli 2003), +for detaljer om dette forliket, se pressemelding fra MCI, «MCI Wins +U.S. District Court Approval for SEC Settlement» (7. juli 2003), tilgjengelig fra link -#37. -

    [158] +#37. +

    [158] The bill, modeled after California's tort reform model, was passed in the House of Representatives but defeated in a Senate vote in July 2003. For an -overview, see Tanya Albert, “Measure Stalls in Senate: `We'll Be -Back,' Say Tort Reformers,” amednews.com, 28 July 2003, available at +overview, see Tanya Albert, «Measure Stalls in Senate: `We'll Be +Back,' Say Tort Reformers,» amednews.com, 28 July 2003, available at link #38, and -“Senate Turns Back Malpractice Caps,” CBSNews.com, 9 July 2003, +«Senate Turns Back Malpractice Caps,» CBSNews.com, 9 July 2003, available at link #39. President Bush has continued to urge tort reform in recent -months. -

    [159] +months. +

    [159] -Se Danit Lidor, “Artists Just Wanna Be Free”, +Se Danit Lidor, «Artists Just Wanna Be Free», Wired, 7. juli 2003, tilgjengelig fra link #40. For en oversikt over utstillingen, se link #41. -

    [160] +

    [160] -See Joseph Menn, “Universal, EMI Sue Napster Investor,” +See Joseph Menn, «Universal, EMI Sue Napster Investor,» Los Angeles Times, 23 April 2003. For a parallel argument about the effects on innovation in the distribution of music, see -Janelle Brown, “The Music Revolution Will Not Be Digitized,” +Janelle Brown, «The Music Revolution Will Not Be Digitized,» Salon.com, 1 June 2001, available at link #42. See also Jon Healey, -“Online Music Services Besieged,” Los Angeles +«Online Music Services Besieged,» Los Angeles Times, 28 May 2001. -

    [161] +

    [161] -Rafe Needleman, “Driving in Cars with MP3s”, +Rafe Needleman, «Driving in Cars with MP3s», Business 2.0, 16. juni 2003, tilgjengelig via link #43. Jeg er Dr. Mohammad -Al-Ubaydli takknemlig mot for dette eksemplet. -

    [162] +Al-Ubaydli takknemlig mot for dette eksemplet. +

    [162] -“Copyright and Digital Media in a Post-Napster World,” +«Copyright and Digital Media in a Post-Napster World,» GartnerG2 and the Berkman Center for Internet and Society at Harvard Law School (2003), 33–35, available at link #44. -

    [163] +

    [163] GartnerG2, 26–27. -

    [164] +

    [164] -See David McGuire, “Tech Execs Square Off Over Piracy,” +See David McGuire, «Tech Execs Square Off Over Piracy,» Newsbytes, February 2002 (Entertainment). -

    [165] +

    [165] Jessica Litman, Digital Copyright (Amherst, N.Y.: -Prometheus Books, 2001). -

    [166] +Prometheus Books, 2001). +

    [166] The only circuit court exception is found in Recording Industry @@ -7977,29 +7980,31 @@ Inc. v. Grokster, Ltd., 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. -

    [167] - -For example, in July 2002, Representative Howard Berman introduced the -Peer-to-Peer Piracy Prevention Act (H.R. 5211), which would immunize -copyright holders from liability for damage done to computers when the -copyright holders use technology to stop copyright infringement. In August -2002, Representative Billy Tauzin introduced a bill to mandate that -technologies capable of rebroadcasting digital copies of films broadcast on -TV (i.e., computers) respect a “broadcast flag” that would -disable copying of that content. And in March of the same year, Senator -Fritz Hollings introduced the Consumer Broadband and Digital Television -Promotion Act, which mandated copyright protection technology in all digital -media devices. See GartnerG2, “Copyright and Digital Media in a -Post-Napster World,” 27 June 2003, 33–34, available at link #44. -

    [168] +

    [167] + + For example, in July 2002, +Representative Howard Berman introduced the Peer-to-Peer Piracy Prevention +Act (H.R. 5211), which would immunize copyright holders from liability for +damage done to computers when the copyright holders use technology to stop +copyright infringement. In August 2002, Representative Billy Tauzin +introduced a bill to mandate that technologies capable of rebroadcasting +digital copies of films broadcast on TV (i.e., computers) respect a +«broadcast flag» that would disable copying of that +content. And in March of the same year, Senator Fritz Hollings introduced +the Consumer Broadband and Digital Television Promotion Act, which mandated +copyright protection technology in all digital media devices. See GartnerG2, +«Copyright and Digital Media in a Post-Napster World,» 27 June +2003, 33–34, available at link #44. + +

    [168] Lessing, 239. -

    [169] +

    [169] Ibid., 229. -

    [170] +

    [170] This example was derived from fees set by the original Copyright Arbitration Royalty Panel (CARP) proceedings, and is drawn from an example offered by @@ -8008,84 +8013,84 @@ Professor William Fisher. Conference Proceedings, iLaw (Stanford), 3 July testimony in the CARP proceeding that was ultimately rejected. See Jonathan Zittrain, Digital Performance Right in Sound Recordings and Ephemeral Recordings, Docket No. 2000-9, CARP DTRA 1 and 2, available at link #45. For an excellent -analysis making a similar point, see Randal C. Picker, “Copyright as -Entry Policy: The Case of Digital Distribution,” Antitrust -Bulletin (Summer/Fall 2002): 461: “This was not confusion, +analysis making a similar point, see Randal C. Picker, «Copyright as +Entry Policy: The Case of Digital Distribution,» Antitrust +Bulletin (Summer/Fall 2002): 461: «This was not confusion, these are just old-fashioned entry barriers. Analog radio stations are protected from digital entrants, reducing entry in radio and diversity. Yes, this is done in the name of getting royalties to copyright holders, but, absent the play of powerful interests, that could have been done in a -media-neutral way.” - -

    [171] +media-neutral way.» + +

    [171] -Mike Graziano and Lee Rainie, “The Music Downloading Deluge,” +Mike Graziano and Lee Rainie, «The Music Downloading Deluge,» Pew Internet and American Life Project (24 April 2001), available at link #46. The Pew Internet and American Life Project reported that 37 million Americans had downloaded music files from the Internet by early 2001. -

    [172] +

    [172] -Alex Pham, “The Labels Strike Back: N.Y. Girl Settles RIAA -Case,” Los Angeles Times, 10 September 2003, +Alex Pham, «The Labels Strike Back: N.Y. Girl Settles RIAA +Case,» Los Angeles Times, 10 September 2003, Business. -

    [173] +

    [173] -Jeffrey A. Miron and Jeffrey Zwiebel, “Alcohol Consumption During -Prohibition,” American Economic Review 81, +Jeffrey A. Miron and Jeffrey Zwiebel, «Alcohol Consumption During +Prohibition,» American Economic Review 81, no. 2 (1991): 242. -

    [174] +

    [174] 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). -

    [175] +

    [175] -See James Andreoni, Brian Erard, and Jonathon Feinstein, “Tax -Compliance,” Journal of Economic Literature 36 +See James Andreoni, Brian Erard, and Jonathon Feinstein, «Tax +Compliance,» Journal of Economic Literature 36 (1998): 818 (survey of compliance literature). -

    [176] +

    [176] -See Frank Ahrens, “RIAA's Lawsuits Meet Surprised Targets; Single -Mother in Calif., 12-Year-Old Girl in N.Y. Among Defendants,” +See Frank Ahrens, «RIAA's Lawsuits Meet Surprised Targets; Single +Mother in Calif., 12-Year-Old Girl in N.Y. Among Defendants,» Washington Post, 10 September 2003, E1; Chris Cobbs, -“Worried Parents Pull Plug on File `Stealing'; With the Music Industry +«Worried Parents Pull Plug on File `Stealing'; With the Music Industry Cracking Down on File Swapping, Parents are Yanking Software from Home PCs -to Avoid Being Sued,” Orlando Sentinel -Tribune, 30 August 2003, C1; Jefferson Graham, “Recording -Industry Sues Parents,” USA Today, 15 -September 2003, 4D; John Schwartz, “She Says She's No Music Pirate. No -Snoop Fan, Either,” New York Times, 25 -September 2003, C1; Margo Varadi, “Is Brianna a Criminal?” +to Avoid Being Sued,» Orlando Sentinel +Tribune, 30 August 2003, C1; Jefferson Graham, «Recording +Industry Sues Parents,» USA Today, 15 +September 2003, 4D; John Schwartz, «She Says She's No Music Pirate. No +Snoop Fan, Either,» New York Times, 25 +September 2003, C1; Margo Varadi, «Is Brianna a Criminal?» Toronto Star, 18 September 2003, P7. -

    [177] +

    [177] -Se Nick Brown, “Fair Use No More?: Copyright in the Information -Age”, tilgjengelig fra link #49. -

    [178] +Se Nick Brown, «Fair Use No More?: Copyright in the Information +Age», tilgjengelig fra link #49. +

    [178] -See Jeff Adler, “Cambridge: On Campus, Pirates Are Not -Penitent,” Boston Globe, 18 May 2003, City -Weekly, 1; Frank Ahrens, “Four Students Sued over Music Sites; -Industry Group Targets File Sharing at Colleges,” +See Jeff Adler, «Cambridge: On Campus, Pirates Are Not +Penitent,» Boston Globe, 18 May 2003, City +Weekly, 1; Frank Ahrens, «Four Students Sued over Music Sites; +Industry Group Targets File Sharing at Colleges,» Washington Post, 4 April 2003, E1; Elizabeth -Armstrong, “Students `Rip, Mix, Burn' at Their Own Risk,” +Armstrong, «Students `Rip, Mix, Burn' at Their Own Risk,» Christian Science Monitor, 2 September 2003, 20; -Robert Becker and Angela Rozas, “Music Pirate Hunt Turns to Loyola; -Two Students Names Are Handed Over; Lawsuit Possible,” +Robert Becker and Angela Rozas, «Music Pirate Hunt Turns to Loyola; +Two Students Names Are Handed Over; Lawsuit Possible,» Chicago Tribune, 16 July 2003, 1C; Beth Cox, -“RIAA Trains Antipiracy Guns on Universities,” +«RIAA Trains Antipiracy Guns on Universities,» Internet News, 30 January 2003, available at link #48; Benny Evangelista, -“Download Warning 101: Freshman Orientation This Fall to Include -Record Industry Warnings Against File Sharing,” San -Francisco Chronicle, 11 August 2003, E11; “Raid, Letters -Are Weapons at Universities,” USA Today, 26 +«Download Warning 101: Freshman Orientation This Fall to Include +Record Industry Warnings Against File Sharing,» San +Francisco Chronicle, 11 August 2003, E11; «Raid, Letters +Are Weapons at Universities,» USA Today, 26 September 2000, 3D.

    Del IV. Maktfordeling

    Så her er bildet: Du står på siden av veien. Bilen din er på brann. Du er @@ -8130,7 +8135,7 @@ min falitt. I de to neste kapittlene, beskriver jeg en liten innsats, s langt uten suksess, på å finne en måte å endre fokus på denne debatten. Vi må forstå disse mislyktede forsøkene hvis vi skal forstå hva som kreves for å lykkes. -

    Kapittel 13. Kapittel tretten: Eldred

    +

    Kapittel tretten: Eldred

    In 1995, a father was frustrated that his daughters didn't seem to like Hawthorne. No doubt there was more than one such father, but at least one did something about it. Eric Eldred, a retired computer programmer living in @@ -8163,34 +8168,34 @@ successfully (Cinderella), sometimes not (The Hunchback of Notre Dame, Treasure Planet). These are all commercial publications of public domain works. -

    +

    The Internet created the possibility of noncommercial publications of public domain works. Eldred's is just one example. There are literally thousands of others. Hundreds of thousands from across the world have discovered this platform of expression and now use it to share works that are, by law, free for the taking. This has produced what we might call the -“noncommercial publishing industry,” which before the Internet +«noncommercial publishing industry,» which before the Internet was limited to people with large egos or with political or social causes. But with the Internet, it includes a wide range of individuals and -groups dedicated to spreading culture generally.[179] +groups dedicated to spreading culture generally.[179]

    As I said, Eldred lives in New Hampshire. In 1998, Robert Frost's collection of poems New Hampshire was slated to pass into the public domain. Eldred wanted to post that collection in his free public -library. But Congress got in the way. As I described in chapter 10, in 1998, for the +library. But Congress got in the way. As I described in chapter 10, in 1998, for the eleventh time in forty years, Congress extended the terms of existing copyrights—this time by twenty years. Eldred would not be free to add any works more recent than 1923 to his collection until 2019. Indeed, no copyrighted work would pass into the public domain until that year (and not even then, if Congress extends the term again). By contrast, in the same period, more than 1 million patents will pass into the public domain. -

    +

    This was the Sonny Bono Copyright Term Extension Act (CTEA), enacted in memory of the congressman and former musician Sonny Bono, who, his widow, -Mary Bono, says, believed that “copyrights should be -forever.”[180] +Mary Bono, says, believed that «copyrights should be +forever.»[180]

    Eldred decided to fight this law. He first resolved to fight it through @@ -8213,21 +8218,21 @@ securing for limited Times to Authors … exclusive Right to their As I've described, this clause is unique within the power-granting clause of Article I, section 8 of our Constitution. Every other clause granting power to Congress simply says Congress has the power to do something—for -example, to regulate “commerce among the several states” or -“declare War.” But here, the “something” is -something quite specific—to “promote … -Progress”—through means that are also specific— by -“securing” “exclusive Rights” (i.e., copyrights) -“for limited Times.” +example, to regulate «commerce among the several states» or +«declare War.» But here, the «something» is +something quite specific—to «promote … +Progress»—through means that are also specific— by +«securing» «exclusive Rights» (i.e., copyrights) +«for limited Times.»

    In the past forty years, Congress has gotten into the practice of extending existing terms of copyright protection. What puzzled me about this was, if Congress has the power to extend existing terms, then the Constitution's -requirement that terms be “limited” will have no practical +requirement that terms be «limited» will have no practical effect. If every time a copyright is about to expire, Congress has the power to extend its term, then Congress can achieve what the Constitution plainly -forbids—perpetual terms “on the installment plan,” as -Professor Peter Jaszi so nicely put it. +forbids—perpetual terms «on the installment plan,» as +Professor Peter Jaszi so nicely put it.

    As an academic, my first response was to hit the books. I remember sitting late at the office, scouring on-line databases for any serious consideration @@ -8239,8 +8244,8 @@ to pay a great deal of money to see their copyright terms extended. And so Congress is quite happy to keep this gravy train going.

    For this is the core of the corruption in our present system of -government. “Corruption” not in the sense that representatives -are bribed. Rather, “corruption” in the sense that the system +government. «Corruption» not in the sense that representatives +are bribed. Rather, «corruption» in the sense that the system induces the beneficiaries of Congress's acts to raise and give money to Congress to induce it to act. There's only so much time; there's only so much Congress can do. Why not limit its actions to those things it must @@ -8260,43 +8265,43 @@ expire. You sit on the board of the Robert Frost estate. Your financial adviser comes to your board meeting with a very grim report:

    -“Next year,” the adviser announces, “our copyrights in +«Next year,» the adviser announces, «our copyrights in works A, B, and C will expire. That means that after next year, we will no longer be receiving the annual royalty check of $100,000 from the publishers -of those works.” +of those works.»

    -“There's a proposal in Congress, however,” she continues, -“that could change this. A few congressmen are floating a bill to +«There's a proposal in Congress, however,» she continues, +«that could change this. A few congressmen are floating a bill to extend the terms of copyright by twenty years. That bill would be -extraordinarily valuable to us. So we should hope this bill passes.” +extraordinarily valuable to us. So we should hope this bill passes.»

    -“Hope?” a fellow board member says. “Can't we be doing -something about it?” +«Hope?» a fellow board member says. «Can't we be doing +something about it?»

    -“Well, obviously, yes,” the adviser responds. “We could +«Well, obviously, yes,» the adviser responds. «We could contribute to the campaigns of a number of representatives to try to assure -that they support the bill.” +that they support the bill.»

    You hate politics. You hate contributing to campaigns. So you want to know -whether this disgusting practice is worth it. “How much would we get -if this extension were passed?” you ask the adviser. “How much -is it worth?” +whether this disgusting practice is worth it. «How much would we get +if this extension were passed?» you ask the adviser. «How much +is it worth?»

    -“Well,” the adviser says, “if you're confident that you +«Well,» the adviser says, «if you're confident that you will continue to get at least $100,000 a year from these copyrights, and you use the `discount rate' that we use to evaluate estate investments (6 -percent), then this law would be worth $1,146,000 to the estate.” +percent), then this law would be worth $1,146,000 to the estate.»

    You're a bit shocked by the number, but you quickly come to the correct conclusion:

    -“So you're saying it would be worth it for us to pay more than +«So you're saying it would be worth it for us to pay more than $1,000,000 in campaign contributions if we were confident those -contributions would assure that the bill was passed?” +contributions would assure that the bill was passed?»

    -“Absolutely,” the adviser responds. “It is worth it to +«Absolutely,» the adviser responds. «It is worth it to you to contribute up to the `present value' of the income you expect from -these copyrights. Which for us means over $1,000,000.” +these copyrights. Which for us means over $1,000,000.»

    You quickly get the point—you as the member of the board and, I trust, @@ -8312,13 +8317,13 @@ bought (albeit indirectly), there will be all the incentive in the world to buy further extensions of copyright.

    In the lobbying that led to the passage of the Sonny Bono Copyright Term -Extension Act, this “theory” about incentives was proved +Extension Act, this «theory» about incentives was proved real. Ten of the thirteen original sponsors of the act in the House received the maximum contribution from Disney's political action committee; in the -Senate, eight of the twelve sponsors received contributions.[181] The RIAA and the MPAA are estimated to have spent +Senate, eight of the twelve sponsors received contributions.[181] 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.[182] Disney is estimated to have contributed more than $800,000 to -reelection campaigns in the cycle.[183] +than $200,000 in campaign contributions.[182] Disney is estimated to have contributed more than $800,000 to +reelection campaigns in the cycle.[183]

    Constitutional law is not oblivious to the obvious. Or at least, it need not @@ -8327,7 +8332,7 @@ never-ending incentives to increase the copyright term was central to my thinking. In my view, a pragmatic court committed to interpreting and applying the Constitution of our framers would see that if Congress has the power to extend existing terms, then there would be no effective -constitutional requirement that terms be “limited.” If they +constitutional requirement that terms be «limited.» If they could extend it once, they would extend it again and again and again.

    @@ -8341,8 +8346,8 @@ strike down a law that banned the possession of guns near schools.

    Since 1937, the Supreme Court had interpreted Congress's granted powers very broadly; so, while the Constitution grants Congress the power to regulate -only “commerce among the several states” (aka “interstate -commerce”), the Supreme Court had interpreted that power to include +only «commerce among the several states» (aka «interstate +commerce»), the Supreme Court had interpreted that power to include the power to regulate any activity that merely affected interstate commerce.

    As the economy grew, this standard increasingly meant that there was no @@ -8350,7 +8355,7 @@ 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. -

    +

    The Supreme Court, under Chief Justice Rehnquist's command, changed that in United States v. Lopez. The government had argued that possessing guns near schools affected interstate @@ -8362,20 +8367,20 @@ not; if Congress says an activity affects interstate commerce, then that activity affects interstate commerce. The Supreme Court, the government said, was not in the position to second-guess Congress.

    -“We pause to consider the implications of the government's -arguments,” the Chief Justice wrote.[184] If anything Congress says is interstate commerce must therefore be +«We pause to consider the implications of the government's +arguments,» the Chief Justice wrote.[184] 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 Lopez was reaffirmed five years later in United States -v. Morrison.[185] +v. Morrison.[185]

    If a principle were at work here, then it should apply to the Progress -Clause as much as the Commerce Clause.[186] +Clause as much as the Commerce Clause.[186] And if it is applied to the Progress Clause, the principle should yield the conclusion that Congress can't extend an existing term. If Congress could -extend an existing term, then there would be no “stopping -point” to Congress's power over terms, though the Constitution +extend an existing term, then there would be no «stopping +point» to Congress's power over terms, though the Constitution expressly states that there is such a limit. Thus, the same principle applied to the power to grant copyrights should entail that Congress is not allowed to extend the term of existing copyrights. @@ -8386,7 +8391,7 @@ decision in Lopez stood for politics—a conservative Supreme Court, which believed in states' rights, using its power over Congress to advance its own personal political preferences. But I rejected that view of the Supreme Court's decision. Indeed, shortly after -the decision, I wrote an article demonstrating the “fidelity” +the decision, I wrote an article demonstrating the «fidelity» in such an interpretation of the Constitution. The idea that the Supreme Court decides cases based upon its politics struck me as extraordinarily boring. I was not going to devote my life to teaching constitutional law if @@ -8409,10 +8414,10 @@ fighting a piracy that affects us all.

    Some people view the public domain with contempt. In their brief before the Supreme Court, the Nashville Songwriters Association wrote that the public -domain is nothing more than “legal piracy.”[187] But it is not piracy when the law allows it; and in +domain is nothing more than «legal piracy.»[187] 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. +pirate's charter.

    As we've seen, our constitutional system requires limits on copyright as a way to assure that copyright holders do not too heavily influence the @@ -8423,7 +8428,7 @@ the public domain. Copyrights have not expired, and will not expire, so long as Congress is free to be bought to extend them again.

    It is valuable copyrights that are responsible for terms being extended. -Mickey Mouse and “Rhapsody in Blue.” These works are too +Mickey Mouse and «Rhapsody in Blue.» These works are too valuable for copyright owners to ignore. But the real harm to our society from copyright extensions is not that Mickey Mouse remains Disney's. Forget Mickey Mouse. Forget Robert Frost. Forget all the works from the 1920s and @@ -8436,7 +8441,7 @@ 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.[188] +generally.[188]

    @@ -8446,7 +8451,7 @@ 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? -

    +

    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 @@ -8467,9 +8472,9 @@ how impossibly difficult it would be to track down thousands of such records—especially since the person who registered is not necessarily the current owner. And we're just talking about 1930!

    -“But there isn't a list of who owns property generally,” the -apologists for the system respond. “Why should there be a list of -copyright owners?” +«But there isn't a list of who owns property generally,» the +apologists for the system respond. «Why should there be a list of +copyright owners?»

    Well, actually, if you think about it, there are plenty of lists of who owns what property. Think about deeds on houses, or titles @@ -8502,7 +8507,7 @@ 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. -

    +

    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 @@ -8510,9 +8515,9 @@ beneficiary of the Bono Act. The Laurel and Hardy films were made between Dog, is currently out of copyright. But for the CTEA, films made after 1923 would have begun entering the public domain. Because Agee controls the exclusive rights for these popular films, he makes a great deal -of money. According to one estimate, “Roach has sold about 60,000 +of money. According to one estimate, «Roach has sold about 60,000 videocassettes and 50,000 DVDs of the duo's silent -films.”[189] +films.»[189]

    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 @@ -8531,7 +8536,7 @@ 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.[190] +cost as little as $100 to digitize one hour of mm film.[190]

    Restoration technology is not the only cost, nor the most important. @@ -8547,8 +8552,8 @@ many as can hold the rights, which turns out to be an extremely large number. Thus the costs of clearing the rights to these films is exceptionally high.

    -“But can't you just restore the film, distribute it, and then pay the -copyright owner when she shows up?” Sure, if you want to commit a +«But can't you just restore the film, distribute it, and then pay the +copyright owner when she shows up?» Sure, if you want to commit a felony. And even if you're not worried about committing a felony, when she does show up, she'll have the right to sue you for all the profits you have made. So, if you're successful, you can be fairly confident you'll be @@ -8563,7 +8568,7 @@ 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. -

    +

    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 @@ -8573,8 +8578,8 @@ Of all the creative work produced by humans anywhere, a tiny fraction has continuing commercial value. For that tiny fraction, the copyright is a crucially important legal device. For that tiny fraction, the copyright creates incentives to produce and distribute the creative work. For that -tiny fraction, the copyright acts as an “engine of free -expression.” +tiny fraction, the copyright acts as an «engine of free +expression.»

    But even for that tiny fraction, the actual time during which the creative work has a commercial life is extremely short. As I've indicated, most books @@ -8651,21 +8656,21 @@ is serving no purpose at all related to t knowledge. In this context, copyright is not an engine of free expression. Copyright is a brake.

    -You may well ask, “But if digital technologies lower the costs for +You may well ask, «But if digital technologies lower the costs for Brewster Kahle, then they will lower the costs for Random House, too. So won't Random House do as well as Brewster Kahle in spreading culture -widely?” +widely?»

    Maybe. Someday. But there is absolutely no evidence to suggest that publishers would be as complete as libraries. If Barnes & Noble offered to lend books from its stores for a low price, would that eliminate the need for libraries? Only if you think that the only role of a library is to serve -what “the market” would demand. But if you think the role of a +what «the market» would demand. But if you think the role of a library is bigger than this—if you think its role is to archive culture, whether there's a demand for any particular bit of that culture or not—then we can't count on the commercial market to do our library work for us. -

    +

    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 @@ -8673,14 +8678,14 @@ 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.[191] +value, then 6 percent is a failure to provide that value.[191]

    In January 1999, we filed a lawsuit on Eric Eldred's behalf in federal district court in Washington, D.C., asking the court to declare the Sonny Bono Copyright Term Extension Act unconstitutional. The two central claims that we made were (1) that extending existing terms violated the -Constitution's “limited Times” requirement, and (2) that +Constitution's «limited Times» requirement, and (2) that extending terms by another twenty years violated the First Amendment.

    The district court dismissed our claims without even hearing an argument. A @@ -8690,20 +8695,20 @@ least had a dissent, by one of the most conservative judges on that court. That dissent gave our claims life.

    Judge David Sentelle said the CTEA violated the requirement that copyrights -be for “limited Times” only. His argument was as elegant as it +be for «limited Times» only. His argument was as elegant as it was simple: If Congress can extend existing terms, then there is no -“stopping point” to Congress's power under the Copyright +«stopping point» to Congress's power under the Copyright Clause. The power to extend existing terms means Congress is not required to -grant terms that are “limited.” Thus, Judge Sentelle argued, -the court had to interpret the term “limited Times” to give it +grant terms that are «limited.» Thus, Judge Sentelle argued, +the court had to interpret the term «limited Times» to give it meaning. And the best interpretation, Judge Sentelle argued, would be to deny Congress the power to extend existing terms.

    We asked the Court of Appeals for the D.C. Circuit as a whole to hear the case. Cases are ordinarily heard in panels of three, except for important cases or cases that raise issues specific to the circuit as a whole, where -the court will sit “en banc” to hear the case. -

    +the court will sit «en banc» to hear the case. +

    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 @@ -8734,7 +8739,7 @@ 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. -

    +

    Feil ble gjort tidlig, skjønt den ble først åpenbart på slutten. Vår sak hadde støtte hos en ekstraordinær advokat, Geoffrey Stewart, helt fra @@ -8743,22 +8748,22 @@ 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. -

    +

    Det var tre viktige advokater på saken fra Jones DaY. Geoff Stewart var den først, men siden ble Dan Bromberg og Don Ayer ganske involvert. Bromberg og Ayer spesielt hadde en felles oppfatning om hvordan denne saken ville bli vunnet: vi ville bare vinne, fortalte de gjentatte ganger til meg, hvis vi -få problemet til å virke “viktig” for Høyesterett. Det måtte +få problemet til å virke «viktig» for Høyesterett. Det måtte synes som om dramatisk skade ble gjort til ytringsfriheten og fri kultur, -ellers ville de aldri stemt mot “de mektigste mediaselskapene i -verden”. +ellers ville de aldri stemt mot «de mektigste mediaselskapene i +verden».

    I hate this view of the law. Of course I thought the Sonny Bono Act was a dramatic harm to free speech and free culture. Of course I still think it is. But the idea that the Supreme Court decides the law based on how important they believe the issues are is just wrong. It might be -“right” as in “true,” I thought, but it is -“wrong” as in “it just shouldn't be that way.” As +«right» as in «true,» I thought, but it is +«wrong» as in «it just shouldn't be that way.» As I believed that any faithful interpretation of what the framers of our Constitution did would yield the conclusion that the CTEA was unconstitutional, and as I believed that any faithful interpretation of what @@ -8797,14 +8802,14 @@ The first step happened all by itself. Phyllis Schlafly's organization, Eagle Forum, had been an opponent of the CTEA from the very beginning. Mrs. Schlafly viewed the CTEA as a sellout by Congress. In November 1998, she wrote a stinging editorial attacking the Republican Congress for -allowing the law to pass. As she wrote, “Do you sometimes wonder why +allowing the law to pass. As she wrote, «Do you sometimes wonder why bills that create a financial windfall to narrow special interests slide easily through the intricate legislative process, while bills that benefit -the general public seem to get bogged down?” The answer, as the +the general public seem to get bogged down?» The answer, as the editorial documented, was the power of money. Schlafly enumerated Disney's contributions to the key players on the committees. It was money, not justice, that gave Mickey Mouse twenty more years in Disney's control, -Schlafly argued. +Schlafly argued.

    In the Court of Appeals, Eagle Forum was eager to file a brief supporting our position. Their brief made the argument that became the core claim in @@ -8820,18 +8825,18 @@ 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. - +

    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. -

    +National Writers Union. +

    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. -

    +

    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 @@ -8839,7 +8844,7 @@ Nobel winners demonstrates, spanned the political spectrum. Their conclusions were powerful: There was no plausible claim that extending the terms of existing copyrights would do anything to increase incentives to create. Such extensions were nothing more than -“rent-seeking”—the fancy term economists use to describe +«rent-seeking»—the fancy term economists use to describe special-interest legislation gone wild.

    The same effort at balance was reflected in the legal team we gathered to @@ -8851,7 +8856,7 @@ 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. - +

    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 @@ -8861,10 +8866,10 @@ believed in. He had been Ronald Reagan's chief lawyer in the Supreme Court. He had helped craft the line of cases that limited Congress's power in the context of the Commerce Clause. And while he had argued many positions in the Supreme Court that I personally disagreed with, his joining -the cause was a vote of confidence in our argument. +the cause was a vote of confidence in our argument.

    The government, in defending the statute, had its collection of friends, as -well. Significantly, however, none of these “friends” included +well. Significantly, however, none of these «friends» included historians or economists. The briefs on the other side of the case were written exclusively by major media companies, congressmen, and copyright holders. @@ -8880,21 +8885,21 @@ Dr. Seuss's representatives, for example, argued that it was better for the Dr. Seuss estate to control what happened to Dr. Seuss's work— better than allowing it to fall into the public domain—because if this creativity were in the public domain, then people could use it to -“glorify drugs or to create pornography.”[192] That was also the motive of the Gershwin estate, -which defended its “protection” of the work of George +«glorify drugs or to create pornography.»[192] That was also the motive of the Gershwin estate, +which defended its «protection» of the work of George Gershwin. They refuse, for example, to license Porgy and Bess to anyone who refuses to use African Americans in the -cast.[193] That's their view of how this +cast.[193] 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. +help them effect that control.

    This argument made clear a theme that is rarely noticed in this debate. When Congress decides to extend the term of existing copyrights, Congress is making a choice about which speakers it will favor. Famous and beloved copyright owners, such as the Gershwin estate and Dr. Seuss, come to -Congress and say, “Give us twenty years to control the speech about +Congress and say, «Give us twenty years to control the speech about these icons of American culture. We'll do better with them than anyone -else.” Congress of course likes to reward the popular and famous by +else.» Congress of course likes to reward the popular and famous by giving them what they want. But when Congress gives people an exclusive right to speak in a certain way, that's just what the First Amendment is traditionally meant to block. @@ -8906,16 +8911,16 @@ would also mean that there was no limit to Congress's power to play favorites, through copyright, with who has the right to speak. Between February and October, there was little I did beyond preparing for this case. Early on, as I said, I set the strategy. -

    +

    The Supreme Court was divided into two important camps. One camp we called -“the Conservatives.” The other we called “the -Rest.” The Conservatives included Chief Justice Rehnquist, Justice +«the Conservatives.» The other we called «the +Rest.» The Conservatives included Chief Justice Rehnquist, Justice O'Connor, Justice Scalia, Justice Kennedy, and Justice Thomas. These five had been the most consistent in limiting Congress's power. They were the five who had supported the Lopez/Morrison line of cases that said that an enumerated power had to be interpreted to assure that Congress's powers had limits. -

    +

    The Rest were the four Justices who had strongly opposed limits on Congress's power. These four—Justice Stevens, Justice Souter, Justice @@ -8934,7 +8939,7 @@ 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. -

    +

    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 @@ -8948,7 +8953,7 @@ simple ideology explains where he will stand. But he had consistently argued for limits in the context of intellectual property generally. We were fairly confident he would recognize limits here.

    -This analysis of “the Rest” showed most clearly where our focus +This analysis of «the Rest» showed most clearly where our focus had to be: on the Conservatives. To win this case, we had to crack open these five and get at least a majority to go our way. Thus, the single overriding argument that animated our claim rested on the Conservatives' @@ -8962,7 +8967,7 @@ responsible. We would get the Court to see that just as with the Lopez case, under the government's argument here, Congress would always have unlimited power to extend existing terms. If anything was plain about Congress's power under the Progress Clause, it was -that this power was supposed to be “limited.” Our aim would be +that this power was supposed to be «limited.» Our aim would be to get the Court to reconcile Eldred with Lopez: If Congress's power to regulate commerce was limited, then so, too, must Congress's power to regulate copyright be @@ -8980,7 +8985,7 @@ course, in 1962, Congress began extending existing terms regularly—eleven times in forty years.

    -But this “consistency” should be kept in perspective. Congress +But this «consistency» should be kept in perspective. Congress extended existing terms once in the first hundred years of the Republic. It then extended existing terms once again in the next fifty. Those rare extensions are in contrast to the now regular practice of extending existing @@ -8990,8 +8995,8 @@ expect that cycle would end. This Court had not hesitated to intervene where Congress was in a similar cycle of extension. There was no reason it couldn't intervene here. Oral argument was scheduled for the first week in October. I arrived in D.C. two weeks before the argument. During those two -weeks, I was repeatedly “mooted” by lawyers who had volunteered -to help in the case. Such “moots” are basically practice +weeks, I was repeatedly «mooted» by lawyers who had volunteered +to help in the case. Such «moots» are basically practice rounds, where wannabe justices fire questions at wannabe winners.

    I was convinced that to win, I had to keep the Court focused on a single @@ -9000,18 +9005,18 @@ 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. -

    +

    One moot was before the lawyers at Jones Day. Don Ayer was the skeptic. He had served in the Reagan Justice Department with Solicitor General Charles Fried. He had argued many cases before the Supreme Court. And in his review -of the moot, he let his concern speak: +of the moot, he let his concern speak:

    -“I'm just afraid that unless they really see the harm, they won't be +«I'm just afraid that unless they really see the harm, they won't be willing to upset this practice that the government says has been a consistent practice for two hundred years. You have to make them see the harm—passionately get them to see the harm. For if they don't see -that, then we haven't any chance of winning.” -

    +that, then we haven't any chance of winning.» +

    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 @@ -9043,7 +9048,7 @@ 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. -

    +

    Justice O'Connor stopped me within one minute of my opening. The history was bothering her.

    @@ -9052,8 +9057,8 @@ and if you are right, don't we run the risk of upsetting previous extensions of time? I mean, this seems to be a practice that began with the very first act.

    -She was quite willing to concede “that this flies directly in the face -of what the framers had in mind.” But my response again and again was +She was quite willing to concede «that this flies directly in the face +of what the framers had in mind.» But my response again and again was to emphasize limits on Congress's power.

    @@ -9078,7 +9083,7 @@ 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. -

    +

    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 @@ -9102,7 +9107,7 @@ 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. -

    +

    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, @@ -9191,7 +9196,7 @@ 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. -

    +

    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 @@ -9201,7 +9206,7 @@ parallel—without explaining how the very same words in the Progress Clause could come to mean totally different things depending upon whether the words were about patents or copyrights. The Court let Justice Stevens's charge go unanswered. -

    +

    Justice Breyer's opinion, perhaps the best opinion he has ever written, was @@ -9210,7 +9215,7 @@ become so long as to be effectively unlimited. We had said that under the current term, a copyright gave an author 99.8 percent of the value of a perpetual term. Breyer said we were wrong, that the actual number was 99.9997 percent of a perpetual term. Either way, the point was clear: If the -Constitution said a term had to be “limited,” and the existing +Constitution said a term had to be «limited,» and the existing term was so long as to be effectively unlimited, then it was unconstitutional.

    @@ -9224,19 +9229,19 @@ Prince. Defeat brings depression. They say it is a sign of health when depression gives way to anger. My anger came quickly, but it didn't cure the depression. This anger was of two sorts. -

    -It was first anger with the five “Conservatives.” It would have +

    +It was first anger with the five «Conservatives.» It would have been one thing for them to have explained why the principle of Lopez didn't apply in this case. That wouldn't have been a very convincing argument, I don't believe, having read it made by others, and having tried to make it myself. But it at least would have been an act of integrity. These justices in particular have repeatedly said that the proper mode of interpreting the Constitution is -“originalism”—to first understand the framers' text, +«originalism»—to first understand the framers' text, interpreted in their context, in light of the structure of the Constitution. That method had produced Lopez and many -other “originalist” rulings. Where was their -“originalism” now? +other «originalist» rulings. Where was their +«originalism» now?

    Here, they had joined an opinion that never once tried to explain what the @@ -9253,7 +9258,7 @@ 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. -

    +

    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 @@ -9279,10 +9284,10 @@ 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. -

    +

    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? +Sullivan?

    My friends huddled around me to insist it would not. The Court was not ready, my friends insisted. This was a loss that was destined. It would take @@ -9298,8 +9303,8 @@ persuaded. And even if I couldn't, then that doesn't excuse what happened in January. For at the start of this case, one of America's leading intellectual property professors stated publicly that my bringing this case -was a mistake. “The Court is not ready,” Peter Jaszi said; this -issue should not be raised until it is. +was a mistake. «The Court is not ready,» Peter Jaszi said; this +issue should not be raised until it is.

    After the argument and after the decision, Peter said to me, and publicly, @@ -9327,18 +9332,18 @@ creative ferment.

    The best responses were in the cartoons. There was a gaggle of hilarious images—of Mickey in jail and the like. The best, from my view of the -case, was Ruben Bolling's, reproduced on the next page (Figur 13.1, “Tom the Dancing Bug cartoon”). The “powerful and wealthy” line is a bit -unfair. But the punch in the face felt exactly like that. -

    Figur 13.1. Tom the Dancing Bug cartoon

    Tom the Dancing Bug cartoon

    +case, was Ruben Bolling's, reproduced on the next page (Figur 13.1, “Tom the Dancing Bug cartoon”). The «powerful and wealthy» line is a bit +unfair. But the punch in the face felt exactly like that. +

    Figur 13.1. Tom the Dancing Bug cartoon

    Tom the Dancing Bug cartoon

    The image that will always stick in my head is that evoked by the quote from -The New York Times. That “grand -experiment” we call the “public domain” is over? When I -can make light of it, I think, “Honey, I shrunk the -Constitution.” But I can rarely make light of it. We had in our +The New York Times. That «grand +experiment» we call the «public domain» is over? When I +can make light of it, I think, «Honey, I shrunk the +Constitution.» But I can rarely make light of it. We had in our Constitution a commitment to free culture. In the case that I fathered, the Supreme Court effectively renounced that commitment. A better lawyer would have made them see differently. -


    [179] +


    [179] There's a parallel here with pornography that is a bit hard to describe, but @@ -9353,41 +9358,41 @@ 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.

    [180] +protect the Eldreds of the world as to protect noncommercial pornographers.

    [180] - The full text is: “Sonny [Bono] wanted the term of copyright + The full text is: «Sonny [Bono] wanted the term of copyright protection to last forever. I am informed by staff that such a change would violate the Constitution. I invite all of you to work with me to strengthen our copyright laws in all of the ways available to us. As you know, there is also Jack Valenti's proposal for a term to last forever less one -day. Perhaps the Committee may look at that next Congress,” 144 +day. Perhaps the Committee may look at that next Congress,» 144 Cong. Rec. H9946, 9951-2 (October 7, 1998). -

    [181] +

    [181] -Associated Press, “Disney Lobbying for Copyright Extension No Mickey -Mouse Effort; Congress OKs Bill Granting Creators 20 More Years”, +Associated Press, «Disney Lobbying for Copyright Extension No Mickey +Mouse Effort; Congress OKs Bill Granting Creators 20 More Years», Chicago Tribune, 17. oktober 1998, 22. -

    [182] +

    [182] -Se Nick Brown, “Fair Use No More?: Copyright in the Information -Age”, tilgjengelig fra link #49. -

    [183] +Se Nick Brown, «Fair Use No More?: Copyright in the Information +Age», tilgjengelig fra link #49. +

    [183] -Alan K. Ota, “Disney in Washington: The Mouse That Roars”, +Alan K. Ota, «Disney in Washington: The Mouse That Roars», Congressional Quarterly This Week, 8. august 1990, tilgjengelig fra link #50. -

    [184] +

    [184] United States v. Lopez, 514 U.S. 549, 564 (1995). -

    [185] +

    [185] United States v. Morrison, 529 U.S. 598 (2000). -

    [186] +

    [186] If it is a principle about enumerated powers, then the principle carries @@ -9397,29 +9402,29 @@ would allow the government unending power to regulate commerce—the limitation to interstate commerce notwithstanding. The same point is true in the context of the Copyright Clause. Here, too, the government's interpretation would allow the government unending power to regulate -copyrights—the limitation to “limited times” +copyrights—the limitation to «limited times» notwithstanding. -

    [187] +

    [187] Brief of the Nashville Songwriters Association, Eldred v. Ashcroft, 537 U.S. 186 (2003) (No. 01-618), n.10, available at link #51. -

    [188] +

    [188] 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, Eldred v. Ashcroft, 7, available at link #52. -

    [189] +

    [189] -See David G. Savage, “High Court Scene of Showdown on Copyright -Law,” Los Angeles Times, 6 October 2002; David -Streitfeld, “Classic Movies, Songs, Books at Stake; Supreme Court -Hears Arguments Today on Striking Down Copyright Extension,” +See David G. Savage, «High Court Scene of Showdown on Copyright +Law,» Los Angeles Times, 6 October 2002; David +Streitfeld, «Classic Movies, Songs, Books at Stake; Supreme Court +Hears Arguments Today on Striking Down Copyright Extension,» Orlando Sentinel Tribune, 9 October 2002. -

    [190] +

    [190] Brief of Hal Roach Studios and Michael Agee as Amicus Curiae Supporting the @@ -9428,23 +9433,23 @@ v. Ashcroft, 537 U.S. 186 (2003) (No. 01- 618), 12. See also Brief of Amicus Curiae filed on behalf of Petitioners by the Internet Archive, Eldred v. Ashcroft, available at link #53. -

    [191] +

    [191] -Jason Schultz, “The Myth of the 1976 Copyright `Chaos' Theory”, +Jason Schultz, «The Myth of the 1976 Copyright `Chaos' Theory», 20 December 2002, tilgjengelig fra link #54. -

    [192] +

    [192] Brief of Amici Dr. Seuss Enterprise et al., Eldred v. Ashcroft, 537 U.S. (2003) (No. 01-618), 19. -

    [193] +

    [193] -Dinitia Smith, “Immortal Words, Immortal Royalties? Even Mickey Mouse -Joins the Fray,” New York Times, 28 March +Dinitia Smith, «Immortal Words, Immortal Royalties? Even Mickey Mouse +Joins the Fray,» New York Times, 28 March 1998, B7. -

    Kapittel 14. Kapittel fjorten: Eldred II

    +

    Kapittel fjorten: Eldred II

    The day Eldred was decided, fate would have it that I was to travel to Washington, D.C. (The day the rehearing petition in Eldred was denied—meaning the case was really @@ -9452,13 +9457,13 @@ finally over—fate would have it that I was giving a speech to technologists at Disney World.) This was a particularly long flight to my least favorite city. The drive into the city from Dulles was delayed because of traffic, so I opened up my computer and wrote an op-ed piece. -

    +

    It was an act of contrition. During the whole of the flight from San Francisco to Washington, I had heard over and over again in my head the same advice from Don Ayer: You need to make them see why it is important. And alternating with that command was the question of Justice Kennedy: -“For all these years the act has impeded progress in science and the -useful arts. I just don't see any empirical evidence for that.” And +«For all these years the act has impeded progress in science and the +useful arts. I just don't see any empirical evidence for that.» And so, having failed in the argument of constitutional principle, finally, I turned to an argument of politics.

    @@ -9474,13 +9479,13 @@ Eldred was kind enough to let his name be used once again, but as he said early on, it won't get passed unless it has another name.

    Or another two names. For depending upon your perspective, this is either -the “Public Domain Enhancement Act” or the “Copyright -Term Deregulation Act.” Either way, the essence of the idea is clear +the «Public Domain Enhancement Act» or the «Copyright +Term Deregulation Act.» Either way, the essence of the idea is clear and obvious: Remove copyright where it is doing nothing except blocking access and the spread of knowledge. Leave it for as long as Congress allows for those works where its worth is at least $1. But for everything else, let the content go. -

    +

    The 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 @@ -9499,12 +9504,12 @@ 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. -

    +

    -As I described in chapter 10, formalities in copyright law were removed in 1976, +As I described in chapter 10, formalities in copyright law were removed in 1976, when Congress followed the Europeans by abandoning any formal requirement -before a copyright is granted.[194] The -Europeans are said to view copyright as a “natural right.” +before a copyright is granted.[194] The +Europeans are said to view copyright as a «natural right.» Natural rights don't need forms to exist. Traditions, like the Anglo-American tradition that required copyright owners to follow form if their rights were to be protected, did not, the Europeans thought, properly @@ -9513,10 +9518,10 @@ creativity, not upon the special favor of the government.

    That's great rhetoric. It sounds wonderfully romantic. But it is absurd copyright policy. It is absurd especially for authors, because a world -without formalities harms the creator. The ability to spread “Walt -Disney creativity” is destroyed when there is no simple way to know +without formalities harms the creator. The ability to spread «Walt +Disney creativity» is destroyed when there is no simple way to know what's protected and what's not. -

    +

    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 @@ -9544,7 +9549,7 @@ In addition to the practical complaint of authors in 1908, there was a moral claim as well. There was no reason that creative property should be a second-class form of property. If a carpenter builds a table, his rights over the table don't depend upon filing a form with the government. He has -a property right over the table “naturally,” and he can assert +a property right over the table «naturally,» and he can assert that right against anyone who would steal the table, whether or not he has informed the government of his ownership of the table.

    @@ -9578,13 +9583,13 @@ 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, lawyer transactions -take their place. +take their place.

    This was the understanding of the problem with the Sonny Bono Act that we tried to demonstrate to the Court. This was the part it didn't -“get.” Because we live in a system without formalities, there +«get.» Because we live in a system without formalities, there is no way easily to build upon or use culture from our past. If copyright -terms were, as Justice Story said they would be, “short,” then +terms were, as Justice Story said they would be, «short,» then this wouldn't matter much. For fourteen years, under the framers' system, a work would be presumptively controlled. After fourteen years, it would be presumptively uncontrolled. @@ -9628,7 +9633,7 @@ 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? -

    +

    Da Steve Forbes støttet idéen, begynte enkelte i Washington å følge med. Mange kontaktet meg med tips til representanter som kan være villig til å introdusere en Eldred-lov. og jeg hadde noen få som foreslo direkte at de @@ -9638,9 +9643,9 @@ En representant, Zoe Lofgren fra California, gikk s lovforslaget utarbeidet. Utkastet løste noen problemer med internasjonal lov. Det påla de enklest mulige forutsetninger på innehaverne av opphavsretter. I mai 2003 så det ut som om loven skulle være introdusert. -16. mai, postet jeg på Eldred Act-bloggen, “vi er nære”. Det +16. mai, postet jeg på Eldred Act-bloggen, «vi er nære». Det oppstod en generell reaksjon i blogg-samfunnet om at noe godt kunne skje -her. +her.

    But at this stage, the lobbyists began to intervene. Jack Valenti and the MPAA general counsel came to the congresswoman's office to give the view of @@ -9650,9 +9655,9 @@ embarrassingly thin. More importantly, their thinness shows something clear about what this debate is really about.

    -The MPAA argued first that Congress had “firmly rejected the central -concept in the proposed bill”—that copyrights be renewed. That -was true, but irrelevant, as Congress's “firm rejection” had +The MPAA argued first that Congress had «firmly rejected the central +concept in the proposed bill»—that copyrights be renewed. That +was true, but irrelevant, as Congress's «firm rejection» had occurred long before the Internet made subsequent uses much more likely. Second, they argued that the proposal would harm poor copyright owners—apparently those who could not afford the $1 fee. Third, they @@ -9661,7 +9666,7 @@ encourage restoration work. Maybe in the case of the small percentage of work covered by copyright law that is still commercially valuable, but again this was irrelevant, as the proposal would not cut off the extended term unless the $1 fee was not paid. Fourth, the MPAA argued that the bill would -impose “enormous” costs, since a registration system is not +impose «enormous» costs, since a registration system is not free. True enough, but those costs are certainly less than the costs of clearing the rights for a copyright whose owner is not known. Fifth, they worried about the risks if the copyright to a story underlying a film were @@ -9707,9 +9712,9 @@ then, finally, there is an example that lays bare the naked selfinterest driving this war. This act would free an extraordinary range of content that is otherwise unused. It wouldn't interfere with any copyright owner's desire to exercise continued control over his content. It would simply liberate -what Kevin Kelly calls the “Dark Content” that fills archives +what Kevin Kelly calls the «Dark Content» that fills archives around the world. So when the warriors oppose a change like this, we should -ask one simple question: +ask one simple question:

    Hva ønsker denne industrien egentlig?

    @@ -9724,7 +9729,7 @@ there will be no commercial use of content that doesn't require

    The opposition to the Eldred Act reveals how extreme the other side is. The most powerful and sexy and well loved of lobbies really has as its aim not -the protection of “property” but the rejection of a tradition. +the protection of «property» but the rejection of a tradition. Their aim is not simply to protect what is theirs. Their aim is to assure that all there is is what is theirs.

    @@ -9735,7 +9740,7 @@ 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. -

    +

    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 @@ -9743,22 +9748,22 @@ eierrettigheter blir respektert, slik at disse fjerne og glemte opphavsrettsinnehaverne kan blokkere fremgangen til andre.

    All this seems to follow easily from this untroubled acceptance of the -“property” in intellectual property. Common sense supports it, +«property» in intellectual property. Common sense supports it, and so long as it does, the assaults will rain down upon the technologies of -the Internet. The consequence will be an increasing “permission -society.” The past can be cultivated only if you can identify the +the Internet. The consequence will be an increasing «permission +society.» The past can be cultivated only if you can identify the owner and gain permission to build upon his work. The future will be controlled by this dead (and often unfindable) hand of the past. -


    [194] +


    [194] Until the 1908 Berlin Act of the Berne Convention, national copyright legislation sometimes made protection depend upon compliance with formalities such as registration, deposit, and affixation of notice of the author's claim of copyright. However, starting with the 1908 act, every text -of the Convention has provided that “the enjoyment and the -exercise” of rights guaranteed by the Convention “shall not be -subject to any formality.” The prohibition against formalities is +of the Convention has provided that «the enjoyment and the +exercise» of rights guaranteed by the Convention «shall not be +subject to any formality.» The prohibition against formalities is presently embodied in Article 5(2) of the Paris Text of the Berne Convention. Many countries continue to impose some form of deposit or registration requirement, albeit not as a condition of copyright. French @@ -9768,7 +9773,7 @@ the United Kingdom must be deposited in the British Library. The German Copyright Act provides for a Registrar of Authors where the author's true name can be filed in the case of anonymous or pseudonymous works. Paul Goldstein, International Intellectual Property Law, Cases and -Materials (New York: Foundation Press, 2001), 153–54.

    Kapittel 15. Konklusjon

    +Materials (New York: Foundation Press, 2001), 153–54.

    Konklusjon

    Det er mer enn trettifem millioner mennesker over hele verden med AIDS-viruset. Tjuefem millioner av dem bor i Afrika sør for Sahara. Sytten millioner har allerede dødd. Sytten millioner afrikanere er prosentvis @@ -9788,7 +9793,7 @@ 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.[195] +utilgjengelig.[195]

    @@ -9819,14 +9824,14 @@ I 1997 fors tillot import av patenterte medisiner som hadde blitt produsert og solgt i en annen nasjons marked med godkjenning fra patenteieren. For eksempel, hvis medisinen var solgt i India, så kunne den bli importert inn til Afrika -fra India. Dette kalles “parallellimport” og er generelt +fra India. Dette kalles «parallellimport» og er generelt tillatt i internasjonal handelslovgivning, og spesifikt tillatt i den -europeiske union.[196] +europeiske union.[196]

    Men USA var imot lovendringen. Og de nøyde seg ikke med å være imot. Som International Intellectual Property Association karakteriserte det, -“Myndighetene i USA presset Sør-Afrika … til å ikke tillate -tvungen lisensiering eller parallellimport”[197] Gjennom kontoret til USAs handelsrepresentant +«Myndighetene i USA presset Sør-Afrika … til å ikke tillate +tvungen lisensiering eller parallellimport»[197] Gjennom kontoret til USAs handelsrepresentant (USTR), ba myndighetene Sør-Afrika om å endre loven—og for å legge press bak den forespørselen, listet USTR i 1998 opp Sør-Afrika som et land som burde vurderes for handelsrestriksjoner. Samme år gikk mer enn førti @@ -9837,7 +9842,7 @@ 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.[198] +Sør-Afrika.[198]

    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 @@ -9864,17 +9869,17 @@ selskapene betydelig.

    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.[199] Det var på -grunn av at “intellektuell eiendom” ville bli krenket at disse +eiendoms ukrenkelighet.[199] Det var på +grunn av at «intellektuell eiendom» ville bli krenket at disse medisinene ikke skulle flomme inn til Afrika. Det var prinsippet om -viktigheten av “intellektuell eiendom” som fikk disse +viktigheten av «intellektuell eiendom» som fikk disse myndighetsaktørene til å intervenere mot Sør-Afrikas mottiltak mot AIDS.

    La oss ta et skritt tilbake for et øyeblikk. En gang om tredve år vil våre barn se tilbake på oss og spørre, hvordan kunne vi la dette skje? Hvordan kunne vi tillate å gjennomføre en politikk hvis direkte kostnad var få 15 til 30 millioner afrikanere til å dø raskere, og hvis eneste virkelige -fordel var å opprettholde “ukrenkeligheten” til en idé? Hva +fordel var å opprettholde «ukrenkeligheten» til en idé? Hva slags berettigelse kan noen sinne eksistere for en politikk som resulterer i så mange døde? Hva slags galskap er det egentlig som tillater at så mange dør for slik en abstraksjon? @@ -9896,17 +9901,17 @@ overvunnet. Et annet problem kan derimot ikke løses. Det er frykten for at en politiker som skal vise seg og kaller inn lederne hos medisinprodusentene til høring i -senatet eller representantenes hus og spør, “hvordan har det seg at du +senatet eller representantenes hus og spør, «hvordan har det seg at du kan selge HIV-medisinen i Afrika for bare $1 pr. pille, mens samme pille -koster en amerikansker $1 500?” Da det ikke finnes et -“kjapt svar” på det spørsmålet, ville effekten bli regulering +koster en amerikansker $1 500?» Da det ikke finnes et +«kjapt svar» på det spørsmålet, ville effekten bli regulering av priser i Amerika. Medisinprodusentene unngår dermed denne spiralen ved å sikre at det første steget ikke tas. De forsterker idéen om at eierrettigheter skal være ukrenkelige. De legger seg på en rasjonell strategi i en irrasjonell omgivelse, med den utilsiktede konsekvens at kanskje millioner dør. Og den rasjonelle strategien rammes dermed inn ved hjel av dette ideal—helligheten til en idé som kalles -“immaterielle rettigheter”. +«immaterielle rettigheter».

    Så når du konfronteres av ditt barns sunne fornuft, hva vil du si? Når den sunne fornuften hos en generasjon endelig gjør opprør mot hva vi har gjort, @@ -9929,7 +9934,7 @@ ekstremisme. En slags eiendomsfundamentalisme, uten grunnlag i v tradisjon, hersker nå i vår kultur—sært, og med konsekvenser mer alvorlig for spredningen av idéer og kultur enn nesten enhver annen politisk enkeltavgjørelse vi som demokrati kan fatte. -

    +

    En enkel idé blender oss, og under dekke av mørket skjer mye som de fleste av oss ville avvist hvis vi hadde fulgt med. Så ukritisk aksepterer vi @@ -9945,19 +9950,19 @@ S ikke hva det er å gjøre opprør mot. Ekstremismen som nå dominerer denne debatten resonerer med idéer som virker naturlige, og resonansen er forsterket av våre moderne RCA-ene. De fører en frenetisk krig for å -bekjempe “piratvirksomhet” og knuser kreativitetskultur. De -forsvarer idéen om “kreativt eierskap”, mens de endrer ekte +bekjempe «piratvirksomhet» og knuser kreativitetskultur. De +forsvarer idéen om «kreativt eierskap», mens de endrer ekte skapere til moderne leilendinger. De blir fornærmet av idéen om at rettigheter skulle være balanserte, selv om hver av hovedaktørene i denne innholdskrigen selv hadde fordeler av et mer balansert ideal. Hykleriet rår. Men i en by som Washington blir ikke hykleriet en gang lagt merke til. Mektige lobbyister, kompliserte problemer og MTV-oppmerksomhetsspenn -gir en “perfekt storm” for fri kultur. -

    +gir en «perfekt storm» for fri kultur. +

    I august 2003 brøt en kamp ut i USA om en avgjørelse fra World Intellectual -Property Organiation om å avlyse et møte.[200] På forespørsel fra en lang rekke med interressenter hadde WIPO -bestemt å avholde et møte for å diskutere “åpne og samarbeidende -prosjekter for å skape goder for felleskapet”. Disse prosjektene som +Property Organiation om å avlyse et møte.[200] På forespørsel fra en lang rekke med interressenter hadde WIPO +bestemt å avholde et møte for å diskutere «åpne og samarbeidende +prosjekter for å skape goder for felleskapet». Disse prosjektene som hadde lyktes i å produsere goder for fellesskapet uten å basere seg eksklusivt på bruken av proprietære immaterielle rettigheter. Eksempler inkluderer internettet og verdensveven, begge som ble utviklet på grunnlag @@ -9970,10 +9975,10 @@ et konsortium av Wellcome Trust og farmas inkludert Amersham Biosciences, AstraZeneca, Aventis, Bayer, Bristol-Myers Squibb, Hoffmann-La Roche, Glaxo-SmithKline, IBM, Motorola, Novartis, Pfizer, og Searle.) Det inkluderte Globalt posisjonssystem (GPS) som Ronald -Reagen frigjorde tidlig på 1980-tallet. Og det inkluderte “åpen -kildekode og fri programvare”. - -

    +Reagen frigjorde tidlig på 1980-tallet. Og det inkluderte «åpen +kildekode og fri programvare». + +

    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 @@ -9981,7 +9986,7 @@ balansert med avtaler om begrensninger på hvordan proprietære krav kan bli brukt.

    Dermed var, fra perspektivet i denne boken, denne konferansen -ideell.[201] Prosjektene innenfor temaet var +ideell.[201] 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 @@ -10000,7 +10005,7 @@ WSIS, da slike sp forberedt var temaet om immaterielle verdier en forholdvis liten del av det hele. Men etter denne forbløffende uttalelsen, gjorde jeg immaterielle verdier til hovedfokus for mitt innlegg. Det var ikke mulig å snakke om et -“informasjonssamfunn” uten at en også snakket om andelen av +«informasjonssamfunn» uten at en også snakket om andelen av informasjon og kultur som ikke er vernet av opphavsretten. Mitt innlegg gjorde ikke min overivrige moderator veldig glad. Og hun hadde uten tvil rett i at omfanget til vern av immaterielle rettigheter normalt hørte inn @@ -10010,18 +10015,18 @@ selve id

    Så uansett om WSIS kan diskutere balanse i intellektuell eiendom eller ikke, så hadde jeg trodd det var tatt for gitt at WIPO kunne og burde. Og dermed -møtet om “åpne og samarbeidende prosjekter for å skape -fellesgoder” virker å passe perfekt for WIPOs agenda. +møtet om «åpne og samarbeidende prosjekter for å skape +fellesgoder» virker å passe perfekt for WIPOs agenda.

    Men det er ett prosjekt i listen som er svært kontroversielt, i hvert fall -blant lobbyister. Dette prosjektet er “åpen kildekode og fri -programvare”. Microsoft spesielt er skeptisk til diskusjon om +blant lobbyister. Dette prosjektet er «åpen kildekode og fri +programvare». Microsoft spesielt er skeptisk til diskusjon om emnet. Fra deres perspektiv, ville en konferanse for å diskutere åpen kildekode og fri programvare være som en konferanse for å diskutere Apples operativsystem. Både åpen kildekode og fri programvare konkurrerer med Microsofts programvare. Og internasjonalt har mange myndigheter begynt å utforske krav om at de skal bruke åpen kildekode eller fri programvare, i -stedet for “proprietær programvare”, til sine egne interne +stedet for «proprietær programvare», til sine egne interne behov.

    Jeg mener ikke å gå inn i den debatten her. Det er viktig kun for å gjøre @@ -10029,16 +10034,16 @@ det klart at skillet ikke er mellom kommersiell og ikke-kommersiell programvare. Det er mange viktige selskaper som er fundamentalt avhengig av fri programvare, der IBM er den mest fremtredende. IBM har i stadig større grad skiftet sitt fokus til GNU/Linux-operativsystemet, det mest berømte -biten av “fri programvare”—og IBM er helt klart en -kommersiell aktør. Dermed er det å støtte “fri programvare” +biten av «fri programvare»—og IBM er helt klart en +kommersiell aktør. Dermed er det å støtte «fri programvare» ikke å motsette seg kommersielle aktører. Det er i stedet å støtte en måte -å drive programvareutvikling som er forskjellig fra Microsofts.[202] - +å drive programvareutvikling som er forskjellig fra Microsofts.[202] +

    -Mer viktig for våre formål, er at å støtte “åpen kildekode og fri -programvare” ikke er å motsette seg opphavsrett. “Åpen -kildekode og fri programvare” er ikke programvare uten +Mer viktig for våre formål, er at å støtte «åpen kildekode og fri +programvare» ikke er å motsette seg opphavsrett. «Åpen +kildekode og fri programvare» er ikke programvare uten opphavsrettslig vern. Istedet, på samme måte som programvare fra Microsoft, insisterer opphavsrettsinnehaverne av fri programvare ganske sterkt at vilkårene i deres programvarelisens blir respektert av de som tar i bruk fri @@ -10058,8 +10063,8 @@ bruker sine lobbyister til ganske riktig, det er akkurat dette som i følge rapporter hadde skjedd. I følge Jonathan Krim i Washington Post, lyktes Microsofts lobbyister i å få USAs myndigheter til å legge ned veto mot et -slikt møte.[203] Og uten støtte fra USA ble -møtet avlyst. +slikt møte.[203] Og uten støtte fra USA ble +møtet avlyst.

    Jeg klandrer ikke Microsoft for å gjøre det de kan for å fremme sine egne interesser i samsvar med loven. Og lobbyvirksomhet mot myndighetene er @@ -10070,25 +10075,25 @@ programvareprodusenten i USA har lyktes med sin lobbyvirksomhet. Det som var overraskende var USAs regjerings begrunnelse for å være imot møtet. Igjen, sitert av Krim, forklarte Lois Boland, direktør for internasjonale forbindelser ved USAs patent og varemerkekontor, at -“programvare med åpen kildekode går imot til formålet til WIPO, som er -å fremme immaterielle rettigheter.”. Hun skal i følge sitatet ha -sagt, “Å holde et møte som har som formål å fraskrive seg eller +«programvare med åpen kildekode går imot til formålet til WIPO, som er +å fremme immaterielle rettigheter.». Hun skal i følge sitatet ha +sagt, «Å holde et møte som har som formål å fraskrive seg eller frafalle slike rettigheter synes for oss å være i strid med formålene til -WIPO.” +WIPO.»

    Disse utsagnene er forbløffende på flere nivåer.

    For det første er de ganske enkelt ikke riktige. Som jeg beskrev, er det meste av åpen kildekode og fri programvare fundamentalt avhengig av den -immaterielle retten kalt “opphavsrett”. Uten den vil +immaterielle retten kalt «opphavsrett». Uten den vil begrensningene definert av disse lisensene ikke fungere. Dermed er det å si -at de “går imot” formålet om å fremme immaterielle rettigheter +at de «går imot» formålet om å fremme immaterielle rettigheter å avsløre en ekstraordinær mangel på forståelse—den type feil som er tilgivelig hos en førsteårs jusstudent, men pinlig fra en høyt plassert statstjenestemann som håndterer utfordringer rundt immaterielle rettigheter.

    For det andre, hvem har noen gang hevdet at WIPOs eksklusive mål var å -“fremme” immaterielle rettigheter maksimalt? Som jeg fikk +«fremme» immaterielle rettigheter maksimalt? Som jeg fikk kjeft om på den forberedende konferansen til WSIS, skal WIPO vurdere ikke bare hvordan best beskytte immaterielle rettigheter, men også hva som er den beste balansen rundt immaterielle rettigheter. Som enhver økonom og advokat @@ -10103,35 +10108,35 @@ For det tredje, selv om en tror at form immaterielle rettigheter, så innehas immaterielle rettigheter, i vår tradisjon, av individer og selskaper. De får bestemme hva som skal gjøres med disse rettighetene, igjen fordi det er de som eier -rettighetene. Hvis de ønsker å “frafalle” eller -“frasi” seg sine rettigheter, så er det helt etter boka i vår +rettighetene. Hvis de ønsker å «frafalle» eller +«frasi» seg sine rettigheter, så er det helt etter boka i vår tradisjon. Når Bill Gates gir bort mer enn $20 milliarder til gode formål, så er ikke det uforenelig med målene til eiendomssystemet. Det er heller tvert i mot, akkurat hva eiendomssysstemet er ment å oppnå, at individer har retten til å bestemme hva de vil gjøre med sin -eiendom. +eiendom.

    -Når Ms. Boland sier at det er noe galt med et møte “som har som sitt -formål å fraskrive eller frafalle slike rettigheter”, så sier hun at +Når Ms. Boland sier at det er noe galt med et møte «som har som sitt +formål å fraskrive eller frafalle slike rettigheter», så sier hun at WIPO har en interesse i å påvirke valgene til enkeltpersoner som eier immaterielle rettigheter. At på en eller annen WIPOs oppdrag bør være å -stoppe individer fra å “fraskrive” eller -“frafalle” seg sine immaterielle rettigheter. At interessen +stoppe individer fra å «fraskrive» eller +«frafalle» seg sine immaterielle rettigheter. At interessen til WIPO ikke bare er maksimale immaterielle rettigheter, men også at de skal utøves på den mest ekstreme og restriktive mulig måten.

    Det er en historie om akkurat et slikt eierskapssystem som er velkjent i den -anglo-amerikansk tradisjon. Det kalles “føydalisme”. Under +anglo-amerikansk tradisjon. Det kalles «føydalisme». Under føydalismen var eiendommer ikke bare kontrollert av et relativt lite antall individer og aktører. Men det føydale systemet hadde en sterk interesse i å sikre at landeier i systemet ikke svekke føydalismen ved å frigjøre folkene og eiendomene som de kontrollerte til det frie markedet. Føydalismen var avhengig av maksimal kontroll og konsentrasjon. Det sloss mot enhver frihet som kunne forstyrre denne kontrollen. -

    +

    Som Peter Drahos og John Braithwaite beskriver, dette er nøyaktig det valget -vi nå gjør om immaterielle rettigheter.[204] +vi nå gjør om immaterielle rettigheter.[204] Vi kommer til å få et informasjonssamfunn. Så mye er sikkert. Vårt eneste valg nå er hvorvidt dette informasjonssamfunnet skal være fritt eller føydalt. Trenden er @@ -10144,9 +10149,9 @@ kommentar som gjorde meg trist. En anonym kommentator skrev,

    George, du misforstår Lessig: Han snakker bare om verden slik den burde være -(“målet til WIPO, og målet til enhver regjering, bør være å fremme den +(«målet til WIPO, og målet til enhver regjering, bør være å fremme den riktige balansen for immaterielle rettigheter, ikke bare å fremme -immaterielle rettigheter”), ikke som den er. Hvis vi snakket om +immaterielle rettigheter»), ikke som den er. Hvis vi snakket om verden slik den er, så har naturligvis Boland ikke sagt noe galt. Men i verden slik Lessig vil at den skal være, er det åpenbart at hun har sagt noe galt. En må alltid være oppmerksom på forskjellen mellom Lessigs og vår @@ -10163,10 +10168,10 @@ hvorvidt v

    Det var derimot åpenbart at den som postet meldingen ikke støttet idéen. I stedet latterliggjorde forfatteren selve idéen om at i den virkelig verden -skulle “målet” til myndighetene være “å fremme den -riktige balanse” for immaterielle rettigheter. Det var åpenbart +skulle «målet» til myndighetene være «å fremme den +riktige balanse» for immaterielle rettigheter. Det var åpenbart tåpelig for ham. Og det avslørte åpenbart, trodde han, min egen tåpelige -utopisme. “Typisk for en akademiker”, kunne forfatteren like +utopisme. «Typisk for en akademiker», kunne forfatteren like gjerne ha fortsatt.

    Jeg forstår kritikken av akademisk utopisme. Jeg mener også at utopisme er @@ -10175,7 +10180,7 @@ urealistiske idealer til akademikere gjennom historien (og ikke bare i v eget lands historie).

    Men når det har blitt dumt å anta at rollen til våre myndigheter bør være å -“oppnå balanse”, da kan du regne meg blant de dumme, for det +«oppnå balanse», da kan du regne meg blant de dumme, for det betyr at dette faktisk har blitt ganske seriøst. Hvis det bør være åpenbart for alle at myndighetene ikke søker å oppnå balanse, at myndighetene ganske enkelt et verktøy for de mektigste lobbyistene, at idéen om å forvente bedre @@ -10189,7 +10194,7 @@ sannheten. Det kan v mer enn å tjene de mektigste interesser. Det kan være galskap å argumentere for å bevare en tradisjon som har vært en del av vår tradisjon for mesteparten av vår historie—fri kultur. -

    +

    Hvis dette er galskap, så la det være mer gærninger. Snart. Det finnes øyeblikk av håp i denne kampen. Og øyeblikk som overrasker. Da FCC vurderte mindre strenge eierskapsregler, som ville ytterligere konsentrere @@ -10198,7 +10203,7 @@ partiene for organiserte interesser så forskjellige som NRA, ACLU, moveon.org, William Safire, Ted Turner og Codepink Women for Piece seg for å protestere på denne endringen i FCC-reglene. Så mange som 700 000 brev ble sendt til FCC med -krav om flere høringer og et annet resultat. +krav om flere høringer og et annet resultat.

    Disse protestene stoppet ikke FCC, men like etter stemte en bred koalisjon i senatet for å reversere avgjørelsen i FCC. De fiendtlige høringene som ledet @@ -10223,46 +10228,46 @@ gj Det er derfor betydningsfullt at så mange vil kjempe for å kreve konkurranse og økt mangfold. Likevel, hvis kampanjen blir forstått til å kun gjelde størrelse, så er ikke det veldig overraskende. Vi amerikanere har en lang -historie med å slåss mot “stort”, klokt eller ikke. At vi kan -være motivert til å slåss mot “store” igjen ikke noe nytt. +historie med å slåss mot «stort», klokt eller ikke. At vi kan +være motivert til å slåss mot «store» igjen ikke noe nytt.

    Det ville vært noe nytt, og noe veldig viktig, hvis like mange kan være med på en kampanje for å bekjempe økende ekstremisme bygget inn i idéen om -“intellektuell eiendom”. Ikke fordi balanse er fremmed for vår +«intellektuell eiendom». Ikke fordi balanse er fremmed for vår tradisjon. Jeg argumenterer for at balanse er vår tradisjon. Men fordi evnen til å tenke kritisk på omfanget av alt som kalles -“eiendom” ikke er lenger er godt trent i denne tradisjonen. +«eiendom» ikke er lenger er godt trent i denne tradisjonen.

    Hvis vi var Akilles, så ville dette være vår hæl. Dette ville være stedet for våre tragedie. -

    +

    Mens jeg skriver disse avsluttende ordene, er nyhetene fylt med historier om -at RIAA saksøker nesten tre hundre individer.[205] Eminem har nettopp blitt saksøkt for å ha “samplet” -noen andres musikk.[206] Historien om -hvordan Bob Dylan har “stjålet” fra en japansk forfatter har -nettopp gått verden over.[207] En på +at RIAA saksøker nesten tre hundre individer.[205] Eminem har nettopp blitt saksøkt for å ha «samplet» +noen andres musikk.[206] Historien om +hvordan Bob Dylan har «stjålet» fra en japansk forfatter har +nettopp gått verden over.[207] En på innsiden i Hollywood—som insisterer på at han må forbli -anonym—rapporterer “en utrolig samtale med disse studiofolkene. +anonym—rapporterer «en utrolig samtale med disse studiofolkene. De har fantastisk [gammelt] innhold som de ville elske å bruke, men det kan de ikke på grunn av at de først må klarere rettighetene. De har hauger med ungdommer som kunne gjøre fantastiske ting med innholdet, men det vil først -kreve hauger med advokater for å klarere det først”. +kreve hauger med advokater for å klarere det først». Kongressrepresentanter snakker om å gi datavirus politimyndighet for å ta ned datamaskiner som antas å bryte loven. Universiteter truer med å utvise ungdommer som bruker en datamaskin for å dele innhold. -

    +

    I mens på andre siden av Atlanteren har BBC nettopp annonsert at de vil -bygge opp et “kreativt arkiv” som britiske borgere kan laste -ned BBC-innhold fra, og rippe, mikse og brenne det ut.[208] Og i Brasil har kulturministeren, Gilberto Gil, i +bygge opp et «kreativt arkiv» som britiske borgere kan laste +ned BBC-innhold fra, og rippe, mikse og brenne det ut.[208] 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.[209] Jeg har fortalt en mørk +landet.[209] Jeg har fortalt en mørk historie. Sannheten er mer blandet. En teknologi har gitt oss mer frihet. Sakte begynner noen å forstå at denne friheten trenger ikke å bety anarki. Vi kan få med oss fri kultur inn i det tjueførste århundre, uten at artister taper og uten at potensialet for digital teknologi blir knust. Det vil -kreve omtanke, og viktigere, det vil kreve at noen omforme RCAene av i dag +kreve omtanke, og viktigere, det vil kreve at noen omformer RCA-ene av i dag til Causbyere.

    @@ -10271,20 +10276,20 @@ snart, hvis dette potensialet skal noen gang bli realisert. -


    [195] +


    [195] -Commission on Intellectual Property Rights, “Final Report: Integrating -Intellectual Property Rights and Development Policy” (London, 2002), +Commission on Intellectual Property Rights, «Final Report: Integrating +Intellectual Property Rights and Development Policy» (London, 2002), tilgjengelig fra link #55. I følge en pressemelding fra verdens helseorganisasjon sendt ut 9. juli 2002, mottar kun 320 000 av de 6 millioner som trenger medisiner i utviklingsland dem de trenger—og halvparten av dem er i Brasil. -

    [196] +

    [196] Se Peter Drahos og John Braithwaite, Information Feudalism: Who Owns the Knowledge Economy? (New York: The New Press, 2003), -37. -

    [197] +37. +

    [197] International Intellectual Property Institute (IIPI), Patent @@ -10295,105 +10300,105 @@ account of the struggle over South Africa, see Hearing Before the Subcommittee on Criminal Justice, Drug Policy, and Human Resources, House Committee on Government Reform, H. Rep., 1st sess., Ser. No. 106-126 (22 July 1999), 150–57 (statement of James Love). -

    [198] +

    [198] International Intellectual Property Institute (IIPI), Patent Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, en rapport forberedt for the World Intellectual Property -Organization (Washington, D.C., 2000), 15.

    [199] +Organization (Washington, D.C., 2000), 15.

    [199] -See Sabin Russell, “New Crusade to Lower AIDS Drug Costs: Africa's -Needs at Odds with Firms' Profit Motive,” San Francisco -Chronicle, 24 May 1999, A1, available at link #57 (“compulsory +See Sabin Russell, «New Crusade to Lower AIDS Drug Costs: Africa's +Needs at Odds with Firms' Profit Motive,» San Francisco +Chronicle, 24 May 1999, A1, available at link #57 («compulsory licenses and gray markets pose a threat to the entire system of intellectual -property protection”); Robert Weissman, “AIDS and Developing -Countries: Democratizing Access to Essential Medicines,” +property protection»); Robert Weissman, «AIDS and Developing +Countries: Democratizing Access to Essential Medicines,» Foreign Policy in Focus 4:23 (August 1999), available at link #58 (describing -U.S. policy); John A. Harrelson, “TRIPS, Pharmaceutical Patents, and +U.S. policy); John A. Harrelson, «TRIPS, Pharmaceutical Patents, and the HIV/AIDS Crisis: Finding the Proper Balance Between Intellectual -Property Rights and Compassion, a Synopsis,” Widener Law +Property Rights and Compassion, a Synopsis,» Widener Law Symposium Journal (Spring 2001): 175. -

    [200] +

    [200] -Jonathan Krim, “The Quiet War over Open-Source”, +Jonathan Krim, «The Quiet War over Open-Source», Washington Post, august 2003, E1, tilgjengelig fra link #59; William New, -“Global Group's Shift on `Open Source' Meeting Spurs Stir”, +«Global Group's Shift on `Open Source' Meeting Spurs Stir», National Journal's Technology Daily, 19. august 2003, tilgjengelig fra link -#60; William New, “U.S. Official Opposes `Open Source' Talks -at WIPO”, National Journal's Technology Daily, +#60; William New, «U.S. Official Opposes `Open Source' Talks +at WIPO», National Journal's Technology Daily, 19. august 2003, tilgjengelig fra link #61. -

    [201] +

    [201] Jeg bør nevne at jeg var en av folkene som ba WIPO om dette møtet. -

    [202] +

    [202] Microsofts posisjon om åpen kildekode og fri programvare er mer sofistikert. De har flere ganger forklart at de har ikke noe problem med -programvare som er “åpen kildekode” eller programvare som er -allemannseie. Microsofts prinsipielle motstand er mot “fri -programvare” lisensiert med en “copyleft”-lisens, som +programvare som er «åpen kildekode» eller programvare som er +allemannseie. Microsofts prinsipielle motstand er mot «fri +programvare» lisensiert med en «copyleft»-lisens, som betyr at lisensen krever at de som lisensierer skal adoptere same vilkår for -ethvert avledet verk. Se Bradford L. Smith, “The Future of Software: -Enabling the Marketplace to Decide”, Government Policy +ethvert avledet verk. Se Bradford L. Smith, «The Future of Software: +Enabling the Marketplace to Decide», Government Policy Toward Open Source Software (Washington, D.C.: AEI-Brookings Joint Center for Regulatory Studies, American Enterprise Institute for Public Policy Research, 2002), 69, tilgjengelig fra link #62. Se også Craig Mundie, Microsoft senior vice president, The Commercial Software Model, diskusjon ved New York University Stern School of Business (3. mai 2001), tilgjengelig fra link #63. -

    [203] +

    [203] -Krim, “The Quiet War over Open-Source”, tilgjengelig fra link #64. -

    [204] +Krim, «The Quiet War over Open-Source», tilgjengelig fra link #64. +

    [204] Se Drahos with Braithwaite, Information Feudalism, -210–20. -

    [205] +210–20. +

    [205] -John Borland, “RIAA Sues 261 File Swappers”, CNET News.com, +John Borland, «RIAA Sues 261 File Swappers», CNET News.com, september 2003, tilgjengelig fra link #65; Paul R. La Monica, -“Music Industry Sues Swappers”, CNN/Money, 8 september 2003, +«Music Industry Sues Swappers», CNN/Money, 8 september 2003, tilgjengelig fra link #66; Soni Sangha og Phyllis Furman sammen med Robert Gearty, -“Sued for a Song, N.Y.C. 12-Yr-Old Among 261 Cited as Sharers”, +«Sued for a Song, N.Y.C. 12-Yr-Old Among 261 Cited as Sharers», New York Daily News, 9. september 2003, 3; Frank -Ahrens, “RIAA's Lawsuits Meet Surprised Targets; Single Mother in -Calif., 12-Year-Old Girl in N.Y. Among Defendants”, +Ahrens, «RIAA's Lawsuits Meet Surprised Targets; Single Mother in +Calif., 12-Year-Old Girl in N.Y. Among Defendants», Washington Post, 10. september 2003, E1; Katie Dean, -“Schoolgirl Settles with RIAA”, Wired +«Schoolgirl Settles with RIAA», Wired News, 10. september 2003, tilgjengelig fra link #67. -

    [206] +

    [206] -Jon Wiederhorn, “Eminem Gets Sued … by a Little Old -Lady”, mtv.com, 17. september 2003, tilgjengelig fra link #68. -

    [207] +Jon Wiederhorn, «Eminem Gets Sued … by a Little Old +Lady», mtv.com, 17. september 2003, tilgjengelig fra link #68. +

    [207] -Kenji Hall, Associated Press, “Japanese Book May Be Inspiration for -Dylan Songs”, Kansascity.com, 9. juli 2003, tilgjengelig fra link #69. +Kenji Hall, Associated Press, «Japanese Book May Be Inspiration for +Dylan Songs», Kansascity.com, 9. juli 2003, tilgjengelig fra link #69. -

    [208] +

    [208] -“BBC Plans to Open Up Its Archive to the Public”, pressemelding +«BBC Plans to Open Up Its Archive to the Public», pressemelding fra BBC, 24. august 2003, tilgjengelig fra link #70. -

    [209] +

    [209] -“Creative Commons and Brazil”, Creative Commons Weblog, +«Creative Commons and Brazil», Creative Commons Weblog, 6. august 2003, tilgjengelig fra link #71. -

    Kapittel 16. Etterord

    +

    Etterord

    @@ -10426,20 +10431,20 @@ the choice, then the warriors should win.

    The mistake here is the error of the excluded middle. There are extremes in this debate, but the extremes are not all that there is. There are those who -believe in maximal copyright—“All Rights Reserved”— -and those who reject copyright—“No Rights Reserved.” The -“All Rights Reserved” sorts believe that you should ask -permission before you “use” a copyrighted work in any way. The -“No Rights Reserved” sorts believe you should be able to do +believe in maximal copyright—«All Rights Reserved»— +and those who reject copyright—«No Rights Reserved.» The +«All Rights Reserved» sorts believe that you should ask +permission before you «use» a copyrighted work in any way. The +«No Rights Reserved» sorts believe you should be able to do with content as you wish, regardless of whether you have permission or not.

    When the Internet was first born, its initial architecture effectively -tilted in the “no rights reserved” direction. Content could be +tilted in the «no rights reserved» direction. Content could be copied perfectly and cheaply; rights could not easily be controlled. Thus, regardless of anyone's desire, the effective regime of copyright under the -original design of the Internet was “no rights reserved.” -Content was “taken” regardless of the rights. Any rights were +original design of the Internet was «no rights reserved.» +Content was «taken» regardless of the rights. Any rights were effectively unprotected.

    This initial character produced a reaction (opposite, but not quite equal) @@ -10447,17 +10452,17 @@ by copyright owners. That reaction has been the topic of this book. Through legislation, litigation, and changes to the network's design, copyright holders have been able to change the essential character of the environment of the original Internet. If the original architecture made the effective -default “no rights reserved,” the future architecture will make -the effective default “all rights reserved.” The architecture +default «no rights reserved,» the future architecture will make +the effective default «all rights reserved.» The architecture and law that surround the Internet's design will increasingly produce an -environment where all use of content requires permission. The “cut -and paste” world that defines the Internet today will become a -“get permission to cut and paste” world that is a creator's +environment where all use of content requires permission. The «cut +and paste» world that defines the Internet today will become a +«get permission to cut and paste» world that is a creator's nightmare.

    What's needed is a way to say something in the middle—neither -“all rights reserved” nor “no rights reserved” but -“some rights reserved”— and thus a way to respect +«all rights reserved» nor «no rights reserved» but +«some rights reserved»— and thus a way to respect copyrights but enable creators to free content as they see fit. In other words, we need a way to restore a set of freedoms that we could just take for granted before. @@ -10468,11 +10473,11 @@ Internet, most of us didn't have to worry much about data about our lives that we broadcast to the world. If you walked into a bookstore and browsed through some of the works of Karl Marx, you didn't need to worry about explaining your browsing habits to your neighbors or boss. The -“privacy” of your browsing habits was assured. +«privacy» of your browsing habits was assured.

    Hva gjorde at det var sikret?

    -Well, if we think in terms of the modalities I described in chapter 10, your privacy was +Well, if we think in terms of the modalities I described in chapter 10, your privacy was assured because of an inefficient architecture for gathering data and hence a market constraint (cost) on anyone who wanted to gather that data. If you were a suspected spy for North Korea, working for the CIA, no doubt your @@ -10481,22 +10486,22 @@ find it valuable enough to spend the thousands required to track you. But for most of us (again, we can hope), spying doesn't pay. The highly inefficient architecture of real space means we all enjoy a fairly robust amount of privacy. That privacy is guaranteed to us by friction. Not by law -(there is no law protecting “privacy” in public places), and in +(there is no law protecting «privacy» in public places), and in many places, not by norms (snooping and gossip are just fun), but instead, by the costs that friction imposes on anyone who would want to spy. -

    +

    Enter the Internet, where the cost of tracking browsing in particular has become quite tiny. If you're a customer at Amazon, then as you browse the pages, Amazon collects the data about what you've looked at. You know this -because at the side of the page, there's a list of “recently -viewed” pages. Now, because of the architecture of the Net and the +because at the side of the page, there's a list of «recently +viewed» pages. Now, because of the architecture of the Net and the function of cookies on the Net, it is easier to collect the data than -not. The friction has disappeared, and hence any “privacy” -protected by the friction disappears, too. +not. The friction has disappeared, and hence any «privacy» +protected by the friction disappears, too.

    Amazon, of course, is not the problem. But we might begin to worry about libraries. If you're one of those crazy lefties who thinks that people -should have the “right” to browse in a library without the +should have the «right» to browse in a library without the government knowing which books you look at (I'm one of those lefties, too), then this change in the technology of monitoring might concern you. If it becomes simple to gather and sort who does what in electronic spaces, then @@ -10504,9 +10509,9 @@ the friction-induced privacy of yesterday disappears.

    It is this reality that explains the push of many to define -“privacy” on the Internet. It is the recognition that +«privacy» on the Internet. It is the recognition that technology can remove what friction before gave us that leads many to push -for laws to do what friction did.[210] And +for laws to do what friction did.[210] 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 @@ -10518,8 +10523,8 @@ movement. When computers with software were first made available commercially, the software—both the source code and the binaries— was free. You couldn't run a program written for a Data General machine on an IBM machine, so Data General and IBM didn't care much -about controlling their software. -

    +about controlling their software. +

    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 @@ -10550,13 +10555,13 @@ 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. -

    +

    Derfor, i 1984, startet Stallmann på et prosjekt for å bygge et fritt operativsystem, slik i hvert fall en flik av fri programvare skulle overleve. Dette var starten på GNU-prosjektet, som -“Linux”-kjernen til Linus Torvalds senere ble lagt til i for å -produsere GNU/Linux-operativsystemet. - +«Linux»-kjernen til Linus Torvalds senere ble lagt til i for å +produsere GNU/Linux-operativsystemet. +

    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 @@ -10629,7 +10634,7 @@ 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. +inhibit the right of anyone to redistribute the work for free.

    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 @@ -10637,10 +10642,10 @@ 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—especially when it helps spread knowledge and science. -

    16.1.2. Gjenoppbygging av fri kultur: En idé

    +

    16.1.2. Gjenoppbygging av fri kultur: En idé

    Den samme strategien kan brukes på kultur, som et svar på den økende kontrollen som gjennomføres gjennom lov og teknologi. -

    +

    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 reasonable copyright on top @@ -10662,7 +10667,7 @@ machine-readable tags—constitute a Creative Commons license. A Creative Commons license constitutes a grant of freedom to anyone who accesses the license, and more importantly, an expression of the ideal that the person associated with the license believes in something different than -the “All” or “No” extremes. Content is marked with +the «All» or «No» extremes. Content is marked with the CC mark, which does not mean that copyright is waived, but that certain freedoms are given.

    @@ -10671,7 +10676,7 @@ contours depend upon the choices the creator makes. The creator can choose a license that permits any use, so long as attribution is given. She can choose a license that permits only noncommercial use. She can choose a license that permits any use so long as the same freedoms are given to other -uses (“share and share alike”). Or any use so long as no +uses («share and share alike»). Or any use so long as no derivative use is made. Or any use at all within developing nations. Or any sampling use, so long as full copies are not made. Or lastly, any educational use. @@ -10690,12 +10695,12 @@ course, Creative Commons is not the only organization pursuing such freedoms. But the point that distinguishes the Creative Commons from many is that we are not interested only in talking about a public domain or in getting legislators to help build a public domain. Our aim is to build a -movement of consumers and producers of content (“content -conducers,” as attorney Mia Garlick calls them) who help build the +movement of consumers and producers of content («content +conducers,» as attorney Mia Garlick calls them) who help build the public domain and, by their work, demonstrate the importance of the public -domain to other creativity. +domain to other creativity.

    -The aim is not to fight the “All Rights Reserved” sorts. The +The aim is not to fight the «All Rights Reserved» sorts. The aim is to complement them. The problems that the law creates for us as a culture are produced by insane and unintended consequences of laws written centuries ago, applied to a technology that only Jefferson could have @@ -10733,12 +10738,12 @@ All, 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. - -

    + +

    These are examples of using the Commons to better spread proprietary content. I believe that is a wonderful and common use of the Commons. There are others who use Creative Commons licenses for other reasons. Many who use -the “sampling license” do so because anything else would be +the «sampling license» do so because anything else would be hypocritical. The sampling license says that others are free, for commercial or noncommercial purposes, to sample content from the licensed work; they are just not free to make full copies of the licensed work available to @@ -10746,20 +10751,20 @@ others. This is consistent with their own art—they, too, sample from others. Because the legal costs of sampling are so high (Walter Leaphart, manager of the rap group Public Enemy, which was born sampling the music of others, has stated that he does not -“allow” Public Enemy to sample anymore, because the legal costs -are so high[211]), these artists release +«allow» Public Enemy to sample anymore, because the legal costs +are so high[211]), these artists release into the creative environment content that others can build upon, so that -their form of creativity might grow. +their form of creativity might grow.

    Finally, there are many who mark their content with a Creative Commons license just because they want to express to others the importance of balance in this debate. If you just go along with the system as it is, you -are effectively saying you believe in the “All Rights Reserved” +are effectively saying you believe in the «All Rights Reserved» model. Good for you, but many do not. Many believe that however appropriate that rule is for Hollywood and freaks, it is not an appropriate description of how most creators view the rights associated with their content. The -Creative Commons license expresses this notion of “Some Rights -Reserved,” and gives many the chance to say it to others. +Creative Commons license expresses this notion of «Some Rights +Reserved,» and gives many the chance to say it to others.

    In the first six months of the Creative Commons experiment, over 1 million @@ -10782,7 +10787,7 @@ 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. -

    16.2. Dem, snart

    +

    16.2. Dem, snart

    We will not reclaim a free culture by individual action alone. It will also take important reforms of laws. We have a long way to go before the politicians will listen to these ideas and implement these reforms. But @@ -10807,11 +10812,11 @@ that we all must bear if we want our property to be protected. In contrast, under current copyright law, you automatically get a copyright, regardless of whether you comply with any formality. You don't have to register. You don't even have to mark your content. The default is control, -and “formalities” are banished. +and «formalities» are banished.

    Why?

    -As I suggested in chapter 10, the motivation to abolish formalities was a good +As I suggested in chapter 10, the motivation to abolish formalities was a good one. In the world before digital technologies, formalities imposed a burden on copyright holders without much benefit. Thus, it was progress when the law relaxed the formal requirements that a copyright owner must bear to @@ -10827,7 +10832,7 @@ the scope of copyright's rule, getting permission is a necessary step for any work that builds upon our past. And thus, the lack of formalities forces many into silence where they otherwise could speak.

    -The law should therefore change this requirement[212]—but it should not change it by going back to the old, broken +The law should therefore change this requirement[212]—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.

    @@ -10903,8 +10908,8 @@ 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.[213] The meaning of an unmarked -work would therefore be “use unless someone complains.” If +permission.[213] The meaning of an unmarked +work would therefore be «use unless someone complains.» If someone does complain, then the obligation would be to stop using the work in any new work from then on though no penalty would attach for existing uses. This would create a strong incentive for copyright owners to mark @@ -10954,7 +10959,7 @@ of renewal every five years. That seemed radical enough at the time. But after we lost Eldred v. Ashcroft, the proposals became even more radical. The Economist endorsed a proposal for a -fourteen-year copyright term.[214] Others +fourteen-year copyright term.[214] Others have proposed tying the term to the term for patents.

    I agree with those who believe that we need a radical change in copyright's @@ -10975,13 +10980,13 @@ when it no longer benefits an author. Gjør det enkelt: Skillelinjen mellom verker uten opphavsrettslig vern og innhold som er beskyttet må forbli klart. Advokater -liker uklarheten som “rimelig bruk” og forskjellen mellom -“idéer” og “uttrykk” har. Denne type lovverk gir +liker uklarheten som «rimelig bruk» og forskjellen mellom +«idéer» og «uttrykk» har. Denne type lovverk gir dem en masse arbeid. Men de som skrev grunnloven hadde en enklere idé: vernet versus ikke vernet. Verdien av korte vernetider er at det er lite behov for å bygge inn unntak i opphavsretten når vernetiden holdes kort. En -klar og aktiv “advokat-fri sone” gjør komplesiteten av -“rimelig bruk” og “idé/uttrykk” mindre nødvendig å +klar og aktiv «advokat-fri sone» gjør komplesiteten av +«rimelig bruk» og «idé/uttrykk» mindre nødvendig å håndtere.

  2. @@ -10991,10 +10996,10 @@ 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.[215] +for a veteran to apply for a pension.[215] 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. - +

  3. @@ -11016,12 +11021,12 @@ Frem til 1976 var gjennomsnittlig vernetid kun 32.2 det samme.

    Uten tvil vil ekstremistene kalle disse idéene -“radikale”. (Tross alt, så kaller jeg dem -“ekstremister”.) Men igjen, vernetiden jeg anbefalte var lengre -enn vernetiden under Richard Nixon. hvor “radikalt” kan det +«radikale». (Tross alt, så kaller jeg dem +«ekstremister».) Men igjen, vernetiden jeg anbefalte var lengre +enn vernetiden under Richard Nixon. hvor «radikalt» kan det være å be om en mer sjenerøs opphavsrettighet enn da Richard Nixon var president? -

    4. 16.2.3. 3. Fri Bruk vs. rimelig bruk

    +

    16.2.3. 3. Fri Bruk vs. rimelig bruk

    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 @@ -11029,25 +11034,25 @@ changed. There was no fuss, no constitutional challenge. It made no sense anymore to grant that much control, given the emergence of that new technology.

    -Our Constitution gives Congress the power to give authors “exclusive -right” to “their writings.” Congress has given authors -an exclusive right to “their writings” plus any derivative +Our Constitution gives Congress the power to give authors «exclusive +right» to «their writings.» Congress has given authors +an exclusive right to «their writings» plus any derivative writings (made by others) that are sufficiently close to the author's original work. Thus, if I write a book, and you base a movie on that book, I have the power to deny you the right to release that movie, even though that -movie is not “my writing.” +movie is not «my writing.»

    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.[216] The courts +dramatizations of a work.[216] 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. +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.[217] +abracadabra of idea and expression.[217]

    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 @@ -11061,19 +11066,19 @@ 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. +after the creative work is done.

    Scope: Likewise should the scope of derivative rights be narrowed. Again, there are some cases in which derivative rights are important. Those should be specified. But the law should draw clear lines around regulated and unregulated uses of copyrighted material. When all -“reuse” of creative material was within the control of +«reuse» of creative material was within the control of businesses, perhaps it made sense to require lawyers to negotiate the lines. It no longer makes sense for lawyers to negotiate the lines. Think about all the creative possibilities that digital technologies enable; now imagine pouring molasses into the machines. That's what this general requirement of permission does to the creative process. Smothers it. -

    +

    This was the point that Alben made when describing the making of the Clint Eastwood CD. While it makes sense to require negotiation for foreseeable derivative rights—turning a book into a movie, or a poem into a @@ -11082,7 +11087,7 @@ unforeseeable. Here, a statutory right would make much more sense.

    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.[218] His view is that the law should be written so that +reverse of the recommendation of my colleague Paul Goldstein.[218] His view is that the law should be written so that expanded protections follow expanded uses.

    Goldstein's analysis would make perfect sense if the cost of the legal @@ -11119,7 +11124,7 @@ performing artist to control copies of her performance.

    File-sharing networks complicate this model by enabling the spread of content for which the performer has not been paid. But of course, that's not -all the file-sharing networks do. As I described in chapter 5, they enable four +all the file-sharing networks do. As I described in chapter 5, they enable four different kinds of sharing:

    1. @@ -11152,7 +11157,7 @@ the magnitude of type B. As with VCRs, if the net effect of sharing is actually not very harmful, the need for regulation is significantly weakened.

      -As I said in chapter 5, the actual harm caused by sharing is controversial. For +As I said in chapter 5, the actual harm caused by sharing is controversial. For the purposes of this chapter, however, I assume the harm is real. I assume, in other words, that type A sharing is significantly greater than type B, and is the dominant use of sharing networks. @@ -11182,7 +11187,7 @@ essentially on the Net; where everywhere you are—except maybe the desert or the Rockies—you can instantaneously be connected to the Internet. Imagine the Internet as ubiquitous as the best cell-phone service, where with the flip of a device, you are connected. -

      +

      In that world, it will be extremely easy to connect to services that give you access to content on the fly—such as Internet radio, content that is streamed to the user when the user demands. Here, then, is the critical @@ -11197,17 +11202,17 @@ services will compete with content sharing, even if the services charge money for the content they give access to. Already cell-phone services in Japan offer music (for a fee) streamed over cell phones (enhanced with plugs for headphones). The Japanese are paying for this content even though -“free” content is available in the form of MP3s across the -Web.[219] +«free» content is available in the form of MP3s across the +Web.[219]

      This point about the future is meant to suggest a perspective on the -present: It is emphatically temporary. The “problem” with file +present: It is emphatically temporary. The «problem» with file sharing—to the extent there is a real problem—is a problem that will increasingly disappear as it becomes easier to connect to the Internet. And thus it is an extraordinary mistake for policy makers today -to be “solving” this problem in light of a technology that will +to be «solving» this problem in light of a technology that will be gone tomorrow. The question should not be how to regulate the Internet to eliminate file sharing (the Net will evolve that problem away). The question instead should be how to assure that artists get paid, during this @@ -11215,16 +11220,16 @@ transition between twentieth-century models for doing business and twenty-first-century technologies.

      The answer begins with recognizing that there are different -“problems” here to solve. Let's start with type D +«problems» here to solve. Let's start with type D content—uncopyrighted content or copyrighted content that the artist -wants shared. The “problem” with this content is to make sure +wants shared. The «problem» with this content is to make sure that the technology that would enable this kind of sharing is not rendered illegal. You can think of it this way: Pay phones are used to deliver ransom demands, no doubt. But there are many who need to use pay phones who have nothing to do with ransoms. It would be wrong to ban pay phones in order to eliminate kidnapping.

      -Type C content raises a different “problem.” This is content +Type C content raises a different «problem.» This is content that was, at one time, published and is no longer available. It may be unavailable because the artist is no longer valuable enough for the record label he signed with to carry his work. Or it may be unavailable because the @@ -11238,13 +11243,13 @@ and used book stores don't pay the copyright owner when someone reads or buys an out-of-print book. That makes total sense, of course, since any other system would be so burdensome as to eliminate the possibility of used book stores' existing. But from the author's perspective, this -“sharing” of his content without his being compensated is less +«sharing» of his content without his being compensated is less than ideal.

      The model of used book stores suggests that the law could simply deem out-of-print music fair game. If the publisher does not make copies of the music available for sale, then commercial and noncommercial providers would -be free, under this rule, to “share” that content, even though +be free, under this rule, to «share» that content, even though the sharing involved making a copy. The copy here would be incidental to the trade; in a context where commercial publishing has ended, trading music should be as free as trading books. @@ -11298,7 +11303,7 @@ eller p2p-teknologien som i dag skader innholdsleverand bør vi finne en relativt enkel måte å kompensere de som blir skadelidende.

      The idea would be a modification of a proposal that has been floated by -Harvard law professor William Fisher.[220] +Harvard law professor William Fisher.[220] 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 @@ -11319,43 +11324,43 @@ a transition between regimes. And it would require renewal after a period of years. If it continues to make sense to facilitate free exchange of content, supported through a taxation system, then it can be continued. If this form of protection is no longer necessary, then the system could lapse into the -old system of controlling access. -

      +old system of controlling access. +

      Fisher would balk at the idea of allowing the system to lapse. His aim is not just to ensure that artists are paid, but also to ensure that the system -supports the widest range of “semiotic democracy” possible. But +supports the widest range of «semiotic democracy» possible. But the aims of semiotic democracy would be satisfied if the other changes I described were accomplished—in particular, the limits on derivative uses. A system that simply charges for access would not greatly burden semiotic democracy if there were few limitations on what one was allowed to do with the content itself. -

      +

      No doubt it would be difficult to calculate the proper measure of -“harm” to an industry. But the difficulty of making that +«harm» to an industry. But the difficulty of making that calculation would be outweighed by the benefit of facilitating innovation. This background system to compensate would also not need to interfere with innovative proposals such as Apple's MusicStore. As experts predicted when Apple launched the MusicStore, it could beat -“free” by being easier than free is. This has proven correct: +«free» by being easier than free is. This has proven correct: Apple has sold millions of songs at even the very high price of 99 cents a song. (At 99 cents, the cost is the equivalent of a per-song CD price, though the labels have none of the costs of a CD to pay.) Apple's move was countered by Real Networks, offering music at just 79 cents a song. And no doubt there will be a great deal of competition to offer and sell music on-line. -

      +

      This competition has already occurred against the background of -“free” music from p2p systems. As the sellers of cable +«free» music from p2p systems. As the sellers of cable television have known for thirty years, and the sellers of bottled water for much more than that, there is nothing impossible at all about -“competing with free.” Indeed, if anything, the competition +«competing with free.» Indeed, if anything, the competition spurs the competitors to offer new and better products. This is precisely what the competitive market was to be about. Thus in Singapore, though piracy is rampant, movie theaters are often luxurious—with -“first class” seats, and meals served while you watch a +«first class» seats, and meals served while you watch a movie—as they struggle and succeed in finding ways to compete with -“free.” +«free.»

      Dette konkurranseregimet, med en sikringsmekanisme for å sikre at kunstnere ikke taper, ville bidra mye til nyskapning innen levering av @@ -11390,9 +11395,9 @@ kommersiell type-C-deling med en lav og fast rate fastsatt ved lov. mens denne overgangen pågår, skattlegge og kompensere for type-A-deling, i den grad faktiske skade kan påvises.

    -Men hva om “piratvirksomheten” ikke forsvinner? Hva om det +Men hva om «piratvirksomheten» ikke forsvinner? Hva om det finnes et konkurranseutsatt marked som tilbyr innhold til en lav kostnad, -men et signifikant antall av forbrukere fortsetter å “ta” +men et signifikant antall av forbrukere fortsetter å «ta» innhold uten å betale? Burde loven gjøre noe da?

    Ja, det bør den. Men, nok en gang, hva den bør gjøre avhenger hvordan @@ -11428,13 +11433,13 @@ yrkesgruppe til synet ødelegge loven.

    Indisiene for slik bøyning er overbevisene. Jeg er angrepet som en -“radikal” av mange innenfor yrket, og likevel er meningene jeg +«radikal» av mange innenfor yrket, og likevel er meningene jeg argumenterer for nøyaktig de meningene til mange av de mest moderate og betydningsfulle personene i historien til denne delen av loven. Mange trodde for eksempel at vår utfordring til lovforslaget om å utvide opphavsrettens vernetid var galskap. Mens bare tredve år siden mente den dominerende foreleser og utøver i opphavsrettsfeltet, Melville Nimmer, at den var -åpenbar.[221] +åpenbar.[221]

    Min kritikk av rollen som advokater har spilt i denne debatten handler @@ -11444,7 +11449,7 @@ 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.[222] De ser et system som har +lav.[222] 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.

    @@ -11475,7 +11480,7 @@ 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. -

    +

    Tenk på de fantastiske tingene ditt barn kan gjøre eller lage med digital teknologi—filmen, musikken, web-siden, bloggen. Eller tenk på de fantastiske tingene ditt fellesskap kunne få til med digital @@ -11488,72 +11493,72 @@ til. Dette er virkeligheten slik den var i Brezhnevs Russland. Loven bør regulere i visse områder av kulturen—men det bør regulere kultur bare der reguleringen bidrar positivt. Likevel tester advokater sjeldent sin kraft, eller kraften som de fremmer, mot dette enkle pragmatisk -spørsmålet: “vil det bidra positivt?”. Når de blir utfordret -om det utvidede rekkevidden til loven, er advokat-svaret, “Hvorfor -ikke?” +spørsmålet: «vil det bidra positivt?». Når de blir utfordret +om det utvidede rekkevidden til loven, er advokat-svaret, «Hvorfor +ikke?»

    -Vi burde spørre: “Hvorfor?”. Vis meg hvorfor din regulering av +Vi burde spørre: «Hvorfor?». Vis meg hvorfor din regulering av kultur er nødvendig og vis meg hvordan reguleringen bidrar positivt. Før du kan vise meg begge, holde advokatene din unna. -


    [210] +


    [210] -See, for example, Marc Rotenberg, “Fair Information Practices and the -Architecture of Privacy (What Larry Doesn't Get),” +See, for example, Marc Rotenberg, «Fair Information Practices and the +Architecture of Privacy (What Larry Doesn't Get),» Stanford Technology Law Review 1 (2001): par. 6–18, available at link #72 (describing examples in which technology defines privacy policy). See also Jeffrey Rosen, The Naked Crowd: Reclaiming Security and Freedom in an Anxious Age (New York: Random House, 2004) (mapping tradeoffs between -technology and privacy).

    [211] +technology and privacy).

    [211] Willful Infringement: A Report from the Front Lines of the Real Culture Wars (2003), produced by Jed Horovitz, directed by Greg Hittelman, a Fiat Lucre production, available at link #72. -

    [212] +

    [212] 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.

    [213] +by other countries as well.

    [213] 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. -

    [214] +

    [214] -“A Radical Rethink”, Economist, 366:8308 +«A Radical Rethink», Economist, 366:8308 (25. januar 2003): 15, tilgjengelig fra link #74. -

    [215] +

    [215] Department of Veterans Affairs, Veteran's Application for Compensation and/or Pension, VA Form 21-526 (OMB Approved No. 2900-0001), tilgjengelig fra link #75. -

    [216] +

    [216] Benjamin Kaplan, An Unhurried View of Copyright (New York: Columbia University Press, 1967), 32. -

    [217] +

    [217] Ibid., 56. -

    [218] +

    [218] Paul Goldstein, Copyright's Highway: From Gutenberg to the Celestial Jukebox (Stanford: Stanford University Press, 2003), -187–216. -

    [219] +187–216. +

    [219] -For eksempel, se, “Music Media Watch”, The J@pan +For eksempel, se, «Music Media Watch», The J@pan Inc. Newsletter, 3 April 2002, tilgjengelig fra link #76. -

    [220] +

    [220] William Fisher, Digital Music: Problems and Possibilities (sist revidert: 10. oktober @@ -11563,36 +11568,36 @@ and the Future of Entertainment (kommer) (Stanford: Stanford University Press, 2004), kap. 6, tilgjengelig fra link #78. Professor Netanel har foreslått en relatert idé som ville gjøre at opphavsretten ikke gjelder ikke-kommersiell deling fra og ville etablere kompenasjon til kunstnere for -å balansere eventuelle tap. Se Neil Weinstock Netanel, “Impose a -Noncommercial Use Levy to Allow Free P2P File Sharing”, tilgjengelig +å balansere eventuelle tap. Se Neil Weinstock Netanel, «Impose a +Noncommercial Use Levy to Allow Free P2P File Sharing», tilgjengelig fra link #79. For andre -forslag, se Lawrence Lessig, “Who's Holding Back Broadband?” +forslag, se Lawrence Lessig, «Who's Holding Back Broadband?» Washington Post, 8. january 2002, A17; Philip S. Corwin på vegne av Sharman Networks, Et brev til Senator Joseph R. Biden, Jr., leder i the Senate Foreign Relations Committee, 26. februar. 2002, tilgjengelig fra link #80; Serguei Osokine, A Quick Case for Intellectual Property Use Fee (IPUF), 3. mars 2002, tilgjengelig fra link #81; Jefferson Graham, -“Kazaa, Verizon Propose to Pay Artists Directly”, +«Kazaa, Verizon Propose to Pay Artists Directly», USA Today, 13. mai 2002, tilgjengelig fra link #82; Steven M. Cherry, -“Getting Copyright Right”, IEEE Spectrum Online, 1. juli 2002, +«Getting Copyright Right», IEEE Spectrum Online, 1. juli 2002, tilgjengelig fra link -#83; Declan McCullagh, “Verizon's Copyright Campaign”, +#83; Declan McCullagh, «Verizon's Copyright Campaign», CNET News.com, 27. august 2002, tilgjengelig fra link #84. Forslaget fra Fisher er ganske likt forslaget til Richard Stallman når det gjelder DAT. I motsetning til Fishers forslag, ville Stallmanns forslag ikke betale kunstnere proposjonalt, selv om mer populære artister ville få mer betalt enn mindre populære. Slik det er typisk med Stallman, la han fram sitt -forslag omtrent ti år før dagens debatt. Se link #85. - - -

    [221] +forslag omtrent ti år før dagens debatt. Se link #85. + + +

    [221] -Lawrence Lessig, “Copyright's First Amendment” (Melville +Lawrence Lessig, «Copyright's First Amendment» (Melville B. Nimmer Memorial Lecture), UCLA law Review 48 (2001): 1057, 1069–70. -

    [222] +

    [222] 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 @@ -11602,13 +11607,13 @@ endret s på nytt. Sammenlign Stan J. Liebowitz, Rethinking the Network Economy: The True Forces That Drive the Digital Marketplace (New York: Amacom, 2002), (gikk igjennom hans originale syn men uttrykte skepsis) -med Stan J. Liebowitz, “Will MP3s Annihilate the Record -Industry?” artikkelutkast, juni 2003, tilgjengelig fra link #86. Den nøye analysen til +med Stan J. Liebowitz, «Will MP3s Annihilate the Record +Industry?» artikkelutkast, juni 2003, tilgjengelig fra link #86. Den nøye analysen til Liebowitz er ekstremt verdifull i sin estimering av effekten av fildelingsteknologi. Etter mitt syn underestimerer han forøvrig kostnaden til det juridiske system. Se, for eksempel, -Rethinking, 174–76. -

    Kapittel 17. Notater

    +Rethinking, 174–76. +

    Notater

    I denne teksten er det referanser til lenker på verdensveven. Og som alle som har forsøkt å bruke nettet vet, så vil disse lenkene være svært ustabile. Jeg har forsøkt å motvirke denne ustabiliteten ved å omdirigere @@ -11618,12 +11623,12 @@ og finne den originale kilden ved den originale lenken fortsatt er i live, så vil du bli omdirigert til den lenken. Hvis den originale lenken har forsvunnet, så vil du bli omdirigert til en passende referanse til materialet. -

    Kapittel 18. Takk til

    +

    Takk til

    Denne boken er produktet av en lang og så langt mislykket kamp som begynte da jeg leste om Eric Eldreds krig for å sørge for at bøker forble frie. Eldreds innsats bidro til å lansere en bevegelse, fri kultur-bevegelsen, og denne boken er tilegnet ham. -

    +

    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 @@ -11658,7 +11663,7 @@ K. L. Mann, Mark Manning, Nora McCauley, Jeffrey McHugh, Evan McMullen, Fred Norton, John Pormann, Pedro A. D. Rezende, Shabbir Safdar, Saul Schleimer, Clay Shirky, Adam Shostack, Kragen Sitaker, Chris Smith, Bruce Steinberg, Andrzej Jan Taramina, Sean Walsh, Matt Wasserman, Miljenko Williams, -“Wink,” Roger Wood, “Ximmbo da Jazz,” og Richard +«Wink,» Roger Wood, «Ximmbo da Jazz,» og Richard Yanco. (jeg beklager hvis jeg gikk glipp av noen, med datamaskiner kommer feil og en krasj i e-postsystemet mitt gjorde at jeg mistet en haug med flotte svar.) @@ -11674,4 +11679,4 @@ 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. -

    Indeks

    A

    ABC, Kapittel to: “Kun etter-apere”, Marked: Konsentrasjon
    Adobe eBook Reader, Arkitektur og lov: Makt, Arkitektur og lov: Makt
    Adromeda, Corrupting Citizens
    advertising, Kapittel to: “Kun etter-apere”, Hvorfor Hollywood har rett, Lov og arkitektur: Rekkevidde, Lov og arkitektur: Rekkevidde, Marked: Konsentrasjon, Marked: Konsentrasjon
    Africa, medications for HIV patients in, Konklusjon, Konklusjon
    Agee, Michael, Kapittel tretten: Eldred, Kapittel tretten: Eldred
    agricultural patents, Piratvirksomhet I
    Aibo robothund, Arkitektur og lov: Makt, Arkitektur og lov: Makt
    akademiske tidsskrifter, Konklusjon, Gjenoppbygging av friheter som tidligere var antatt: Eksempler, Gjenoppbygging av friheter som tidligere var antatt: Eksempler
    Akerlof, George, Kapittel tretten: Eldred
    Alben, Alex, Kapittel åtte: Omformere, Kapittel åtte: Omformere, Constraining Innovators, Constraining Innovators, 3. Fri Bruk vs. rimelig bruk
    alcohol prohibition, Corrupting Citizens
    Alice's Adventures in Wonderland (Carroll), Arkitektur og lov: Makt
    All in the Family, Marked: Konsentrasjon
    Allen, Paul, Kapittel åtte: Omformere
    Amazon, Gjenoppbygging av friheter som tidligere var antatt: Eksempler
    American Association of Law Libraries, Kapittel tretten: Eldred
    American Graphophone Company, Innspilt musikk
    Americans with Disabilities Act (1990), Kapittel ti: “Eiendom”
    Anello, Douglas, Kabel-TV
    antiretroviral drugs, Konklusjon, Konklusjon
    archive.org, Kapittel ni: Samlere
    (se også Internett-arkivet)
    Aristoteles, Arkitektur og lov: Makt
    arkitektur, begrensninger med opphav i, Kapittel ti: “Eiendom”
    arkiver, digitale, Kapittel ni: Samlere, Kapittel ni: Samlere, Sammen, Kapittel tretten: Eldred
    Armstrong, Edwin Howard, Introduksjon, Introduksjon, Kapittel tolv: Skader, Constraining Innovators
    Arrow, Kenneth, Kapittel tretten: Eldred
    artister
    musikkindustriens betaling til, Kapittel tre: Kataloger, Radio, Radio, Piratvirksomhet II, Constraining Innovators, 4. Frigjør musikken—igjen, 4. Frigjør musikken—igjen
    publicity rights on images of, Kapittel åtte: Omformere
    retrospective compilations on, Kapittel åtte: Omformere, Kapittel åtte: Omformere
    ASCAP, “Piratvirksomhet”
    Asia, kommersiell piratvirksomhet i, Piratvirksomhet I, 4. Frigjør musikken—igjen
    AT&T, Introduksjon
    Ayer, Don, Kapittel tretten: Eldred, Kapittel fjorten: Eldred II

    B

    Bacon, Francis, Kapittel seks: Grunnleggerne
    Barish, Stephanie, Kapittel to: “Kun etter-apere”
    Barlow, Joel, Introduksjon
    Barnes & Noble, Lov og arkitektur: Rekkevidde
    Barry, Hank, Constraining Innovators
    BBC, Konklusjon
    Beatles, Innspilt musikk
    Beckett, Thomas, Kapittel seks: Grunnleggerne
    Bell, Alexander Graham, Introduksjon
    Berlin Act (1908), Kapittel fjorten: Eldred II
    Berman, Howard L., Kapittel elleve: Chimera, Constraining Innovators
    Bern-konvensjonen (1908), Kapittel fjorten: Eldred II
    Bernstein, Leonard, Piratvirksomhet II
    Betamax, Piratvirksomhet II
    biomedical research, Konklusjon, Konklusjon
    Black, Jane, Piratvirksomhet II
    BMG, Marked: Konsentrasjon
    BMW, Constraining Innovators
    Boies, David, Kapittel åtte: Omformere
    Bolling, Ruben, Kapittel tretten: Eldred
    Bono, Mary, Kapittel tretten: Eldred
    Bono, Sonny, Kapittel tretten: Eldred
    Boswell, James, Kapittel seks: Grunnleggerne
    Boyle, James, Hvorfor Hollywood har rett
    Braithwaite, John, Konklusjon
    Branagh, Kenneth, Kapittel seks: Grunnleggerne
    Brandeis, Louis D., Introduksjon, Kapittel to: “Kun etter-apere”
    Brasil, fri kultur i, Konklusjon
    Breyer, Stephen, Kapittel tretten: Eldred
    Bromberg, Dan, Kapittel tretten: Eldred
    Brown, John Seely, Kapittel to: “Kun etter-apere”, Kapittel to: “Kun etter-apere”
    Buchanan, James, Kapittel tretten: Eldred
    Bunyan, John, Kapittel seks: Grunnleggerne
    Burdick, Quentin, Kabel-TV
    Bush, George W., Constraining Creators

    C

    Camp Chaos, Kapittel åtte: Omformere
    CARP (Copyright Arbitration Royalty Panel), Constraining Innovators
    Carson, Rachel, Hvorfor Hollywood har rett
    Casablanca, Arkitektur og lov: Makt
    Causby, Thomas Lee, Introduksjon, Kapittel tolv: Skader, Kapittel fjorten: Eldred II, Konklusjon
    Causby, Tinie, Introduksjon, Kapittel tolv: Skader, Kapittel fjorten: Eldred II, Konklusjon
    CBS, Kapittel to: “Kun etter-apere”
    chimeras, Kapittel elleve: Chimera, Kapittel elleve: Chimera
    Christensen, Clayton M., Piratvirksomhet II, Marked: Konsentrasjon
    Clark, Kim B., Marked: Konsentrasjon
    CNN, Kapittel to: “Kun etter-apere”
    Coase, Ronald, Kapittel tretten: Eldred
    CodePink Women in Peace, Forord, Konklusjon
    Coe, Brian, Kapittel to: “Kun etter-apere”
    Comcast, Marked: Konsentrasjon
    Commons, John R., Kapittel ti: “Eiendom”
    Conrad, Paul, Arkitektur og lov: Makt
    Conyers, John, Jr., Kapittel elleve: Chimera
    cookies, Internet, Gjenoppbygging av friheter som tidligere var antatt: Eksempler
    copyleft licenses, Konklusjon
    Country of the Blind, The (Wells), Kapittel elleve: Chimera, Kapittel elleve: Chimera
    Creative Commons, Konklusjon, Gjenoppbygging av fri kultur: En idé, Gjenoppbygging av fri kultur: En idé
    Crichton, Michael, Kapittel to: “Kun etter-apere”
    Crosskey, William W., Loven: Varighet

    D

    Daguerre, Louis, Kapittel to: “Kun etter-apere”
    Daley, Elizabeth, Kapittel to: “Kun etter-apere”
    dataspill, Kapittel to: “Kun etter-apere”
    Day After Trinity, The, Kapittel sju: Innspillerne
    DDT, Hvorfor Hollywood har rett, Hvorfor Hollywood har rett
    Dean, Howard, Kapittel to: “Kun etter-apere”
    Diller, Barry, Marked: Konsentrasjon
    Disney, Inc., Kapittel ti: “Eiendom”
    Drahos, Peter, Piratvirksomhet I, Konklusjon
    Dreyfuss, Rochelle, “Piratvirksomhet”
    Drucker, Peter, Kapittel åtte: Omformere
    Dylan, Bob, Konklusjon

    E

    Eagle Forum, Kapittel tretten: Eldred
    Eastman, George, Kapittel to: “Kun etter-apere”, Kapittel to: “Kun etter-apere”
    Edison, Thomas, Introduksjon
    eiendomsrettigheter
    lufttrafikk mot, Introduksjon, Introduksjon, 3. Fri Bruk vs. rimelig bruk
    Elektronisk forpost-stiftelsen (EFF), Arkitektur og lov: Makt, Corrupting Citizens
    EMI, Marked: Konsentrasjon, Constraining Innovators
    Erskine, Andrew, Kapittel seks: Grunnleggerne

    F

    Fallows, James, Marked: Konsentrasjon
    Fanning, Shawn, Piratvirksomhet II
    Faraday, Michael, Introduksjon
    Fisher, William, 4. Frigjør musikken—igjen
    Florida, Richard, “Piratvirksomhet”
    Forbes, Steve, Kapittel fjorten: Eldred II
    fotografering, Kapittel to: “Kun etter-apere”, Kapittel to: “Kun etter-apere”
    Fourneaux, Henri, Innspilt musikk, Innspilt musikk
    Fox, William, Film
    Free for All (Wayner), Gjenoppbygging av fri kultur: En idé
    Fried, Charles, Kapittel tretten: Eldred
    Friedman, Milton, Kapittel tretten: Eldred

    G

    Garlick, Mia, Gjenoppbygging av fri kultur: En idé
    Gates, Bill, Hvorfor Hollywood har rett, Konklusjon
    General Film Company, Film
    Gershwin, George, Kapittel tretten: Eldred
    Gil, Gilberto, Konklusjon
    GNU/Linux-operativsystemet, Piratvirksomhet I, Kapittel tretten: Eldred, Konklusjon, Gjenoppbygging av friheter som tidligere var antatt: Eksempler
    Goldstein, Paul, 3. Fri Bruk vs. rimelig bruk
    Gracie Films, Kapittel sju: Innspillerne
    Grisham, John, Innspilt musikk, 3. Fri Bruk vs. rimelig bruk

    H

    Hal Roach Studios, Kapittel tretten: Eldred
    Hand, Learned, Radio
    Hawthorne, Nathaniel, Kapittel tretten: Eldred, Kapittel tretten: Eldred
    Henry V, Kapittel seks: Grunnleggerne
    Henry VIII, Konge av England, Kapittel seks: Grunnleggerne
    Heston, Charlton, Kabel-TV
    HIV/AIDS therapies, Konklusjon, Konklusjon
    Hollings, Fritz, Constraining Innovators
    Hummer Winblad, Constraining Innovators
    Hummer, John, Constraining Innovators
    Hyde, Rosel H., Kabel-TV

    I

    IBM, Konklusjon, Gjenoppbygging av friheter som tidligere var antatt: Eksempler
    Intel, Constraining Innovators, Kapittel tretten: Eldred
    Internet Explorer, Piratvirksomhet I
    Iwerks, Ub, Kapittel en: Skaperne

    J

    Jaszi, Peter, Kapittel tretten: Eldred
    jernbaneindustri, Hvorfor Hollywood har rett
    Johnson, Lyndon, Kapittel ti: “Eiendom”
    Johnson, Samuel, Kapittel seks: Grunnleggerne

    K

    Kaplan, Benjamin, 3. Fri Bruk vs. rimelig bruk
    Kelly, Kevin, Kapittel fjorten: Eldred II
    Kennedy, John F., Kapittel ti: “Eiendom”, Constraining Innovators
    Kittredge, Alfred, Innspilt musikk
    kjørehastighet, begrensninger på, Kapittel ti: “Eiendom”, Kapittel ti: “Eiendom”
    Kodak Primer, The (Eastman), Kapittel to: “Kun etter-apere”
    Kozinski, Alex, Piratvirksomhet II
    Krim, Jonathan, Konklusjon
    kunst, undergrunns, Constraining Creators

    L

    landeierskap, lufttrafikk og, Introduksjon, Introduksjon, 3. Fri Bruk vs. rimelig bruk
    Laurel and Hardy Films, Kapittel tretten: Eldred
    law schools, Corrupting Citizens
    Leaphart, Walter, Gjenoppbygging av fri kultur: En idé
    Lear, Norman, Marked: Konsentrasjon
    legal realist movement, Sammen
    Licensing Act (1662), Kapittel seks: Grunnleggerne
    Liebowitz, Stan, Piratvirksomhet I, Piratvirksomhet II, 5. Spark en masse advokater
    Linux-operativsystemet, Piratvirksomhet I, Kapittel tretten: Eldred, Konklusjon, Gjenoppbygging av friheter som tidligere var antatt: Eksempler
    Litman, Jessica, Introduksjon, Constraining Innovators
    Lofgren, Zoe, Kapittel fjorten: Eldred II
    Lott, Trent, Kapittel to: “Kun etter-apere”
    Lovett, Lyle, Radio, Kapittel elleve: Chimera, Constraining Innovators, Kapittel fjorten: Eldred II
    Lucky Dog, The, Kapittel tretten: Eldred
    lufttrafikk, landeierskap mot, Introduksjon, Introduksjon

    M

    Madonna, Radio, Radio, Piratvirksomhet II, Kapittel ti: “Eiendom”
    Mansfield, William Murray, Lord, “Piratvirksomhet”, “Piratvirksomhet”, Kapittel seks: Grunnleggerne, Kapittel seks: Grunnleggerne
    Marijuana Policy Project, Marked: Konsentrasjon
    markedskonsentrasjon, Kapittel ti: “Eiendom”, Hvorfor Hollywood har rett, Constraining Innovators
    Marx Brothers, Arkitektur og lov: Makt, Arkitektur og lov: Makt
    McCain, John, Marked: Konsentrasjon
    MGM, Kapittel ti: “Eiendom”
    Microsoft
    Windows operating system of, Piratvirksomhet I
    Milton, John, Kapittel seks: Grunnleggerne
    Morrison, Alan, Kapittel tretten: Eldred
    Movie Archive, Kapittel ni: Samlere
    Moyers, Bill, Marked: Konsentrasjon
    Müller, Paul Hermann, Hvorfor Hollywood har rett

    N

    Nashville Songwriters Association, Kapittel tretten: Eldred
    National Writers Union, Kapittel tretten: Eldred
    NBC, Marked: Konsentrasjon
    Needleman, Rafe, Constraining Innovators
    Netanel, Neil Weinstock, Introduksjon, 4. Frigjør musikken—igjen
    Netscape, Piratvirksomhet I
    Nimmer, David, Kapittel åtte: Omformere
    normer, reguleringspåvirkning fra, Kapittel ti: “Eiendom”, Hvorfor Hollywood har rett

    O

    O'Connor, Sandra Day, Kapittel tretten: Eldred
    Olafson, Steve, Kapittel to: “Kun etter-apere”
    Olson, Theodore B., Kapittel tretten: Eldred
    Oppenheimer, Matt, Kapittel tre: Kataloger
    originalism, Kapittel tretten: Eldred
    Orwell, George, Kapittel ni: Samlere, Kapittel ni: Samlere

    P

    Paramount Pictures, Kapittel ti: “Eiendom”
    Picker, Randal C., Film, Radio, Piratvirksomhet II, Constraining Innovators
    PLoS (Public Library of Science), Konklusjon, Gjenoppbygging av friheter som tidligere var antatt: Eksempler
    Pogue, David, Forord, Forord
    Politikk, (Aristotles), Arkitektur og lov: Makt
    Promises to Keep (Fisher), 4. Frigjør musikken—igjen
    Public Citizen, Kapittel tretten: Eldred
    Public Enemy, Gjenoppbygging av fri kultur: En idé

    Q

    Quayle, Dan, Kapittel ni: Samlere

    R

    rap music, Gjenoppbygging av fri kultur: En idé
    Reagan, Ronald, Kapittel tretten: Eldred, Konklusjon
    Real Networks, Constraining Innovators, 4. Frigjør musikken—igjen
    Rehnquist, William H., Kapittel tretten: Eldred
    Rensselaer Polytechnic Institute (RPI), Kapittel tre: Kataloger, Kapittel tre: Kataloger
    Rise of the Creative Class, The (Florida), “Piratvirksomhet”
    Roberts, Michael, Constraining Innovators
    robothund, Arkitektur og lov: Makt, Arkitektur og lov: Makt
    Rogers, Fred, Arkitektur og lov: Makt
    Rose, Mark, Kapittel seks: Grunnleggerne, Takk til
    RPI (Se Rensselaer Polytechnic Institute (RPI))
    Rubenfeld, Jeb, Loven: Virkeområde
    Russel, Phil, Innspilt musikk

    S

    Safire, William, Forord, Konklusjon
    San Francisco Opera, Kapittel sju: Innspillerne
    Sarnoff, David, Introduksjon
    Schlafly, Phyllis, Kapittel tretten: Eldred
    Shakespeare, William, Kapittel seks: Grunnleggerne
    Silent Sprint (Carson), Hvorfor Hollywood har rett
    Sony
    Aibo robothund produsert av, Arkitektur og lov: Makt, Arkitektur og lov: Makt
    Sony Pictures Entertainment, Kapittel ti: “Eiendom”
    Stallman, Richard, Gjenoppbygging av friheter som tidligere var antatt: Eksempler
    Steward, Geoffrey, Kapittel tretten: Eldred

    T

    Talbot, William, Kapittel to: “Kun etter-apere”
    tegnefilmer, Kapittel en: Skaperne, Kapittel en: Skaperne
    Turner, Ted, Konklusjon
    Twentieth Century Fox, Kapittel ti: “Eiendom”

    U

    Universal Music Group, Marked: Konsentrasjon, Constraining Innovators
    Universal Pictures, Kapittel ti: “Eiendom”

    V

    Vaidhyanathan, Siva, Kapittel en: Skaperne, Film, Kapittel seks: Grunnleggerne, Arkitektur og lov: Makt, Sammen
    veteranpensjoner, 2. Kortere vernetid
    Vivendi Universal, Kapittel elleve: Chimera, Constraining Innovators, Constraining Innovators
    von Lohmann, Fred, Corrupting Citizens

    W

    Warner Brothers, Kapittel ti: “Eiendom”, Arkitektur og lov: Makt, Arkitektur og lov: Makt
    Warner Music Group, Marked: Konsentrasjon
    Warren, Samuel D., Kapittel to: “Kun etter-apere”
    Wayner, Peter, Gjenoppbygging av fri kultur: En idé
    Webster, Noah, Introduksjon
    Wells, H. G., Kapittel elleve: Chimera, Kapittel elleve: Chimera
    Windows, Piratvirksomhet I
    Winer, Dave, Kapittel to: “Kun etter-apere”, Kapittel to: “Kun etter-apere”
    Winick, Judd, Kapittel en: Skaperne, Kapittel en: Skaperne
    WJOA, Marked: Konsentrasjon
    Worldcom, Constraining Creators
    WRC, Marked: Konsentrasjon
    Wright-brødrene, Introduksjon

    Y

    Yanofsky, Dave, Kapittel to: “Kun etter-apere”

    Z

    Zimmerman, Edwin, Kabel-TV
    Zittrain, Jonathan, “Piratvirksomhet”, Loven: Virkeområde
    +

    Indeks

    A

    ABC, Kapittel to: «Kun etter-apere», Marked: Konsentrasjon
    Adobe eBook Reader, Arkitektur og lov: Makt, Arkitektur og lov: Makt
    Adromeda, Corrupting Citizens
    Africa, medications for HIV patients in, Konklusjon, Konklusjon
    Agee, Michael, Kapittel tretten: Eldred, Kapittel tretten: Eldred
    agricultural patents, Piratvirksomhet I
    Aibo robothund, Arkitektur og lov: Makt, Arkitektur og lov: Makt
    akademiske tidsskrifter, Konklusjon, Gjenoppbygging av friheter som tidligere var antatt: Eksempler, Gjenoppbygging av friheter som tidligere var antatt: Eksempler
    Akerlof, George, Kapittel tretten: Eldred
    Alben, Alex, Kapittel åtte: Omformere, Kapittel åtte: Omformere, Constraining Innovators, Constraining Innovators, 3. Fri Bruk vs. rimelig bruk
    alcohol prohibition, Corrupting Citizens
    Alice's Adventures in Wonderland (Carroll), Arkitektur og lov: Makt
    All in the Family, Marked: Konsentrasjon
    Allen, Paul, Kapittel åtte: Omformere
    Amazon, Gjenoppbygging av friheter som tidligere var antatt: Eksempler
    American Association of Law Libraries, Kapittel tretten: Eldred
    American Graphophone Company, Innspilt musikk
    Americans with Disabilities Act (1990), Kapittel ti: «Eiendom»
    Anello, Douglas, Kabel-TV
    antiretroviral drugs, Konklusjon, Konklusjon
    archive.org, Kapittel ni: Samlere
    (se også Internett-arkivet)
    Aristoteles, Arkitektur og lov: Makt
    arkitektur, begrensninger med opphav i, Kapittel ti: «Eiendom»
    arkiver, digitale, Kapittel ni: Samlere, Kapittel ni: Samlere, Sammen, Kapittel tretten: Eldred
    Armstrong, Edwin Howard, Introduksjon, Introduksjon, Kapittel tolv: Skader, Constraining Innovators
    Arrow, Kenneth, Kapittel tretten: Eldred
    artister
    musikkindustriens betaling til, Kapittel tre: Kataloger, Radio, Radio, Piratvirksomhet II, Constraining Innovators, 4. Frigjør musikken—igjen, 4. Frigjør musikken—igjen
    publicity rights on images of, Kapittel åtte: Omformere
    retrospective compilations on, Kapittel åtte: Omformere, Kapittel åtte: Omformere
    ASCAP, «Piratvirksomhet»
    Asia, kommersiell piratvirksomhet i, Piratvirksomhet I, 4. Frigjør musikken—igjen
    AT&T, Introduksjon
    Ayer, Don, Kapittel tretten: Eldred, Kapittel fjorten: Eldred II

    B

    Bacon, Francis, Kapittel seks: Grunnleggerne
    Barish, Stephanie, Kapittel to: «Kun etter-apere»
    Barlow, Joel, Introduksjon
    Barnes & Noble, Lov og arkitektur: Rekkevidde
    Barry, Hank, Constraining Innovators
    BBC, Konklusjon
    Beatles, Innspilt musikk
    Beckett, Thomas, Kapittel seks: Grunnleggerne
    Bell, Alexander Graham, Introduksjon
    Berlin Act (1908), Kapittel fjorten: Eldred II
    Berman, Howard L., Kapittel elleve: Chimera, Constraining Innovators
    Bern-konvensjonen (1908), Kapittel fjorten: Eldred II
    Bernstein, Leonard, Piratvirksomhet II
    Betamax, Piratvirksomhet II
    biomedical research, Konklusjon, Konklusjon
    Black, Jane, Piratvirksomhet II
    BMG, Marked: Konsentrasjon
    BMW, Constraining Innovators
    Boies, David, Kapittel åtte: Omformere
    bøker
    totalt antall, Kapittel ni: Samlere
    Bolling, Ruben, Kapittel tretten: Eldred
    Bono, Mary, Kapittel tretten: Eldred
    Bono, Sonny, Kapittel tretten: Eldred
    Boswell, James, Kapittel seks: Grunnleggerne
    Boyle, James, Hvorfor Hollywood har rett
    Braithwaite, John, Konklusjon
    Branagh, Kenneth, Kapittel seks: Grunnleggerne
    Brandeis, Louis D., Introduksjon, Kapittel to: «Kun etter-apere»
    Brasil, fri kultur i, Konklusjon
    Breyer, Stephen, Kapittel tretten: Eldred
    Brezhnev, Leonid, Hvorfor Hollywood har rett, 5. Spark en masse advokater
    Bromberg, Dan, Kapittel tretten: Eldred
    Brown, John Seely, Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere»
    Buchanan, James, Kapittel tretten: Eldred
    Bunyan, John, Kapittel seks: Grunnleggerne
    Burdick, Quentin, Kabel-TV
    Bush, George W., Constraining Creators

    C

    Camp Chaos, Kapittel åtte: Omformere
    CARP (Copyright Arbitration Royalty Panel), Constraining Innovators
    Carson, Rachel, Hvorfor Hollywood har rett
    Casablanca, Arkitektur og lov: Makt
    Causby, Thomas Lee, Introduksjon, Kapittel tolv: Skader, Kapittel fjorten: Eldred II, Konklusjon
    Causby, Tinie, Introduksjon, Kapittel tolv: Skader, Kapittel fjorten: Eldred II, Konklusjon
    CBS, Kapittel to: «Kun etter-apere»
    chimeras, Kapittel elleve: Chimera, Kapittel elleve: Chimera
    Christensen, Clayton M., Piratvirksomhet II, Marked: Konsentrasjon
    Clark, Kim B., Marked: Konsentrasjon
    CNN, Kapittel to: «Kun etter-apere»
    Coase, Ronald, Kapittel tretten: Eldred
    CodePink Women in Peace, Forord, Konklusjon
    Coe, Brian, Kapittel to: «Kun etter-apere»
    Comcast, Marked: Konsentrasjon
    Commons, John R., Kapittel ti: «Eiendom»
    Conrad, Paul, Arkitektur og lov: Makt
    Conyers, John, Jr., Kapittel elleve: Chimera
    cookies, Internet, Gjenoppbygging av friheter som tidligere var antatt: Eksempler
    copyleft licenses, Konklusjon
    Country of the Blind, The (Wells), Kapittel elleve: Chimera, Kapittel elleve: Chimera
    Creative Commons, Konklusjon, Gjenoppbygging av fri kultur: En idé, Gjenoppbygging av fri kultur: En idé
    Crichton, Michael, Kapittel to: «Kun etter-apere»
    Crosskey, William W., Loven: Varighet

    D

    Daguerre, Louis, Kapittel to: «Kun etter-apere»
    Daley, Elizabeth, Kapittel to: «Kun etter-apere»
    dataspill, Kapittel to: «Kun etter-apere»
    Day After Trinity, The, Kapittel sju: Innspillerne
    DDT, Hvorfor Hollywood har rett, Hvorfor Hollywood har rett
    Dean, Howard, Kapittel to: «Kun etter-apere»
    Diller, Barry, Marked: Konsentrasjon
    Disney, Inc., Kapittel ti: «Eiendom»
    Drahos, Peter, Piratvirksomhet I, Konklusjon
    Dreyfuss, Rochelle, «Piratvirksomhet»
    Drucker, Peter, Kapittel åtte: Omformere
    Dylan, Bob, Konklusjon

    E

    Eagle Forum, Kapittel tretten: Eldred
    Eastman, George, Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere»
    Edison, Thomas, Introduksjon
    eiendomsrettigheter
    lufttrafikk mot, Introduksjon, Introduksjon, 3. Fri Bruk vs. rimelig bruk
    Elektronisk forpost-stiftelsen (EFF), Arkitektur og lov: Makt, Corrupting Citizens
    EMI, Marked: Konsentrasjon, Constraining Innovators
    Erskine, Andrew, Kapittel seks: Grunnleggerne

    F

    Fallows, James, Marked: Konsentrasjon
    Fanning, Shawn, Piratvirksomhet II
    Faraday, Michael, Introduksjon
    Fisher, William, 4. Frigjør musikken—igjen
    Florida, Richard, «Piratvirksomhet»
    Forbes, Steve, Kapittel fjorten: Eldred II
    fotografering, Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere»
    Fourneaux, Henri, Innspilt musikk, Innspilt musikk
    Fox, William, Film
    Free for All (Wayner), Gjenoppbygging av fri kultur: En idé
    Fried, Charles, Kapittel tretten: Eldred
    Friedman, Milton, Kapittel tretten: Eldred

    G

    Garlick, Mia, Gjenoppbygging av fri kultur: En idé
    Gates, Bill, Hvorfor Hollywood har rett, Konklusjon
    General Film Company, Film
    Gershwin, George, Kapittel tretten: Eldred
    Gil, Gilberto, Konklusjon
    GNU/Linux-operativsystemet, Piratvirksomhet I, Kapittel tretten: Eldred, Konklusjon, Gjenoppbygging av friheter som tidligere var antatt: Eksempler
    Goldstein, Paul, 3. Fri Bruk vs. rimelig bruk
    Gracie Films, Kapittel sju: Innspillerne
    Grisham, John, Innspilt musikk, 3. Fri Bruk vs. rimelig bruk

    H

    Hal Roach Studios, Kapittel tretten: Eldred
    Hand, Learned, Radio
    Hawthorne, Nathaniel, Kapittel tretten: Eldred, Kapittel tretten: Eldred
    Henry V, Kapittel seks: Grunnleggerne
    Henry VIII, Konge av England, Kapittel seks: Grunnleggerne
    Heston, Charlton, Kabel-TV
    HIV/AIDS therapies, Konklusjon, Konklusjon
    Hollings, Fritz, Constraining Innovators
    Hummer Winblad, Constraining Innovators
    Hummer, John, Constraining Innovators
    Hyde, Rosel H., Kabel-TV

    I

    IBM, Konklusjon, Gjenoppbygging av friheter som tidligere var antatt: Eksempler
    Intel, Constraining Innovators, Kapittel tretten: Eldred
    Internet Explorer, Piratvirksomhet I
    Iwerks, Ub, Kapittel en: Skaperne

    J

    Jaszi, Peter, Kapittel tretten: Eldred
    jernbaneindustri, Hvorfor Hollywood har rett
    Johnson, Lyndon, Kapittel ti: «Eiendom»
    Johnson, Samuel, Kapittel seks: Grunnleggerne

    K

    Kaplan, Benjamin, 3. Fri Bruk vs. rimelig bruk
    Kelly, Kevin, Kapittel fjorten: Eldred II
    Kennedy, John F., Kapittel ti: «Eiendom», Constraining Innovators
    Kittredge, Alfred, Innspilt musikk
    kjørehastighet, begrensninger på, Kapittel ti: «Eiendom», Kapittel ti: «Eiendom»
    Kodak Primer, The (Eastman), Kapittel to: «Kun etter-apere»
    Kozinski, Alex, Piratvirksomhet II
    Krim, Jonathan, Konklusjon
    kringkastingsflagg, Film, Piratvirksomhet II, Constraining Innovators
    kunst, undergrunns, Constraining Creators

    L

    landeierskap, lufttrafikk og, Introduksjon, Introduksjon, 3. Fri Bruk vs. rimelig bruk
    Laurel and Hardy Films, Kapittel tretten: Eldred
    law schools, Corrupting Citizens
    Leaphart, Walter, Gjenoppbygging av fri kultur: En idé
    Lear, Norman, Marked: Konsentrasjon
    legal realist movement, Sammen
    Licensing Act (1662), Kapittel seks: Grunnleggerne
    Liebowitz, Stan, Piratvirksomhet I, Piratvirksomhet II, 5. Spark en masse advokater
    Linux-operativsystemet, Piratvirksomhet I, Kapittel tretten: Eldred, Konklusjon, Gjenoppbygging av friheter som tidligere var antatt: Eksempler
    Litman, Jessica, Introduksjon, Constraining Innovators
    Lofgren, Zoe, Kapittel fjorten: Eldred II
    Lott, Trent, Kapittel to: «Kun etter-apere»
    lovbestemte skader, Kapittel tre: Kataloger
    Lovett, Lyle, Radio, Kapittel elleve: Chimera, Constraining Innovators, Kapittel fjorten: Eldred II
    Lucky Dog, The, Kapittel tretten: Eldred
    lufttrafikk, landeierskap mot, Introduksjon, Introduksjon

    M

    Madonna, Radio, Radio, Piratvirksomhet II, Kapittel ti: «Eiendom»
    Mansfield, William Murray, Lord, «Piratvirksomhet», «Piratvirksomhet», Kapittel seks: Grunnleggerne, Kapittel seks: Grunnleggerne
    Marijuana Policy Project, Marked: Konsentrasjon
    markedsføring, Kapittel to: «Kun etter-apere», Hvorfor Hollywood har rett, Lov og arkitektur: Rekkevidde, Lov og arkitektur: Rekkevidde, Marked: Konsentrasjon, Marked: Konsentrasjon
    markedskonsentrasjon, Kapittel ti: «Eiendom», Hvorfor Hollywood har rett, Constraining Innovators
    Marx Brothers, Arkitektur og lov: Makt, Arkitektur og lov: Makt
    McCain, John, Marked: Konsentrasjon
    MGM, Kapittel ti: «Eiendom»
    Microsoft
    Windows operating system of, Piratvirksomhet I
    Milton, John, Kapittel seks: Grunnleggerne
    mobiltelefoner, musikk streamet via, 4. Frigjør musikken—igjen
    Morrison, Alan, Kapittel tretten: Eldred
    Movie Archive, Kapittel ni: Samlere
    Moyers, Bill, Marked: Konsentrasjon
    Müller, Paul Hermann, Hvorfor Hollywood har rett

    N

    Nashville Songwriters Association, Kapittel tretten: Eldred
    National Writers Union, Kapittel tretten: Eldred
    NBC, Marked: Konsentrasjon
    Needleman, Rafe, Constraining Innovators
    Netanel, Neil Weinstock, Introduksjon, 4. Frigjør musikken—igjen
    Netscape, Piratvirksomhet I
    Nimmer, David, Kapittel åtte: Omformere
    normer, reguleringspåvirkning fra, Kapittel ti: «Eiendom», Hvorfor Hollywood har rett

    O

    O'Connor, Sandra Day, Kapittel tretten: Eldred
    Olafson, Steve, Kapittel to: «Kun etter-apere»
    Olson, Theodore B., Kapittel tretten: Eldred
    Oppenheimer, Matt, Kapittel tre: Kataloger
    originalism, Kapittel tretten: Eldred
    Orwell, George, Kapittel ni: Samlere, Kapittel ni: Samlere

    P

    Paramount Pictures, Kapittel ti: «Eiendom»
    Picker, Randal C., Film, Radio, Piratvirksomhet II, Constraining Innovators
    PLoS (Public Library of Science), Konklusjon, Gjenoppbygging av friheter som tidligere var antatt: Eksempler
    Pogue, David, Forord, Forord
    Politikk, (Aristotles), Arkitektur og lov: Makt
    Promises to Keep (Fisher), 4. Frigjør musikken—igjen
    Public Citizen, Kapittel tretten: Eldred
    Public Enemy, Gjenoppbygging av fri kultur: En idé

    Q

    Quayle, Dan, Kapittel ni: Samlere

    R

    rap music, Gjenoppbygging av fri kultur: En idé
    Reagan, Ronald, Kapittel tretten: Eldred, Konklusjon
    Real Networks, Constraining Innovators, 4. Frigjør musikken—igjen
    Rehnquist, William H., Kapittel tretten: Eldred
    Rensselaer Polytechnic Institute (RPI), Kapittel tre: Kataloger, Kapittel tre: Kataloger
    Rise of the Creative Class, The (Florida), «Piratvirksomhet»
    Roberts, Michael, Constraining Innovators
    robothund, Arkitektur og lov: Makt, Arkitektur og lov: Makt
    Rogers, Fred, Arkitektur og lov: Makt
    Rose, Mark, Kapittel seks: Grunnleggerne, Takk til
    RPI (Se Rensselaer Polytechnic Institute (RPI))
    Rubenfeld, Jeb, Loven: Virkeområde
    Russel, Phil, Innspilt musikk

    S

    Safire, William, Forord, Konklusjon
    San Francisco Opera, Kapittel sju: Innspillerne
    Sarnoff, David, Introduksjon
    Schlafly, Phyllis, Kapittel tretten: Eldred
    Shakespeare, William, Kapittel seks: Grunnleggerne
    Silent Sprint (Carson), Hvorfor Hollywood har rett
    Sony
    Aibo robothund produsert av, Arkitektur og lov: Makt, Arkitektur og lov: Makt
    Sony Pictures Entertainment, Kapittel ti: «Eiendom»
    Sousa, John Philip, Innspilt musikk
    stålindustri, Hvorfor Hollywood har rett
    Stallman, Richard, Gjenoppbygging av friheter som tidligere var antatt: Eksempler
    Stanford University, Gjenoppbygging av fri kultur: En idé
    Star Wars, Kapittel sju: Innspillerne
    Statute of Monopolies (1656), Kapittel seks: Grunnleggerne
    Stevens, Ted, Forord
    Steward, Geoffrey, Kapittel tretten: Eldred
    Supermann-tegneserier, Kapittel en: Skaperne
    Sutherland, Donald, Kapittel åtte: Omformere

    T

    Talbot, William, Kapittel to: «Kun etter-apere»
    Tatel, David, Kapittel tretten: Eldred
    Tauzin, Billy, Constraining Innovators
    Taylor, Robert, Kapittel seks: Grunnleggerne
    tegnefilmer, Kapittel en: Skaperne, Kapittel en: Skaperne
    Thurmond, Strom, Kapittel to: «Kun etter-apere»
    Tocqueville, Alexis de, Kapittel to: «Kun etter-apere»
    Torvalds, Linus, Gjenoppbygging av friheter som tidligere var antatt: Eksempler
    Turner, Ted, Konklusjon
    Twentieth Century Fox, Kapittel ti: «Eiendom»

    U

    Universal Music Group, Marked: Konsentrasjon, Constraining Innovators
    Universal Pictures, Kapittel ti: «Eiendom»

    V

    Vaidhyanathan, Siva, Kapittel en: Skaperne, Film, Kapittel seks: Grunnleggerne, Arkitektur og lov: Makt, Sammen
    Vanderbilt University, Kapittel ni: Samlere
    veteranpensjoner, 2. Kortere vernetid
    Vivendi Universal, Kapittel elleve: Chimera, Constraining Innovators, Constraining Innovators
    von Lohmann, Fred, Corrupting Citizens

    W

    Warner Brothers, Kapittel ti: «Eiendom», Arkitektur og lov: Makt, Arkitektur og lov: Makt
    Warner Music Group, Marked: Konsentrasjon
    Warren, Samuel D., Kapittel to: «Kun etter-apere»
    Wayner, Peter, Gjenoppbygging av fri kultur: En idé
    Webster, Noah, Introduksjon
    Wellcome Trust, Konklusjon
    Wells, H. G., Kapittel elleve: Chimera, Kapittel elleve: Chimera
    Windows, Piratvirksomhet I
    Winer, Dave, Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere»
    Winick, Judd, Kapittel en: Skaperne, Kapittel en: Skaperne
    WJOA, Marked: Konsentrasjon
    Worldcom, Constraining Creators
    WRC, Marked: Konsentrasjon
    Wright-brødrene, Introduksjon

    Y

    Yanofsky, Dave, Kapittel to: «Kun etter-apere»

    Z

    Zimmerman, Edwin, Kabel-TV
    Zittrain, Jonathan, «Piratvirksomhet», Loven: Virkeområde
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    Fri kultur

    Hvordan store medieaktører bruker teknologi og loven til å låse ned kulturen -og kontrollere kreativiteten

    Lawrence Lessig

    Versjon 2004-02-10

    Opphavsrett © 2004 Lawrence Lessig

    +og kontrollere kreativiteten

    Lawrence Lessig

    Versjon 2004-02-10

    Opphavsrett © 2004 Lawrence Lessig

    Creative Commons, noen rettigheter reservert

    Denne versjonen av Fri Kultur er lisensiert med en @@ -16,8 +16,8 @@ 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, +«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.

    @@ -38,17 +38,17 @@ Hvordan store medieakt og kontrollere kreativiteten

    Lawrence Lessig -

    +

    Til Eric Eldred — hvis arbeid først trakk meg til denne saken, og for hvem saken fortsetter. -

    Forord
    0. Introduksjon
    I. “Piratvirksomhet”
    1. Kapittel en: Skaperne
    2. Kapittel to: “Kun etter-apere”
    3. Kapittel tre: Kataloger
    4. Kapittel fire: “Pirater”
    4.1. Film
    4.2. Innspilt musikk
    4.3. Radio
    4.4. Kabel-TV
    5. Kapittel fem: “Piratvirksomhet”
    5.1. Piratvirksomhet I
    5.2. Piratvirksomhet II
    II. “Eiendom”
    6. Kapittel seks: Grunnleggerne
    7. Kapittel sju: Innspillerne
    8. Kapittel åtte: Omformere
    9. Kapittel ni: Samlere
    10. Kapittel ti: “Eiendom”
    10.1. Hvorfor Hollywood har rett
    10.2. Opphav
    10.3. Loven: Varighet
    10.4. Loven: Virkeområde
    10.5. Lov og arkitektur: Rekkevidde
    10.6. Arkitektur og lov: Makt
    10.7. Marked: Konsentrasjon
    10.8. Sammen
    III. Nøtter
    11. Kapittel elleve: Chimera
    12. Kapittel tolv: Skader
    12.1. Constraining Creators
    12.2. Constraining Innovators
    12.3. Corrupting Citizens
    IV. Maktfordeling
    13. Kapittel tretten: Eldred
    14. Kapittel fjorten: Eldred II
    15. Konklusjon
    16. Etterord
    16.1. Oss, nå
    16.1.1. Gjenoppbygging av friheter som tidligere var antatt: Eksempler
    16.1.2. Gjenoppbygging av fri kultur: En idé
    16.2. Dem, snart
    16.2.1. 1. Flere formaliteter
    16.2.1.1. Registrering og fornying
    16.2.1.2. Merking
    16.2.2. 2. Kortere vernetid
    16.2.3. 3. Fri Bruk vs. rimelig bruk
    16.2.4. 4. Frigjør musikken—igjen
    16.2.5. 5. Spark en masse advokater
    17. Notater
    18. Takk til
    Indeks

    Kolofon

    +

    Forord
    0. Introduksjon
    I. «Piratvirksomhet»
    1. Kapittel en: Skaperne
    2. Kapittel to: «Kun etter-apere»
    3. Kapittel tre: Kataloger
    4. Kapittel fire: «Pirater»
    4.1. Film
    4.2. Innspilt musikk
    4.3. Radio
    4.4. Kabel-TV
    5. Kapittel fem: «Piratvirksomhet»
    5.1. Piratvirksomhet I
    5.2. Piratvirksomhet II
    II. «Eiendom»
    6. Kapittel seks: Grunnleggerne
    7. Kapittel sju: Innspillerne
    8. Kapittel åtte: Omformere
    9. Kapittel ni: Samlere
    10. Kapittel ti: «Eiendom»
    10.1. Hvorfor Hollywood har rett
    10.2. Opphav
    10.3. Loven: Varighet
    10.4. Loven: Virkeområde
    10.5. Lov og arkitektur: Rekkevidde
    10.6. Arkitektur og lov: Makt
    10.7. Marked: Konsentrasjon
    10.8. Sammen
    III. Nøtter
    11. Kapittel elleve: Chimera
    12. Kapittel tolv: Skader
    12.1. Constraining Creators
    12.2. Constraining Innovators
    12.3. Corrupting Citizens
    IV. Maktfordeling
    13. Kapittel tretten: Eldred
    14. Kapittel fjorten: Eldred II
    15. Konklusjon
    16. Etterord
    16.1. Oss, nå
    16.1.1. Gjenoppbygging av friheter som tidligere var antatt: Eksempler
    16.1.2. Gjenoppbygging av fri kultur: En idé
    16.2. Dem, snart
    16.2.1. 1. Flere formaliteter
    16.2.1.1. Registrering og fornying
    16.2.1.2. Merking
    16.2.2. 2. Kortere vernetid
    16.2.3. 3. Fri Bruk vs. rimelig bruk
    16.2.4. 4. Frigjør musikken—igjen
    16.2.5. 5. Spark en masse advokater
    17. Notater
    18. Takk til
    Indeks

    Kolofon

    THE PENGUIN PRESS, a member of Penguin Group (USA) Inc. 375 Hudson Street New York, New York

    Opphavsrettbeskyttet © Lawrence Lessig. Alle rettigheter reservert.

    -Excerpt from an editorial titled “The Coming of Copyright -Perpetuity,” The New York Times, January 16, +Excerpt from an editorial titled «The Coming of Copyright +Perpetuity,» The New York Times, January 16, 2003. Copyright © 2003 by The New York Times Co. Reprinted with permission.

    @@ -115,68 +115,68 @@ ikke liker systemet p modemet.[1]

    Pogue var skeptisk til argumentet som er kjernen av boken — at -programvaren, eller “koden”, fungerte som en slags lov — +programvaren, eller «koden», fungerte som en slags lov — og foreslo i sin anmeldelse den lykkelig tanken at hvis livet i cyberspace gikk dårlig, så kan vi alltid som med en trylleformel slå over en bryter og komme hjem igjen. Slå av modemet, koble fra datamaskinen, og eventuelle problemer som finnes den virkeligheten ville ikke -“påvirke” oss mer. +«påvirke» oss mer.

    Pogue kan ha hatt rett i 1999 — jeg er skeptisk, men det kan hende. Men selv om han hadde rett da, så er ikke argumentet gyldig nå. Fri Kultur er om problemene internett forårsaker selv etter at modemet er slått av. Den er et argument om hvordan slagene -som nå brer om seg i livet on-line har fundamentalt påvirket “folk som -er ikke pålogget.” Det finnes ingen bryter som kan isolere oss fra +som nå brer om seg i livet on-line har fundamentalt påvirket «folk som +er ikke pålogget.» Det finnes ingen bryter som kan isolere oss fra internettets effekt. -

    +

    Men i motsetning til i boken Code, 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 uansett hvor hardt dette er for en geek-wanna-be å innrømme, mye viktigere.

    Den tradisjonen er måten vår kultur blir laget på. Som jeg vil forklare i -sidene som følger, kommer vi fra en tradisjon av “fri -kultur”—ikke “fri” som i “fri bar” +sidene som følger, kommer vi fra en tradisjon av «fri +kultur»—ikke «fri» som i «fri bar» (for å låne et uttrykk fra stifteren av fri -programvarebevegelsen[2]), men -“fri” som i “talefrihet”, “fritt -marked”, “frihandel”, “fri konkurranse”, -“fri vilje” og “frie valg”. En fri kultur støtter +programvarebevegelsen[2]), men +«fri» som i «talefrihet», «fritt +marked», «frihandel», «fri konkurranse», +«fri vilje» og «frie valg». En fri kultur støtter og beskytter skapere og oppfinnere. Dette gjør den direkte ved å tildele immaterielle rettigheter. Men det gjør den indirekte ved å begrense rekkevidden for disse rettighetene, for å garantere at neste generasjon skapere og oppfinnere forblir så fri som mulig fra kontroll fra fortiden. En fri kultur er ikke en kultur uten eierskap, like lite som et fritt marked er et marked der alt er gratis. Det motsatte av -fri kultur er “tillatelseskultur”—en kultur der skapere +fri kultur er «tillatelseskultur»—en kultur der skapere kun kan skape med tillatelse fra de mektige, eller fra skaperne fra fortiden.

    Hvis vi forsto denne endringen, så tror jeg vi ville stå imot den. Ikke -“vi” på venstresiden eller “dere” på høyresiden, +«vi» på venstresiden eller «dere» på høyresiden, men vi som ikke har investert i den spesifikke kulturindustrien som har definert det tjuende århundre. Enten du er på venstre eller høyresiden, hvis 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. -

    +

    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 mer enn 700 000 brev til FCC for å motsette seg endringen. Mens William -Safire beskrev å marsjere “ubehagelig sammen med CodePink Women for +Safire beskrev å marsjere «ubehagelig sammen med CodePink Women for Peace and the National Rifle Association, mellom liberale Olympia Snowe og -konservative Ted Stevens”, formulerte han kanskje det enkleste +konservative Ted Stevens», formulerte han kanskje det enkleste uttrykket for hva som var på spill: konsentrasjonen av makt. Så spurte han: - +

    Høres dette ikke-konservativt ut? Ikke for meg. Denne konsentrasjonen av makt—politisk, selskapsmessig, pressemessig, kulturelt—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.[3] +og det største uttrykk for demokrati.[3]

    Denne idéen er et element i argumentet til Fri Kultur, selv om min fokus ikke bare er på konsentrasjonen av @@ -191,7 +191,7 @@ og Free Software Foundation. Faktisk, da jeg leste Stallmans egne tekster p nytt, spesielt essyene i Free Software, Free Society, innser jeg at alle de teoretiske innsiktene jeg utvikler her er innsikter som Stallman beskrev for tiår siden. Man kan dermed godt argumentere for at -dette verket “kun” er et avledet verk. +dette verket «kun» er et avledet verk.

    Jeg godtar kritikken, hvis det faktisk er kritikk. Arbeidet til en advokat @@ -217,14 +217,14 @@ av ekstremisme i eierskapsrettighetene som definerer den. Det er dette jeg frykter om vår kultur i dag. Det er som motpol til denne ekstremismen at denne boken er skrevet.


    [1] -David Pogue, “Don't Just Chat, Do Something,” New +David Pogue, «Don't Just Chat, Do Something,» New York Times, 30. januar 2000 -

    [2] +

    [2] Richard M. Stallman, Fri programvare, Frie samfunn 57 (Joshua Gay, red. 2002). -

    [3] William Safire, “The Great Media Gulp,” New York -Times, 22. mai 2003. -

    Kapittel 0. Introduksjon

    +

    [3] William Safire, «The Great Media Gulp,» New York +Times, 22. mai 2003. +