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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 @@ -29,10 +29,10 @@ Andre b The Future of Ideas: The Fate of the Commons in a Connected World

Code: And Other Laws of Cyberspace -

+

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: Omformerne
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: Fantasifoster
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: Omformerne
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: Fantasifoster
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

@@ -122,7 +122,7 @@ selv etter at modemet er sl 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 @@ -132,7 +132,7 @@ Den tradisjonen er m 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 +programvarebevegelsen[2]), men «fri» som i «talefrihet», «fritt marked», «frihandel», «fri konkurranse», «fri vilje» og «frie valg». En fri kultur støtter @@ -153,7 +153,7 @@ definert det tjuende du i denne forstand ikke har interesser, vil historien jeg forteller her gi deg problemer. For endringene jeg beskriver påvirker verdier som begge sider av vår politiske kultur anser som grunnleggende. -

+

Vi så et glimt av dette tverrpolitiske raseri på forsommeren i 2003. Da FCC vurderte endringer i reglene for medieeierskap som ville slakke på begrensningene rundt mediekonsentrasjon, sendte en ekstraordinær koalisjon @@ -167,7 +167,7 @@ H makt—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 @@ -177,7 +177,7 @@ endring i det effektive virkeomr endringen forandrer på hvordan vår kultur blir skapt. Den endringen bør bekymre deg—Uansett om du bryr deg om internett eller ikke, og uansett om du er til venstre for Safires eller til høyre. -

+

Inspirasjonen til tittelen og mye av argumentet i denne boken kommer fra arbeidet til Richard Stallman og Free Software Foundation. Faktisk, da jeg leste Stallmans egne tekster på nytt, @@ -212,11 +212,11 @@ denne boken er skrevet.


[1] David Pogue, «Don't Just Chat, Do Something,» New York Times, 30. januar 2000 -

[2] +

[2] Richard M. Stallman, Free Software, Free Societies 57 (Joshua Gay, red. 2002). -

[3] William Safire, «The Great Media Gulp,» New York -Times, 22. mai 2003. +

[3] William Safire, «The Great Media Gulp,» New York +Times, 22. mai 2003.

Introduksjon

Den 17. desember 1903, på en vindfylt strand i Nord-Carolina i såvidt under hundre sekunder, demonstrerte @@ -229,11 +229,11 @@ den. Da Wright-brødrene fant opp flymaskinen, hevdet loven i USA at en grunneier ble antatt å eie ikke bare overflaten på området sitt, men også alt landet under bakken, helt ned til senterpunktet i jorda, og alt volumet over -bakken, «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? -

+

Så kom flymaskiner, og for første gang hadde dette prinsippet i lovverket i USA—dypt nede i grunnlaget for vår tradisjon og akseptert av de viktigste juridiske tenkerne i vår fortid—en betydning. Hvis min @@ -241,7 +241,7 @@ eiendom rekker til himmelen, hva skjer n Har jeg rett til å nekte dem å bruke min eiendom? Har jeg mulighet til å inngå en eksklusiv avtale med Delta Airlines? Kan vi gjennomføre en auksjon for å finne ut hvor mye disse rettighetene er verdt? -

+

I 1945 ble disse spørsmålene en føderal sak. Da bøndene Thomas Lee og Tinie Causby i Nord Carolina begynte å miste kyllinger på grunn av lavtflygende militære fly (vettskremte kyllinger fløy tilsynelatende i låveveggene og @@ -251,7 +251,7 @@ hvis det stemte som Blackstone, Kent, og Cola hadde sagt, at deres eiendom strakk seg «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 @@ -268,10 +268,10 @@ for utallige s strid med sunn fornuft. Å anerkjenne slike private krav til luftrommet ville blokkere disse motorveiene, seriøst forstyrre muligheten til kontroll og utvikling av dem i fellesskapets interesse og overføre til privat -eierskap det som kun fellesskapet har et rimelig krav til.[5] +eierskap det som kun fellesskapet har et rimelig krav til.[5]

«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 @@ -282,7 +282,7 @@ det tar flere sider eller kun noen f et rettspraksis-system, slik som vårt er, at loven tilpasser seg til aktuelle teknologiene. Og mens den tilpasser seg, så endres den. Idéer som var solide som fjell i en tidsalder knuses i en annen. -

+

Eller, det er hvordan ting skjer når det ikke er noen mektige på andre siden av endringen. Causbyene var bare bønder. Og selv om det uten tvil var mange som dem som var lei av den økende trafikken i luften (og en håper ikke @@ -299,7 +299,7 @@ kraften i det som virket 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 @@ -337,7 +337,7 @@ 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 @@ -346,7 +346,7 @@ Armstrong for RCA. RCA var den dominerende akt AM-radiomarkedet. I 1935 var det tusen radiostasjoner over hele USA, men stasjonene i de store byene var alle eid av en liten håndfull selskaper. -

+

Presidenten i RCA, David Sarnoff, en venn av Armstrong, var ivrig etter å få Armstrong til å oppdage en måte å fjerne støyen fra AM-radio. Så Sarnoff var ganske spent da Armstrong fortalte ham at han hadde en enhet som fjernet @@ -355,8 +355,8 @@ oppfinnelse, var ikke Sarnoff forn

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, @@ -367,7 +367,7 @@ 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 @@ -383,8 +383,8 @@ 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 @@ -393,7 +393,7 @@ kunne brukes for av FM-videresendingsstasjoner ville bety at radiostasjonene ville bli nødt til å kjøpe kablede linker fra AT&T.) Spredningen av FM-radio var dermed kvalt, i hvert fall midlertidig. -

+

Armstrong sto imot RCAs innsats. Som svar motsto RCA Armstrongs patenter. Etter å ha bakt FM-teknologi inn i den nye standarden for TV, erklærte RCS patentene ugyldige—uten grunn og nesten femten år etter at de ble @@ -403,7 +403,7 @@ slutt, samtidig som patentene utl ikke engang dekket Armstrongs advokatregning. Beseiret, knust og nå blakk, skrev Armstrong i 1954 en kort beskjed til sin kone, før han gikk ut av et vindu i trettende etasje og falt i døden. -

+

Dette er slik loven virker noen ganger. Ikke ofte like tragisk, og sjelden med heltemodig drama, men noen ganger er det slik det virker. Fra starten @@ -417,13 +417,13 @@ som fjell i en tidsalder, men som overlatt til seg selv, vil falle sammen i en annen, er videreført gjennom denne subtile korrupsjonen i vår politiske prosess. RCA hadde hva Causby-ene ikke hadde: Makten til å undertrykke effekten av en teknologisk endring. -

+

Det er ingen enkeltoppfinner av Internet. Ei heller er det en god dato som kan brukes til å markere når det ble født. Likevel har internettet i løpet av svært kort tid blitt en del av vanlige amerikaneres liv. I følge the Pew Internet and American Life-prosjektet, har 58 prosent av amerikanerne hatt tilgang til internettet -i 2002, opp fra 49 prosent to år tidligere.[10] Det tallet kan uten problemer passere to tredjedeler av nasjonen +i 2002, opp fra 49 prosent to år 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 @@ -443,7 +443,7 @@ Denne endringen vil forandre en tradisjon som er like gammel som republikken selv. De fleste, hvis de la merke til denne endringen, ville avvise den. Men de fleste legger ikke engang merke til denne endringen som internettet har introdusert. -

+

Vi kan få en følelse av denne endringen ved å skille mellom kommersiell og ikke-kommersiell kultur, ved å knytte lovens reguleringer til hver av dem. @@ -468,13 +468,13 @@ styrt av lovverket. Fokuset på loven var kommersiell kreativitet. I starten forsiktig, etter hvert betraktelig, beskytter loven insentivet til skaperne ved å tildele dem en eksklusiv rett til deres kreative verker, slik at de kan selge disse -eksklusive rettighetene på en kommersiell markedsplass.[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 @@ -484,7 +484,7 @@ Teknologien som tok vare p den delen av kulturen vår som var fri og bruken av vår kultur som krevde tillatelse—har blitt borte. Konsekvensen er at vi er mindre og mindre en fri kultur, og mer og mer en tillatelseskultur. -

+

Denne endringen blir rettferdiggjort som nødvendig for å beskytte kommersiell kreativitet. Og ganske riktig, proteksjonisme er nøyaktig det som motiverer endringen. Men proteksjonismen som rettferdiggjør endringene @@ -496,7 +496,7 @@ internettet for blir skapt og delt, har samlet seg for å få lovgiverne til å bruke loven for å beskytte selskapene. Dette er historien om RCA og Armstrong, og det er drømmen til Causbyene. -

+

For internettet har sluppet løs en ekstraordinær mulighet for mange til å delta i prosessen med å bygge og kultivere en kultur som rekker lagt utenfor lokale grenselinjer. Den makten har endret markedsplassen for å lage og @@ -520,7 +520,7 @@ tjuende til å få loven til å beskytte dem mot dette nye, mer effektive, mer levende teknologi for å bygge kultur. De lykkes i deres plan om å gjøre om internettet før internettet gjør om på dem. -

+

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 @@ -528,7 +528,7 @@ hovedsak «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. @@ -545,12 +545,12 @@ og en mye mer dramatisk endring. Min frykt er at med mindre vi begynner legge merke til denne endringen, så vil krigen for å befri verden fra internettets «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] åndsverkslov, skikkelig balansert, beskyttet +kontroll. Og som professor Neil Netanel kraftfylt argumenterer,[14] åndsverkslov, skikkelig balansert, beskyttet skaperne mot privat kontroll. Vår tradisjon var dermed hverken Sovjet eller tradisjonen til velgjørere. I stedet skar det ut en bred manøvreringsrom hvor skapere kunne kultivere og utvide vår kultur. @@ -579,7 +579,7 @@ fred. Det er ingen god grunn for internett-teknologiene. Det vil være til stor skade for vår tradisjon og kultur hvis den får lov til å fortsette ukontrollert. Vi må forstå kilden til denne krigen. Vi må finne en løsning snart. -

+

Lik Causbyenes kamp er denne krigen, delvis, om «eiendomsrett». Eiendommen i denne krigen er ikke like håndfast som den til Causbyene, og ingen uskyldige kyllinger har så @@ -594,7 +594,7 @@ det var fro dem at de nye teknologiene til internettet 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 @@ -602,7 +602,7 @@ fornuft gj er sunn fornuft på samme side som eiendomseierne i denne krigen. I motsetning til hos de heldige Wright-brødrene, har internettet ikke inspirert en revolusjon til fordel for seg. -

+

Mitt håp er å skyve denne sunne fornuften videre. Jeg har blitt stadig mer overrasket over kraften til denne idéen om immaterielle rettigheter og, mer viktig, dets evne til å slå av kritisk tanke hos lovmakere og innbyggere. @@ -631,7 +631,7 @@ F fornuft faktisk tror på dette ekstreme? Eller står sunn fornuft i stillhet i møtet med dette ekstreme fordi, som med Armstrong versus RCA, at den mer mektige siden har sikret seg at det har et mye mer mektig synspunkt? -

+

Jeg forsøker ikke å være mystisk. Mine egne synspunkter er klare. Jeg mener det var riktig for sunn fornuft å gjøre opprør mot ekstremismen til @@ -642,7 +642,7 @@ om lensmannen skulle arrestere en flymaskin for eiendom. Men konsekvensene av den nye dumskapen vil bli mye mer dyptgripende. -

+

Basketaket som pågår akkurat nå senterer seg rundt to idéer: «piratvirksomhet» og «eiendom». Mitt mål med denne bokens neste to deler er å @@ -671,10 +671,10 @@ de interessene som er mest truet er blant de mest mektige akt deprimerende kompromitterte prosess for å utforme lover. Denne boken er historien om nok en konsekvens for denne type korrupsjon—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 ødelagt verdien av eiendomen til Causby. Dette eksemplet ble foreslått for @@ -682,21 +682,21 @@ meg i Keith Aokis flotte stykke, 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] +

[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. Åndsverkslovene i delstatene beskyttet historisk ikke bare kommersielle @@ -705,18 +705,18 @@ interesse n åndsverkslovene forfatterne makt til å kontrollere spredningen av fakta om seg selv. Se Samuel D. Warren og Louis Brandeis, «The Right to Privacy», Harvard Law Review 4 (1890): 193, 198–200. - -

[12] + +

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

[13] +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] +

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

Del I. «Piratvirksomhet»

+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, @@ -726,8 +726,8 @@ som utvidet rekkevidden for engelsk

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. @@ -745,7 +745,7 @@ v delingen har i sin tur ansporet til krigen, på grunn av at eiere av 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 @@ -766,17 +766,17 @@ kreative arbeidet til andre, s tar noe av verdi fra noen andre, bør jeg få tillatelse fra dem. Å ta noe som har verdi fra andre uten tillatelse er galt. Det er en form for piratvirksomhet. -

+

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 +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 +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 @@ -784,7 +784,7 @@ lovsystem som beskytter kreative eierrettigheter. Men teorien om «hvis verdi, så rettighet» for kreative eierrettigheter har aldri vært USAs teori for kreative eierrettigheter. It har aldri stått rot i vårt lovverk. -

+

I vår tradisjon har immaterielle rettigheter i stedet vært et instrument. Det bygger fundamentet for et rikt kreativt samfunn, men er fortsatt servilt til verdien av kreativitet. Dagens debatt har snudd dette helt rundt. Vi @@ -795,14 +795,14 @@ Kilden til denne forvirringen er et skille som loven ikke lenger bryr seg om å markere—skillet mellom å gjenpublisere noens verk på den ene siden, og bygge på og gjøre om verket på den andre. Da opphavsretten kom var det kun publisering som ble berørt. Opphavsretten i dag regulerer begge. -

+

Før teknologiene til internettet dukket opp, betød ikke denne begrepsmessige sammenblandingen mye. Teknologiene for å publisere var kostbare, som betød at det meste av publisering var kommersiell. Kommersielle aktører kunne håndtere byrden pålagt av loven—til og med byrden som den bysantiske kompleksiteten som åndsverksloven 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 @@ -818,33 +818,33 @@ digital teknologi kunne sluppet l og ikke-kommersiell kreativitet, tynger loven denne kreativiteten med sinnsykt kompliserte og vage regler og med trusselen om uanstendig harde straffer. Vi ser kanskje, som Richard Florida skriver, «Fremveksten -av den kreative klasse»[18] +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] +


[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 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, 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] +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 @@ -852,7 +852,7 @@ kreativitetsarbeide. Hans tekst omhandler derimot ikke direkte de juridiske vilkår som kreativiteten blir muliggjort eller hindret under. Jeg er helt klart enig med ham i viktigheten og betydningen av denne endringen, men jeg tror også at vilkårene som disse endringene blir aktivert under er mye -vanskeligere. +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 @@ -883,8 +883,8 @@ bl Effekten på vårt lille publikum var intet mindre enn elektrisk. De reagerte nesten instinktivt til denne union av lyd og bevegelse. Jeg trodde de tullet med meg. Så de puttet meg i publikum og satte igang på nytt. Det -var grufullt, men det var fantastisk. Og det var noe nytt![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 begeistret i hele mitt liv. Ingenting annet har noen sinne vært like @@ -896,7 +896,7 @@ Disneys hender—v animasjonens tidligere historie var det Disneys oppfinnelse som satte standarden som andre måtte sloss for å oppfylle. Og ganske ofte var Disneys store geni, hans gnist av kreativitet, bygget på arbeidet til andre. -

+

Dette er kjent stoff. Det du kanskje ikke vet er at 1928 også markerer en annen viktig overgang. I samme år laget et komedie-geni (i motsetning til tegnefilm-geni) sin siste uavhengig produserte stumfilm. Dette geniet var @@ -912,16 +912,16 @@ popul 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», at vi får Steamboat Willie. Og fra Steamboat Willie får vi så Mikke Mus. -

+

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 @@ -962,7 +962,7 @@ 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. @@ -970,11 +970,11 @@ Vi kan kalle dette 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 +

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 kontrollere bestemte typer bruk av verket. For å bruke disse @@ -989,7 +989,7 @@ verket. Ingen tillatelse og dermed, ingen advokater. Allemannseie er en 1928. Det var tilgjengelig for enhver—uansett om de hadde forbindelser eller ikke, om de var rik eller ikke, om de var akseptert eller ikke—til å bruke og bygge videre på. -

+

Dette er slik det alltid har vært—inntil ganske nylig. For mesteparten av vår historie, har allemannseiet vært like over horisonten. @@ -1000,7 +1000,7 @@ fra noen. Tilsvarende for i dag ville v 1970-tallet nå ville være fritt tilgjengelig for de neste Walt Disney å bygge på uten tillatelse. Men i dag er allemannseie presumtivt kun for innhold fra før mellomkrigstiden. -

+

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 @@ -1053,7 +1053,7 @@ kommersielle massemarkeds-manga-markedet. P kontrollerer det kommersielle manga-markedet for å stenge doujinshi-markedet. Det blomstrer, på tross av konkurransen og til tross for loven. -

+

Den mest gåtefulle egenskapen med doujinshi-markedet, for de som har juridisk trening i hvert fall, er at det overhodet tillates å eksistere. Under japansk åndsverkslov, som i hvert fall på dette området (på papiret) @@ -1066,7 +1066,7 @@ japansk og USAs lov, er opprinnelige opphavsrettsinnehaver ulovlig. Det er et brudd på opphavsretten til det opprinnelige verket å lage en kopi eller et avledet verk uten tillatelse fra den opprinnelige rettighetsinnehaveren. -

+

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 @@ -1074,8 +1074,8 @@ amerikansk tegneseriers f 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 @@ -1083,15 +1083,15 @@ en rekke regler, og du m «ikke kan» gjøre. «For en som lager tegneserier er det frustrerende å måtte begrense seg til noen parameter som er femti år 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 @@ -1101,7 +1101,7 @@ ikke saks finnes faktisk noen tilfeller der individuelle manga-kunstnere har saksøkt doujinshi-kunstnere, hvorfor er det ikke et mer generelt mønster for å blokkere denne «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», @@ -1118,7 +1118,7 @@ noe viktig hvis de kunne stoppe praksisen med deling uten kompensasjon? Skader piratvirksomhet ofrene for piratvirksomheten, eller hjelper den dem? Ville advokaters kamp mot denne piratvirksomheten hjelpe deres klienter, eller skade dem? -

+

La oss ta et øyeblikks pause.

Hvis du er som meg et tiår tilbake, eller som folk flest når de først @@ -1128,10 +1128,10 @@ du ikke hadde tenkt igjennom f Vi lever i en verden som feirer «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 @@ -1151,19 +1151,19 @@ som blir tatt av enhver som ut verdifulle, så anser ikke vår tradisjon det som galt å ta disse tingene. Noen ting forblir frie til å bli tatt i en fri kultur og denne friheten er bra. -

+

Det er det samme med doujinshi-kulturen. Hvis en doujinshi-kunstner brøt seg inn på kontoret til en forlegger, og stakk av med tusen kopier av hans siste verk—eller bare en kopi—uten å betale, så ville vi uten å nøle si at kunstneren har gjort noe galt. I tillegg til å ha trengt seg inn på andres eiendom, ville han ha stjålet noe av verdi. Loven forbyr stjeling i enhver form, uansett hvor stort eller lite som blir tatt. -

+

Likevel er det en åpenbar motvilje, selv blant japanske advokater, for å si 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 @@ -1187,7 +1187,7 @@ en bestemt bit av sin kultur v ta—frie samfunn muligens i større grad enn ufrie, men en viss grad i 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 @@ -1202,12 +1202,12 @@ uansett om de er tilknyttet et studio eller ikke? Frie kulturer er kulturer som etterlater mye åpent for andre å bygge på. Ufrie, eller tillatelse-kulturer etterlater mye mindre. Vår var en fri kultur. Den er på tur til å bli mindre fri. -


[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, @@ -1220,12 +1220,12 @@ No. 1 «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] +

[22] Inntil 1976 ga åndsverksloven en forfatter to mulige verneperioder: en @@ -1237,12 +1237,12 @@ fornyingsvernetiden er 28 år. Fornyingsdata og andre relevante data ligger på nettsidene tilknyttet denne boka, tilgjengelig fra 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 @@ -1253,9 +1253,9 @@ anime-kunstnere til ikke alle manga-kunstnere kan være bedre stilt hvis de setter sin individuelle egeninteresse til side og bestemmer seg for ikke å forfølge sine juridiske rettigheter. Dette er essensielt en løsning på fangens dilemma.» -

[25] +

[25] - Begrepet immateriell + 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 @@ -1264,7 +1264,7 @@ presist beskriver et sett med «eiendoms»-rettigheter—opphavsretter, patenter, varemerker og forretningshemmeligheter—men egenskapene til disse rettighetene er svært forskjellige. -

Kapittel to: «Kun etter-apere»

+

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 @@ -1273,7 +1273,7 @@ feltet var dermed begrenset til profesjonelle og noen f velstående amatører. (Det var til og med en amerikansk Daguerre-forening som hjalp til med å regulere industrien, slik alle slike foreninger gjør, ved å holde konkurransen ned slik at prisene var høye.) -

+

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 @@ -1297,7 +1297,7 @@ kunne utvide andelen fotografer. Eastman utviklet bøyelig, emulsjons-belagt papirfilm og plasserte ruller med dette i små, enkle kameraer: Kodaken. Enheten ble markedsfør med grunnlag dens enkelhet. «Du trykker på knappen og vi fikser -resten.»[26] Som han beskrev det i +resten.»[26] Som han beskrev det i The Kodak Primer:

Prinsippet til Kodak-systemet er skillet mellom arbeidet som enhver kan @@ -1307,8 +1307,8 @@ tilstrekkelig intelligens til en knapp, med et instrument som helt fjernet fra praksisen med å fotografere nødvendigheten av uvanlig utstyr eller for den del, noe som helst spesiell kunnskap om kunstarten. Det kan tas i bruk uten forutgående studier, uten -et mørkerom og uten kjemikalier.[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 fremkalt. Etter hvert, naturligvis, ble både kostnaden til kameraet og hvor @@ -1317,9 +1317,9 @@ eksplosiv vekst i fotografering blant folket. Eastmans kamera ble lagt ut for salg i 1888, og et år senere trykket Kodak mer enn seks tusen negativer om dagen. Fra 1888 til 1909, mens produksjonen i industrien vokste med 4,7 prosent, økte salget av fotografisk utstyr og materiale med 11 -prosent.[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 @@ -1330,8 +1330,8 @@ stand til tidligere. Som forfatter Brian Coe skriver, 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 @@ -1342,15 +1342,15 @@ hvordan best velge bildemotiv og du f kreativitetserfaring som Kodaken muliggjorde. Demokratiske verktøy ga vanlige folk en måte å uttrykke dem selv på enklere enn noe annet verktøy kunne ha gjort før. -

+

Hva krevdes for at denne teknologien skulle blomstre. Eastmans genialitet var åpenbart en viktig del. Men den juridiske miljøet som Eastmans oppfinnelse vokste i var også viktig. For tidlig i historien til fotografering, var det en rekke av rettsavgjørelser som godt kunne ha endret kursen til fotograferingen betydelig. Domstoler ble spurt om fotografen, amatør eller profesjonell, måtte ha tillatelse før han kunne fange og trykke -hvilket som helst bilde han ønsket. Svaret var nei.[31] -

+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 @@ -1358,16 +1358,16 @@ fotografert—r tok målets sjel. På samme måte som Disney ikke var fri til å ta blyantene som hans animatører brukte til å tegne Mikke, så skulle heller ikke disse fotografene være fri til å ta bilder som de fant verdi i. -

+

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. -

+

Heldigvis for Mr. Eastman, og for fotografering generelt, gikk disse tidligere avgjørelsene i favør av piratene. Generelt ble det ikke nødvendig å sikre seg tillatelse før et bilde kunne tas og deles med andre. I stedet @@ -1375,8 +1375,8 @@ var det antatt at tillatelse var gitt. Frihet var utgangspunktet. (Loven ga etter en stund et unntak for berømte personer: kommersielle fotografer som tok bilder av berømte personer for kommersielle formål har flere begrensninger enn resten av oss. Men i det vanlige tilfellet, kan bildet -fanges uten å klarere rettighetene for a fange det.[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 ville fotografen måttet dokumentere at tillatelse var på plass. Kanskje @@ -1389,7 +1389,7 @@ nytt fordeler fra 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. -

+

@@ -1403,7 +1403,7 @@ av godkjenningssystemet. Men spredningen av fotografering til vanlige folk villa aldri ha skjedd. Veksten det skapte kunne aldri ha skjedd. Og det ville uten tvil aldri vært realisert en slik vekst i demokratisk uttrykksteknologi. -

+

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 @@ -1422,12 +1422,12 @@ Disse bussene er ikke billige, men teknologien de har med seg blir billigere og billigere. Kostnaden til et høykvalitets digitalt videosystem har falt dramatisk. Som en analytiker omtalte det, «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». -

+

«Media-skriveføre,» eller «mediekompetanse» som @@ -1440,10 +1440,10 @@ Dette kan virke som en litt rar m «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-reklamer i året, eller generelt mellom 20 000 og 45 000 -reklameinnslag,[35] så er det mer og mer +reklameinnslag,[35] så er det mer og mer viktig å forstå «grammatikken» til media. For på samme måte som det er en grammatikk for det skrevne ord, så er det også en for media. Og akkurat slik som unger lærer å skrive ved å skrive masse grusom prosa, så @@ -1459,20 +1459,20 @@ forst er. Eller mer fundamentalt, de færreste av oss har en følelse for hvordan media fungerer, hvordan det holder et publikum eller leder leseren gjennom historien, hvordan det utløser følelser eller bygger opp spenningen. -

+

Det tok filmkusten en generasjon før den kunne gjøre disse tingene bra. Men selv da, så var kunnskapen i filmingen, ikke i å skrive om filmen. Ferdigheten kom fra erfaring med å lage en film, ikke fra å lese en bok om den. En lærer å skrive ved å skrive, og deretter reflektere over det en har skrevet. En lærer å skrive med bilder ved å lage dem, og deretter reflektere over det en har laget. -

+

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 +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 enkle kontrollen til forstellerstemmen er forsvunnet, og dermed er andre @@ -1481,8 +1481,8 @@ fortellerstemmen til science fiction. Men da han fors dataspill basert på et av sine verk, så var det et nytt håndverk han måtte lære. Det var ikke åpenbart hvordan en leder folk gjennom et spill uten at de far følelsen av å ha blitt ledet, selv for en enormt vellykket -forfatter.[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 blir ledet gjennom en film. Den er perfekt konstruert for å hindre deg fra @@ -1511,9 +1511,9 @@ forst verktøyene som gir skriving mulighet til å veilede eller villede. Målet med 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 +uttrykke».[38] Det gir studenter mulighet «til å kommunisere i språket til det tjueførste -århundret».[39] +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 @@ -1525,7 +1525,7 @@ Angeles. Etter alle tradisjonelle m en fiasko. Men Daley og Barish gjennomførte et program som ga ungene en mulighet til å bruke film til å uttrykke sine meninger om noe som studentene visste noe om—våpen-relatert vold. -

+

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 @@ -1549,7 +1549,7 @@ selv i tekstform ikke er noe disse studentene gj tekstform en form som kan uttrykke disse idéene godt. Kraften i denne meldingen avhenger av dens forbindelse med denne for for uttrykk. -

+

@@ -1590,7 +1590,7 @@ Fordi de trengte det. Det var en grunn til noe, i motsetning til å kun danse etter din pipe. De trengte faktisk å bruke det språket de ikke håndterte veldig bra. Men de hadde begynt å forstå at de hadde mye gjennomslagskraft med dette språket. -

+

Da to fly krasjet inn i World Trade Center, og et annet inn i Pentagon, og et fjerde inn i et jorde i Pennsylvania, snudde alle medier verden rundt seg til denne nyheten. @@ -1606,7 +1606,7 @@ over skjermen. Det var en formel for intervjuer. Det var «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 @@ -1619,7 +1619,7 @@ godt, en ekstraordin bruker begrepet i hans bok Cyber Rights, rundt en nyhetshendelse som hadde fanget oppmerksomheten til hele verden. Det var ABC og CBS, men det var også internettet. -

+

Det er ikke så enkelt som at jeg ønsker å lovprise internettet—selv om jeg mener at folkene som støtter denne formen for tale bør lovprises. Jeg @@ -1634,7 +1634,7 @@ kreasjonene med et ekstraordin tradisjon—ikke bare kan kultur fanges inn mekanisk, og åpenbart heller ikke at hendelser blir kommentert kritisk, men at denne blandingen av bilder, lyd og kommentar kan spres vidt omkring nesten umiddelbart. -

+

11. september var ikke et avvik. Det var en start. Omtrent på samme tid, begynte en form for kommunkasjon som hadde vokst dramatisk å komme inn i offentlig bevissthet: web-loggen, eller blog. Bloggen er en slags offentlig @@ -1642,7 +1642,7 @@ dagbok, og i noen kulturer, slik som i Japan, fungerer den veldig lik en dagbok. I disse kulturene registrerer den private fakta på en offentlig måte—det er en slags elektronisk Jerry Springer, tilgjengelig overalt i verden. -

+

Men i USA har blogger inntatt en svært annerledes karakter. Det er noen som bruker denne plassen til å snakke om sitt private liv. Men det er mange som bruker denne plassen til å delta i offentlig debatt. Diskuterer saker med @@ -1663,7 +1663,7 @@ naturligvis valg, og mesteparten av tiden tillater domstolene at disse valgene teller. Et relativt lite antall mennesker stemmer i disse valgene. Syklusen med disse valgene har blitt totalt profesjonalisert og rutinepreget. De fleste av oss tenker på dette som demokrati. -

+

Men demokrati har aldri kun handlet om valg. Demokrati betyr at folket styrer, og å styre betyr noe mer enn kun valg. I vår tradisjon betyr det også kontroll gjennom gjennomtenkt meningsbrytning. Dette var idéen som @@ -1677,11 +1677,11 @@ frem. De diskuterte. Medlemmene argumenterte om hva som var «riktig» resultat, de forsøkte å overbevise hverandre om «riktig»resultat, og i hvert fall i kriminalsaker måtte de bli enige om et enstemmig 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». @@ -1691,9 +1691,9 @@ skje. Vi, det mektigste demokratiet i verden, har utviklet en sterk norm mot å diskutere politikk. Det er greit å diskutere politikk med folk du er enig med, men det er uhøflig å diskutere politikk med folk du er uenig med. Politisk debatt blir isolert, og isolert diskusjon blir mer -ekstrem.[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. -

+

Så kommer bloggen. Selve bloggens arkitektur løser en del av dette problemet. Folk publiserer det de ønsker å publisere, og folk leser det de @@ -1709,12 +1709,12 @@ venstresiden. Noen av de mest popul libertarianske, men det er mange av alle politiske farger. Til og med blogger som ikke er politiske dekker politiske temaer når anledningen krever det. -

+

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. -

+

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 @@ -1724,14 +1724,14 @@ Det skjedde. Men han regnet ikke med dens livssyklus i bloggsf Bloggerne fortsatte å undersøke historien. Etter hvert dukket flere og flere tilfeller av tilsvarende «feiluttalelser» opp. Så dukket historien opp igjen hos de store mediene. Lott ble til slutt tvunget 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. Televisjon og aviser er kommersielle aktører. De må arbeide for å holde på oppmerksomheten. Hvis de mister lesere, så mister de inntekter. Som haier, må de bevege seg videre. -

+

Men bloggere har ikke tilsvarende begrensninger. De kan bli opphengt, de kan fokusere, de kan bli seriøse. Hvis en bestemt blogger skriver en spesielt interessant historie, så vil flere og flere folk lenke til den @@ -1739,7 +1739,7 @@ historien. Og etter hvert som antallet lenker til en bestemt historie så stiger den i rangeringen for historier. Folk leser det som er populært, og hva som er populært har blitt valgt gjennom en svært demokratisk prosess av 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 @@ -1749,12 +1749,12 @@ m 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.» -

+

Disse konfliktene blir mer viktig etter hvert som mediene blir mer konsentrert (mer om dette under). Konsentrerte medier kan skjule mer fra offentligheten enn ikke-konsentrerte medier kan—slik CNN innrømte at de gjorde etter Irak-krigen fordi de var rett for konsekvensene for sine -egne ansatte.[44] De trenger også å +egne 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 Irak. New York-hovedkvarteret ba @@ -1762,14 +1762,14 @@ reporteren gang p 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».) -

+

Blogg-sfæren gir amatører en måte å bli med i debatten—«amatør» ikke i betydningen uerfaren, men i betydningen til en Olympisk atlet, det vil si 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 +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 @@ -1781,13 +1781,13 @@ blogger. Winer, for offentlige aktører og også i større grad for private aktører. 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 +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». -

+

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 @@ -1801,7 +1801,7 @@ at noen har bevist at han tok feil. kritikk forbedrer demokratiet. I dag er det antagelig et par millioner blogger der det skrives på denne måten. Når det er ti millioner, så vil det være noe ekstraordinært å rapportere. -

+

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 @@ -1855,7 +1855,7 @@ fremmer mye mer enn tekst. 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.» -

+

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 @@ -1871,7 +1871,7 @@ grad, forstyrrer friheten som teknolog, nysgjerrigheten, ellers ville sikre. Disse begresningene har blitt fokusen for forskere og akademikere. Professor Ed Felten ved Princeton (som vi vil se mer fra i kapittel 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 +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.

@@ -1884,7 +1884,7 @@ f 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». -

+

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 @@ -1893,28 +1893,28 @@ 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 nedstemthet. -


[26] +


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

[27] +

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

[28] +

[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 @@ -1922,11 +1922,11 @@ 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] +Harvard Law Review 4 (1890): 193. +

[33] Se Melville B. Nimmer, «The Right of Publicity», Law @@ -1935,62 +1935,62 @@ and Contemporary Problems 19 (1954): 203; William L. Prosser, (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,» 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 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, 4. november 2000, tilgjengelig fra link #8; «Timeline», 22. november 2000, tilgjengelig fra link #9. -

[38] +

[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», 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] +

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

[45] +

[45] John Schwartz, «Loss of the Shuttle: The Internet; A Wealth of @@ -1999,9 +1999,9 @@ Information Online Strong Overall», Online Journalism Review, 2. februar 2003, tilgjengelig fra link #10. -

[46] +

[46] - Se Michael Falcone, «Does an Editor's + 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 @@ -2010,14 +2010,14 @@ publisere 12 dager senere p 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] +

[47] 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 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 @@ -2049,7 +2049,7 @@ brukerne i denne institusjonen bedre tilgang til materiale fra denne institusjonen. Bedrifter gjør dette hele tiden, ved å gi ansatte mulighet til å få tak i materiale som folk på utsiden av bedriften ikke kan få tak i. Universitetet gjør også dette. -

+

Disse motorene blir muliggjort av nettverksteknologien selv. For eksempel har Microsoft et nettverksfilsystem som gjør det veldig enkelt for søkemotorer tilpasset det nettverket å spørre systemet etter informasjon om @@ -2057,7 +2057,7 @@ det offentlig (innen nettverket) tilgjengelige innholdet. S Jesse var bygget for å dra nytte av denne teknologien. Den brukte Microsofts nettverksfilsystem for å bygge en indeks over alle filene tilgjengelig inne i RPI-nettverket. -

+

Jesse sin var ikke den første søkemotoren bygget for RPI-nettverket. Hans motor var faktisk en enkel endring av motorer som andre hadde bygget. Hans viktigste enkeltforbedring i forhold til disse motorene var å fikse en feil @@ -2067,13 +2067,13 @@ hjelp av Windows-utforskeren til en fil som var p var på nett, så ville din datamaskin krasje. Jesse endret systemet litt for å fikse det problemet, ved å legge til en knapp som en bruker kunne klikke på for å se om maskinen som hadde filen fortsatt var på nett. -

+

Motoren til Jesse kom pa nett i slutten av oktober. I løpet av de følgende seks månedene fortsatte han å justere den for å forbedre dens funksjonalitet. I mars fungerte systemet ganske bra. Jesse hadde mer enn en million filer i sin katalog, inkludert alle mulige typer innhold som fantes på brukernes datamaskiner. -

+

Dermed inneholdt indeksen som hans søkemotor produserte bilder, som studentene kunne bruke til å legge inn på sine egne nettsider, kopier av @@ -2081,7 +2081,7 @@ notater og forskning, kopier av informasjonshefter, filmklipp som studentene kanskje hadde laget, universitetsbrosjyrer—ganske enkelt alt som brukerne av RPI-nettverket hadde gjort tilgjengelig i en fellesmappe på sine datamaskiner. -

+

Men indeksen inneholdt også musikkfiler. Faktisk var en fjerdedel av filene som Jesses søkemotor inneholdt musikkfiler. Men det betyr, naturligvis, at tre fjerdedeler ikke var det, og—slik at dette poenget er helt @@ -2094,7 +2094,7 @@ skyld, tjente han ingen penger p noen bedrift som skulle tjene penger fra dette eksperimentet. Han var en ungdom som fiklet med teknologi i en omgivelse hvor fikling med teknologi var nøyaktig hva han var ment å gjøre. -

+

Den 3. april 2003 ble Jesse kontaktet av lederen for studentkontoret ved RPI. Lederen fortalte Jesse at Foreningen for musikkindustri i USA, RIAA, ville levere inn et søksmål mot han og tre andre studenter som han ikke en @@ -2113,7 +2113,7 @@ hadde bygd selv, som brukte fildelingssystemet til Windows, som Jesse ikke hadde bygd selv, for å gjøre det mulig for medlemmer av RPI-fellesskapet å få tilgang til innhold, som Jesse ikke hadde laget eller gjort tilgjengelig, og der det store flertall av dette ikke hadde noe å gjøre med musikk. -

+

Men RIAA kalte Jesse en pirat. De hevdet at han opererte et nettverk og dermed «med vilje» hadde brutt åndsverkslovene. De krevde at @@ -2123,7 +2123,7 @@ advokater kaller en opphavsrettighetseier å kreve $150 000 per krenkelse. Etter som RIAA påsto det var mer enn et hundre spesifikke opphavsrettskrenkelser, krevde de dermed at Jesse betalte dem minst $15 000 000. -

+

Lignende søksmål ble gjort mot tre andre studenter: en annen student ved RPI, en ved Michegan Technical University og en ved Princeton. Deres situasjoner var lik den til Jesse. Selv om hver sak hadde forskjellige @@ -2132,13 +2132,13 @@ detaljer, var hovedpoenget n 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 @@ -2148,7 +2148,7 @@ meg, fortalte sjefsadvokaten p 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. -

+

Familien til Jessie ble opprørt over disse påstandene. De ønsket å kjempe. Men onkelen til Jessie gjorde en innsats for å lære familien om hvordan det @@ -2161,16 +2161,16 @@ 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 -gjennomsnittlige innspillingsartist tjener $45 900.[49] Det er utallige måter som RIAA kan bruke for å +gjennomsnittlige 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 fiklet med en datamaskin og blitt saksøkt for 15 millioner dollar en @@ -2187,26 +2187,26 @@ konservativ, og det samme gj 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] +


[48] 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, 10. september 2003, A24. -

Kapittel fire: «Pirater»

+

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 @@ -2217,7 +2217,7 @@ 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 regissører migrerte fra østkysten til +Filmindustrien i Hollywood var bygget av flyktende pirater.[51] Skapere og regissører migrerte fra østkysten til California tidlig i det tjuende århundret delvis for å slippe unna kontrollene som patenter ga oppfinneren av det å lage filmer, Thomas Edison. Disse kontrollene be utøvet gjennom et @@ -2235,7 +2235,7 @@ forretningsvirksomhet uten var bevegelsen med uavhengige i full sving, med produsenter og kinoeiere som brukte ulovlig utstyr og importerte filmlager for å opprette sitt eget undergrunnsmarked. -

+

Med et land som så en kolossal økning i antall billige kinoer, såkalte nickelodeons, reagerte patentselskapet på bevegelsen av uavhengige med å stifte et hardhendt datterselskap ved navn General Film Company for å @@ -2244,13 +2244,13 @@ har blitt legendariske, konfiskerte General Film ulisensiert utstyr, stoppet varelevering til kinoer som viste ulisensiert fil, og effektivt monopoliserte distribusjon ved å kjøpe opp alle USAs filmsentraler, med unntak av den ene som var eid av den uavhengige William Fox som motsto -kartellet selv etter at hans lisens var trukket tilbake.[52] +kartellet selv etter at hans lisens var trukket tilbake.[52]

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 +ofte.»[53] Dette fikk de uavhengige til å flykte til østkysten. California var fjernt nok fra Edisons innflytelse til at filmskaperne der kunne røve hans nyvinninger uten å frykte loven. Og lederne blant Hollywoods filmskapere, Fox mest @@ -2267,7 +2267,7 @@ 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 @@ -2276,7 +2276,7 @@ deres musikk. Med andre ord, i 1900, hvis jeg 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 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 @@ -2292,38 +2292,38 @@ ikke klart at jeg skyldte komponisten noe. Og enda viktigere, det var ikke klart om jeg skyldte komponisten noe hvis jeg så laget kopier av disse innspillingene. På grunn av dette hullet i loven, sa kunne jeg i effekt røve noen andres sang uten å betale dets komponist noe. -

+

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

+om [deres] rettigheter.[54] +

Innovatørene som utviklet teknologien for å spille inn andres arbeide «snyltet på innsatsen, arbeidet, talentet og geniet til amerikanske -komponister»,[55] og +komponister»,[55] og «musikkpubliseringsindistrien» var dermed «fullstendig i -denne piratens vold».[56] Som John +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] -

+tjener penger på mine stykker, så vil jeg ha en andel».[57] +

Disse argumentene høres omtrent ut som argumentene fra våre dager. Det samme gjør argumentene fra den andre siden. Oppfinnerne som utviklet det automatiske pianoet argumenterte med at «det er fullt mulig å vise at introduksjonen av automatiske musikkspillere ikke har fratatt noen komponist noe han hadde før det ble introdusert.» I stedet økte maskinene -salget av noteark.[58] Uansett, +salget av noteark.[58] Uansett, argumenterte oppfinnerne, jobben til kongressen var «å først vurdere interessen til [folket], som de representerte, og som de skal tjene.». «Alt snakk om «tyveri»», skrev sjefsjuristen til American Graphophone Company, «er kun nonsens, for det finnes ingen eiendom i musikalske idéer, skriftlig eller kunstnerisk, -unntatt det som er definert i loven.»[59] +unntatt det som er definert i loven.»[59]

Loven løste snart denne kampen i favør av både @@ -2344,14 +2344,14 @@ lovbestemt lisens er en lisens hvis n Etter kongressens endring av åndsverksloven i 1909, sto plateselskapene fritt til å distribuere kopier av innspillinger så lenge som de betalte komponisten (eller opphavsrettsinnehaveren) gebyret spesifisert i lovverket. -

+

Dette er et unntak i åndsverksloven. Når John Grisham skriver en roman så kan en utgiver kun utgi denne romanen hvis Grisham gir utgiveren tillatelse til det. Grisham står fritt til å kreve hvilken som helst betaling for den tillatelsen. Prisen for å publisere Grisham er dermed bestemt av Grisham og åndsverksloven sier at du ikke har tillatelse til å bruke Grishams verker med mindre du har tillatelse fra Grisham. -

+

Men loven som styrer innspillinger gir innspillingsartisten mindre. Og dermed er effekten at loven subsidierer musikkindustrien med et slags piratvirksomhet—ved å gi @@ -2362,7 +2362,7 @@ folket. Musikkindustrien f betalt, og folket får tilgang til en større mengde musikalsk kreativitet. Kongressen var faktisk svært eksplisitt i sine grunner for å dele ut denne rettigheten. Den fryktet monopolmakten til rettighetsinnehaverne, og at -denne makten skulle kvele påfølgende kreativitet.[60] +denne makten skulle kvele påfølgende kreativitet.[60]

Mens musikkindustrien har vært ganske stille om dette i det siste, har de historisk vært høylytte tilhengere av den lovbestemte lisensen for @@ -2380,7 +2380,7 @@ pekte p mekanisme for å unngå monopol da de tildelte disse rettighetene. De argumenterer med at resultatet har vært at det har strømmet på med innspilt musikk, at folket har fått lavere priser, bedre kvalitet og flere -valg.[61] +valg.[61]

Ved å begrense rettighetene musikere hadde, ved å delvis røve deres kreative verk, fikk innspillingsprodusentene, og folket, fordeler. @@ -2388,7 +2388,7 @@ verk, fikk innspillingsprodusentene, og folket, fordeler. Radio kom også fra piratvirksomhet.

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 +«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 fremføringen. @@ -2403,7 +2403,7 @@ Stones eller Lyle Lovett. Innspillingsartisten legger til verdi p komposisjonen fremført på radiostasjonen. Og hvis loven var fullstendig konsistent, så burde radiostasjonen også vært nødt til å betale innspillingsartisten for hans verk, på samme måten som den betaler -komponisten av musikken for hans verk. +komponisten av musikken for hans verk.

@@ -2426,13 +2426,13 @@ effektene fra salg av hennes CD-er. Den offentlige fremf 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 fremføringsrettighetene de frasier seg. Kanskje. Men selv om det er slik, så gir loven vanligvis skaperen retten til å gjøre dette valget. Ved å gjøre valget for ham eller henne, gir loven radiostasjonen rett til å ta noe uten å betale. -

4.4. Kabel-TV

+

4.4. Kabel-TV

Kabel-TV kom også fra en form for piratvirksomhet.

@@ -2443,30 +2443,30 @@ TV-kringkastinger, nektet de Napsteriserte dermed kringkasternes innhold, men grovere enn det Napster noen gang gjorde—Napster tok aldri betalt for innholdet som det ble mulig for andre å gi bort. -

+

Kringkastere og opphavsrettsinnehavere var raske til å angripe dette tyveriet. Rosel Hyde, styreleder i FCC, så praksisen som en slags «urettferdig og potensielt ødeleggende -konkurranse».[63] Det kan ha vært en +konkurranse».[63] Det kan ha vært en «offentlig interesse» i å øke spredningen til kabel-TV, men som Douglas Anello, sjefsjurist hos Nasjonalforeningen for kringkastere spurte senator Quentin Burdick under sitt vitnemål, «Dikterer offentlig -interesse at du kan bruke noen andres eiendom?»[64] Som en annen kringkaster formulerte det, +interesse at du kan bruke noen andres eiendom?»[64] Som en annen kringkaster formulerte det,

Den uvanlige tingen med kabel-TV-selskapene er at det er de eneste selskapene jeg vet om hvor produktet som blir solgt ikke er betalt -for.[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] -

+ville passe.[66] +

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

Men igjen, det er en annen side i debatten. Som assisterende justisminister Edwin Zimmerman sa det, @@ -2475,7 +2475,7 @@ V opphavsrettsbeskyttelse. Problemet her er hvorvidt opphavsrettsinnehavere som allerede blir kompensert, som allerede har et monopol, skal få lov til å utvide dette monopolet. … Spørsmålet er hvor mye kompensasjon de bør -ha, og hvor langt de kan strekke sin rett på kompensasjon.[68] +ha, og hvor langt de kan strekke sin rett på kompensasjon.[68]

Opphavsrettinnehaverne tok kabelselskapene til retten. Høyesterett fant to ganger at kabelselskaper ikke skyldte opphavsrettinnehaverne noen ting. @@ -2489,24 +2489,24 @@ ble ikke satt av opphavsrettsinnehaveren. Prisen ble fastsatt ved lov, slik at kringkasterne ikke kunne utøve vetomakt over den nye teknologien kabel-TV. Kabel-TV-selskapene bygde dermed deres imperium delvis ved å «røve» verdien skapt av kringkasternes innhold. -

+

Disse separate historiene synger en felles melodi. Hvis «piratvirksomhet» betyr å bruke verdien fra noen andres kreative eiendom uten tillatelse fra dets skaper—slik -det stadig oftere beskrives i dag[69] +det stadig oftere beskrives i dag[69] —da er enhver industri påvirket av opphavsrett i dag produktet og de som har nytt godt av ulike former for piratvirksomhet. Film, plater, radio, kabel-TV. … Listen er lang og kunne vært lengre. Hver generasjon ønsker piratene fra den forrige velkommen. Hver generasjon—inntil nå. -


[51] +


[51] - Jeg er takknemlig til Peter DiMauro + 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] +

[52] J. A. Aberdeen, Hollywood Renegades: The Society of Independent Motion Picture Producers (Cobblestone Entertainment, 2000) og @@ -2518,49 +2518,49 @@ begresningene p «From Edison to the Broadcast Flag: Mechanisms of Consent and Refusal and the Propertization of Copyright» (september 2002), University of Chicago Law School, James M. Olin Program in Law and Economics, Working -Paper No. 159. -

[53] +Paper No. 159. +

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

[54] +

[54] Endre og slå sammen lovforslag om å respektere opphavsretten: Høring om S. 6330 og H.R. 19853 foran (felles)-komiteene om patenter, 59. kongr. 59, 1. sess. (1906) (uttalelse til senator Alfred B. Kittredge fra Sør-Dakota, formann), gjengitt i Legislative History of the 1909 Copyright Act, E. Fulton Brylawski og Abe Goldman, red. (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 (forberedt innlegg fra Philip Mauro, sjefspatentrådgiver for the American Graphophone Company Association). -

[60] +

[60] @@ -2570,13 +2570,13 @@ foran (felles)-komiteen om patenter, 60. kongr., 1. sess., 217 (1908) Legislative History of the 1909 Copyright Act, E. Fulton Brylawski og Abe Goldman, red. (South Hackensack, N.J.: Rothman Reprints, 1976). -

[61] +

[61] Endring av åndsverksloven: Rapport som følger H.R. 2512, House Committee on the Judiciary, 90. Kongr., 1. sess., House Document no. 83, (8. mars 1967). Jeg er takknemlig til Glenn Brown for å ha gjort meg oppmerksom på denne -rapporten.

[62] +rapporten.

[62] Se 17 United States Code, seksjon 106 og 110. I begynnelsen skrev noen plateselskaper «Ikke lisensiert for @@ -2588,39 +2588,39 @@ Co. mot Whiteman, 114 F. 2d 86 (2nd Cir. 1940). Se også 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] +70 (2003): 281. +

[63] Endring i åndsverksloven—Kabel-TV: Høring om S. 1006 foran underkomiteen om patenter, varemerker og opphavsrett av Senate Committee on the Judiciary, 89. Kongr., 2. sess., 78 (1966) (uttalelse fra Rosel H. Hyde, -styreleder i den føderale kommunikasjonskommisjonen. -

[64] +styreleder i den føderale kommunikasjonskommisjonen. +

[64] Endring i åndsverksloven—Kabel-TV, 116 (uttalelse fra Douglas A. Anello, sjefsjuristen i Nasjonalforeningen for kringkastere). -

[65] +

[65] Endring i åndsverksloven—Kabel-TV, 126 (uttalelse fra Ernest W. Jennes, sjefsjurist ved Association of Maximum Service Telecasters, Inc.). -

[66] +

[66] Endring i åndsverksloven—Kabel-TV, 169 (felles uttalelse fra Arthur B. Krim, president i United Artists Corp. og John Sinn, president i United Artists Television Inc.). -

[67] +

[67] Copyright Law Revision—CATV, 209 (uttalelse 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] Se for eksempel National Music Publisher's Association, The @@ -2646,12 +2646,12 @@ skaden som denne formen for kopiering, og loven bør ta hensyn til denne tvetydigheten, slik den har gjort ofte tidligere. -

5.1. Piratvirksomhet I

+

5.1. Piratvirksomhet I

Over hele verden, men spesielt i Asia og Øst-Europa, er det selskaper som ikke gjør annet enn å ta andre folks opphavsrettsbeskyttede innhold, kopierer det og selger det—alt dette uten tillatelse fra opphavsrettseieren. Musikkindustrien estimerer at de taper rundt $4,6 -milliarder hvert år på fysisk piratvirksomhet [70] (det blir ca. en av tre CD-er solgt på verdensbasis). MPAA +milliarder hvert år på fysisk piratvirksomhet [70] (det blir ca. en av tre CD-er solgt på verdensbasis). MPAA estimerer at de taper $3 milliarder på verdensbasis på piratvirksomhet.

Dette er enkelt og greit piratvirksomhet. Ingenting i argumentet i denne @@ -2686,16 +2686,16 @@ ingen annen nasjon Men likevel, hvis et land skal behandles som selvstendig da er landets lover landets lover, uavhengig av deres kilde. De internasjonale lovene som disse landene lever under gir dem noen muligheter til å slippe unna byrden til -immaterielle rettighetslover.[71] Etter +immaterielle rettighetslover.[71] Etter mitt syn burde flere utviklingsland utnytte den muligheten, men når de ikke gjør det bør deres lover likevel respekteres. Og i følge lovene i disse landene, er piratvirksomhet galt. -

+

Alternativt, så kan vi forsøke å unnskylde denne piratvirksomheten ved å legge merke til at det uansett ikke skader industrien. Kineserne som får tilgang til amerikanske CDer for 50 cent pr. utgave er ikke folk som ville kjøpt disse CDene for #15 per utgave. Så ingen har egentlig noe mindre -penger enn de ellers ville hatt.[72] +penger enn de ellers ville hatt.[72]

Dette er ofte riktig (selv om jeg har venner som har kjøpt flere tusen piratkopierte DVDer og som helt klart har nok penger til å betale for @@ -2708,7 +2708,7 @@ nettet? fra når du tar en MP3 fra et datanettverk, der det ikke blir en mindre CD som kan selges. Fysikken til røving av det uhåndgripelige er forskjellig fra fysikken til røving av det håndgripelige. -

+

Dette er likevel et veldig dårlig argument. For selv om opphavsretten er en eiendomsrett av en veldig spesiell type, så er det en @@ -2724,7 +2724,7 @@ ikke gj det systemet er skikkelig balansert opp mot teknologien i tiden, så er det galt å ta eiendom uten tillatelse fra eiendomseieren. Det er nøyaktig hva «eiendom» betyr. -

+

Til slutt kan vi forsøke å unnskylde denne piratvirksomheten med argumentet om at piratvirksomheten faktisk hjelper opphavsrettseieren. Når kineserne «stjeler» Windows, så gjør det kineserne avhengig av @@ -2737,7 +2737,7 @@ piratvirksomheten. Hvis kineserne i stedet for brukte det fritt tilgjengelige operativsystemet GNU/Linux, så ville disse kinesiske brukerne ikke til slutt kjøpe Microsoft. Uten piratvirksomheten ville dermed Microsoft tape. -

+

Det er også noe sant i dette argumentet. Å gjøre folk avhengig er en god strategi. Mange selskaper praktiserer det. Noen gjør det godt på grunn av det. Juss-studenter, for eksempel, får gratis tilgang til de to største @@ -2745,7 +2745,7 @@ juridiske databasene. Begge selskapenes markedsf studentene vil bli så vant til deres tjenester at de vil ønske å bruke deres tjeneste og ikke konkurrentens når de blir advokater (og må betale høy abonnementsavgift). -

+

Likevel er ikke dette argumentet spesielt overbevistende. Vi gir ikke alkoholikeren et forsvar når han stjeler sin første øl, kun på grunn av at det vil gjøre det mer sannsynlig at han vil betale for de tre neste. I @@ -2797,21 +2797,21 @@ kunstnerne mens vi gj Nøkkelen til «piratvirksomheten» som loven tar sikte på å skvise er den bruken som «frata forfatteren -overskuddet».[73] Dette betyr vi må +overskuddet».[73] Dette betyr vi må avgjøre hvorvidt og hvor mye p2p-deling skader før vi vet hvor sterkt loven bør søke å enten hindre det eller finne et alternativ for å sikre forfatteren hans overskudd. -

+

Peer-to-peer-deling ble gjort berømt av Napster. Men oppfinnerne av Napster-teknologien hadde ikke gjort noen store teknologiske nyskapninger. Som ethvert stort steg i nyskapningen på internettet (og, kan det -argumenteres for, utenfor internettet[74]) +argumenteres for, utenfor internettet[74]) hadde Shawn Fanning og hans bemanning ganske enkelt satt sammen deler som hadde blitt utviklet uavhengig av hverandre.

Resultatet var en eksplosjon. Etter lansering i juli 1999, samlet Napster over 10 millioner brukere i løpet av ni måneder. Etter atten måneder var -det nesten 80 millioner registrerte brukere av systemet.[75] Rettsaker skjøt Napster raskt ned, men andre +det nesten 80 millioner registrerte brukere av systemet.[75] Rettsaker skjøt Napster raskt ned, men andre tjenester dukket opp for å overta plassen. (Kazaa er for tiden den mest populære p2p-tjenesten. Den skryter av over 100 millioner medlemmer.) Disse tjenestene har en anderledes arkitektur selv om de ikke er veldig @@ -2823,10 +2823,10 @@ eller dine 20 I følge en rekke estimater har en stor andel av amerikanere testet fildelings-teknologi. En studie av Ipsos-Insight i september 2002 estimerte at 60 millioner amerikanere har lastet ned musikk—28 prosent av -amerikanerne over 12.[76] En +amerikanerne over 12.[76] En spørreundersøkelse fra NPD-gruppen sitert i The New York Times estimerte at 43 millioner innbyggere brukte -fildelingsnettverk for å utveksle innhold i mai 2003.[77] De aller fleste av dem er ikke unger. Uansett hva +fildelingsnettverk for å utveksle innhold i mai 2003.[77] De aller fleste av dem er ikke unger. Uansett hva de egentlige tallene er, en massiv mengde innhold blir «tatt» på disse nettverkene. Enkelheten og den lave kostnaden til fildelingsnettverkene har inspirert millioner til å nyte musikk på måter de @@ -2843,7 +2843,7 @@ fildeling muliggj Fildelerne deler ulike typer innhold. Vi kan dele disse ulike typene inn i fire typer. -

  1. +

    1. Det er noen som bruker delingsnettverk som erstatninger for å kjøpe @@ -2893,7 +2893,7 @@ Hvordan balanserer disse ulike delingstypene?

      La oss starte med noen enkle men viktige poeng. Fra lovens perspektiv er det kun type-D-deling som helt klart er lovlig. Fra et økonomisk perspektiv -er det kun type-A-deling som helt klart forårsaker skade.[78] Type-B-deling er ulovlig men gir klare fordeler. +er det kun type-A-deling som helt klart forårsaker skade.[78] Type-B-deling er ulovlig men gir klare fordeler. Type-C-deling er ulovlig, men bra for samfunnet (siden mer eksponering til musikk er bra) og skadelig for artistene (siden verket ellers ikke er tilgjengelig. Så det er vanskelig å avgjøre hvordan deling kommer ut totalt @@ -2911,19 +2911,19 @@ Mens disse tallene jo foresl platebransjen å skylde på teknologi for all nedgang i salg. Historien til kassettopptak er et godt eksempel. Som et studie av Cap Gemini Ernst & Young formulerer det: «I stedet for å utforske denne nye populære -teknologien, sloss selskapene imot den.»[79] Selskapene påsto at hvert album som ble tatt opp på kassett var et +teknologien, sloss selskapene imot den.»[79] Selskapene påsto at hvert album som ble tatt opp på kassett var et album som ikke ble solgt, og da platesalget falt med 11,4 prosent i 1981, påsto industrien at dets poeng var bevist. Teknologien var problemet, og forbud eller regulering av teknologien var svaret. -

      +

      Ikke lenge etterpå, og før kongressen fikk muligheten til å innføre reguleringer, ble MTV lansert, og industrien fikk et rekordoppsving. «Til slutt», konkluderte Cap Gemini, «var ikke «krisen» … forårsaket av de som tok opp på kassett—som ikke [sluttet etter at MTV dukket opp]—men hadde i stor grad vært resultatet av en stagnasjon i musikknyskapningen hos de store -selskapene.»[80] -

      +selskapene.»[80] +

      Men det at industrien har tatt feil før betyr ikke at de tar feil i dag. For å evaluere den virkelige trusselen som p2p-deling representerer for industrien spesielt, og samfunnet generelt—eller i hvert fall det @@ -2948,18 +2948,18 @@ CD-er at det ikke er langt unna sannheten.

      I 2002 rapporterte RIAA at CD-salg hadde falt med 8,9 prosent, fra 882 millioner til 803 millioner enheter, og inntektene hadde falt 6,7 -prosent.[81] Dette bekrefter en trend fra +prosent.[81] Dette bekrefter en trend fra de siste årene. RIAA skylder på piratvirksomhet på internett for denne trenden, selv om det er mange andre årsaker som kan forklare denne reduksjonen. SoundScan rapporterte for eksempel om en reduksjon på over 20 prosent siden 1999 når det gjelder antall CD-er er gitt ut Dette er uten tvil årsaken til noe av nedgangen i salget. Stigende priser kan også ha bidratt til noe av tapet. «Fra 1999 til 201 steg den gjennomsnittlige -prisen for en CD med 7,2 prosent, fra $13,04 til $14,19.»[82] Konkurranse fra andre typer media kan også forklare +prisen for en CD med 7,2 prosent, fra $13,04 til $14,19.»[82] Konkurranse fra andre typer media kan også forklare noe av nedgangen. Som Jane Black i BusinessWeek kommenterer, «Lydsporet for filmen High Fidelity har en listepris på $19,98. Du kan få hele filmen [på -DVD] for $19,99.»[83] +DVD] for $19,99.»[83]

      @@ -2983,7 +2983,7 @@ prosent reduksjon i salg i fjor, ikke e 7 prosents nedgang. Hvis 2,6 ganger antallet solgte CDer ble lastet ned gratis, og salgsinntektene kun ble redusert med 6,7 prosent, så er det en stor forskjell mellom å «laste ned en sang og å stjele en CD». -

      +

      Dette er skadene—påståtte og muligens overdrevende men, la oss anta at de er reelle. Hva er fordelene? Fildeling påfører muligens kostnader for plateindustrien. Hva slags verdi gir det i tillegg til disse kostnadene? @@ -2991,15 +2991,15 @@ plateindustrien. Hva slags verdi gir det i tillegg til disse kostnadene? En fordel er type-C-deling—å gjøre innhold tilgjengelig som teknisk sett fortsatt er opphavsrettsbeskyttet men som ikke lenger er kommersielt tilgjengelig. Dette er ikke en liten kategori med innhold Det er millioner -av spor som ikke lenger er kommersielt tilgjengelig.[84] Og mens det kan tenkes at noe av dette innholdet +av spor som ikke lenger er kommersielt tilgjengelig.[84] Og mens det kan tenkes at noe av dette innholdet ikke er tilgjengelig fordi artisten som laget innholdet ikke ønsker at det blir gjort tilgjengelig, så er det meste av dette utilgjengelig kun fordi forlaget eller distributøren har bestemt at det ikke lenger gir økonomisk mening for selskapet å gjøre det tilgjengelig. -

      +

      I den virkelige verden—lenge før internettet—hadde markedet et enkelt svar på dette problemet: bruktbok- og bruktplate-butikker. Det er -tusenvis av butikker for brukte bøker og plater i Amerika i dag.[85] Disse butikkene kjøper innhold fra eierne og selger +tusenvis av butikker for brukte bøker og plater i Amerika i dag.[85] Disse butikkene kjøper innhold fra eierne og selger så videre innholdet de kjøpte. Og i følge amerikansk åndsverkslov, når de kjøper og selger dette innholdet, selv om innholdet fortsatt er vernet av åndsverksloven, så får ikke opphavsrettseieren et @@ -3007,7 +3007,7 @@ vernet av tjener penger på innholdet de selger, men på samme måte som med kabel-TV-selskapene før lovbestemt lisensiering må de ikke betale opphavsrettseierene for innholdet de selger. -

      +

      Type-C-deling har dermed veldig mye til felles med bruktbok- og bruktplatebutikker. Det er naturligvis også veldig forskjellig, fordi personen som gjør innhold tilgjengelig tjener ikke penger på å gjøre @@ -3040,7 +3040,7 @@ eller ikke. Hvis de likte den, s den. Doctorows innhold er type-D-innhold. Hvis delingsnettverkene gjør det mulig å spre hans verk, så kommer både han og samfunnet bedre ut. (Faktisk så kommer de mye bedre ut: det er en god bok!) -

      +

      Det samme gjelder for allemannseide verk: Denne delingen gagner samfunnet uten noen juridisk skade mot forfattere i det hele tatt. Hvis innsats for å løse problemet med type-A-deling ødelegger muligheten for type-D-deling, så @@ -3073,7 +3073,7 @@ Napster-saken selv. Da Napster fortalte *district*-retten at den hadde utviklet teknologi som ville blokkere for 99,4 prosent av identifisert opphavsrettsbrytende materiale, fortalte *district*-retten advokatene til Napster at 99,4 prosent var ikke godt nok. Napster måtte få -opphavsrettsbruddene «ned til null».[86] +opphavsrettsbruddene «ned til null».[86]

      Hvis 99,4 prosent ikke er godt nok, så er dette en krig mot fildelingsteknologier, og ikke en krig mot opphavsrettsbrudd. Det er ikke @@ -3092,7 +3092,7 @@ m møte den nye teknologien. I denne justeringen har loven forsøkt å sikre legitime rettigheter til skaperne mens den beskytter nyskapning. Noen gang har det gitt mer rettigheter til skaperne, og noen ganger mindre. -

      +

      Dermed, slik vi har sett, når «mekanisk reprodusjon» truet interessene til komponister, balanserte kongressen rettighetene til komponistene mot interessene til plateindustrien. Den ga rettigheter til @@ -3108,7 +3108,7 @@ kabel-TV-kringkasterne m svarte kongressen med å gi kringkasterne rett til betaling, men på et nivå fastsatt av loven. De ga på samme måte kabel-TV-selskapene rett til innholdet, så lenge de betalte den lovbestemte prisen. -

      +

      @@ -3126,7 +3126,7 @@ innhold uten kabel-TV. Dermed valgte kongressen en sti som ville sikre kompensasjon uten å gi fortiden (kringkasterne) kontroll over fremtiden (kabel-TV). -

      +

      Samme år som kongressen valgte denne balansen, gikk to store produsenter og distributører av filminnhold til sak mot en annen teknologi, videospiller/opptakeren som Sony hadde produsert, Betamax. Disneys og @@ -3137,7 +3137,7 @@ opphavsrettsbrudd. P opphavsrettsbeskyttede filmer og programmer. Sony hadde derfor fordel av opphavsrettsbruddene til sine kunder og skulle derfor, påsto Disney og Universal, være delvis ansvarlig or disse bruddene. -

      +

      Det er noe i påstandene til Disney og Universal. Sony valgte å utforme sin maskin slik at det var veldig enkelt å ta opp TV-programmer. De kunne ha @@ -3151,29 +3151,29 @@ tillot kopiering. Og i m utformet systemet sitt for å minimere muligheten for opphavsrettsbrudd. Det gjorde de ikke, og på grunn av dette ville Disney og Universal holde dem ansvarlig for arkitekturen de valgte. -

      +

      MPAA-presidenten Jack Valenti ble studioenes mest synlige forkjemper. Valenti kalte videospillerne for «bendelormer» (engelsk: tapeworm). Han advarte om at «når det er 20, 30, 40 millioner av disse videospillerne i landet, vil vi bli invadert av millioner av «bendelormer» som spiser i vei i hjertet og essensen til den mest verdifulle eiendelen som opphavsrettseieren har, hans -opphavsrett».[87] «En må ikke +opphavsrett».[87] «En må ikke være opplært i sofistikert markedsføring eller kreativ vurdering», fortalte han kongressen, «for å forstå ødeleggelsen av etter-kino-markedet forårsaket av de hundrevis av millioner opptak som vil seriøst påvirke fremtiden til det kreative miljøet i dette landet. Det er ganske enkelt et spørsmål om grunnleggende økonomi og enkel sunn -fornuft.»[88] Og ganske riktig, slik +fornuft.»[88] Og ganske riktig, slik spørreundersøkelser senere ville vise, 45 prosent av videospillereierne -hadde filmbiblioteker som inneholdt ti filmer eller mer.[89] — en bruk som retten senere ville avgjøre +hadde filmbiblioteker som inneholdt ti filmer eller mer.[89] — en bruk som retten senere ville avgjøre ikke var «rettferdig». Ved å «tillate videospillereierne å kopiere fritt ved hjelp av et unntak fra brudd på opphavsrettsloven uten å lage en mekanisme for å kompensere opphavsrettseierne», forklarte Valenti, så ville kongressen «ta fra eierne selve essensen i deres eiendom: den eksklusive retten til a kontrollere hvem som kan bruke deres verker, det vil si, hvem som kan kopiere det og dermed nyte godt at dets -reproduksjon».[90] +reproduksjon».[90]

      Det tok åtte år før denne saken ble avgjort av høyesterett. I mellomtiden hadde den niende appellsirkel, som har Hollywood i sin @@ -3184,7 +3184,7 @@ muliggjort med deres maskiner. I f kjente teknologien—som Jack Valenti hadde omtalt som «Boston-kveleren for amerikansk filmindustri» (verre enn dette, det var en japansk Boston-kveler for amerikansk -filmindustri)— var en ulovlig teknologi.[91] +filmindustri)— var en ulovlig teknologi.[91]

      Men høyesterett omstøtte avgjørelsen til niende appellsirkel. Og i sin @@ -3196,16 +3196,16 @@ kongressen n opphavsrettsbeskyttet materiale. Kongressen har den konstituelle autoriteten og institusjonsevnen til å ta fullt hensyn til de forskjellige sammensetningene av konkurrerende interesser som uunngåelig blir involvert -av slik ny teknologi.[92] -

    +av slik ny teknologi.[92] +

Kongressen ble bedt om å svare på avgjørelsen fra Høyesterett. Men på samme måte som med appellen fra plateartistene om radiokringkastinger, ignorerte kongressen denne forespørselen. Kongressen var overbevist om at Amerikansk film fikk nok, på tross av at det her ble «tatt». Hvis vi samler disse saken, trer et mønster frem: -

TilfelleHvems verdi ble «røvet»Responsen til domstoleneResponsen til Kongressen
InnspillingerKomponisterIngen beskyttelseLovbestemt lisens
RadioPlateartisterN/AIngenting
Kabel-TVKringkastereIngen beskyttelseLovbestemt lisens
Videospiller / opptakerFilmskapereIngen beskyttelseIngenting

+

TilfelleHvems verdi ble «røvet»Responsen til domstoleneResponsen til Kongressen
InnspillingerKomponisterIngen beskyttelseLovbestemt lisens
RadioPlateartisterN/AIngenting
Kabel-TVKringkastereIngen beskyttelseLovbestemt lisens
Videospiller / opptakerFilmskapereIngen beskyttelseIngenting

I hvert tilfelle gjennom vår historie har ny teknologi endret hvordan -innhold ble distribuert.[93] I hvert +innhold ble distribuert.[93] I hvert tilfelle, gjennom hele vår historie, har den endringen ført til at noen ble «gratispassasjer» på noen andres verk.

@@ -3221,7 +3221,7 @@ hensyn til noe av legitimiteten til oppf teknologi a ha fordel av innhold laget tidligere. Den balanserte interessene på spill. -

+

Når du tenker over disse eksemplene, og de andre eksemplene som utgjør de første fire kapittelene i denne avdelingen, så gir denne balansen mening. Var Walt Disney en pirat? Ville doujinshi være bedre hvis skaperne måtte be @@ -3231,11 +3231,11 @@ var regulert? Er det virkelig riktig at a bygge en s deg for krav om $15 millioner i erstatning. Ville det ha vært bedre om Edison hadde kontrollert all film? Burde et hvert cover-band måtte hyre inn en advokat for å få tillatelse til å spille inn en sang? -

+

Vi kunne svart ja på hvert av disse spørsmålene, men vår tradisjon har svart nei. I vår tradisjon, som høyesterett uttalte har opphavsretten «aldri gitt opphavsrettseieren fullstendig kontroll over all mulig -bruk av hans verk».[94] I stedet har +bruk av hans verk».[94] I stedet har de spesifikke bruksområder som loven regulerer vært definert ved å balansere de goder som kommer fra å dele ut en eksklusiv rettighet mot ulempene en slik eksklusiv rettighet skaper. Og denne balanseringen har historisk vært @@ -3263,7 +3263,7 @@ ideelt effektivt for nettverk. Utviklet videre så kan de gjøre nettverkene mye mer effektivt. Likevel kan disse «potensielle fordelene for folket», som John Schwartz skriver i The New York Times, «bli -forsinket av p2p-kampen».[95] +forsinket av p2p-kampen».[95]

Men når noen begynner å snakke om «balanse», kommer opphavsrettskrigerne med et annet argument. @@ -3279,7 +3279,7 @@ arresterer han? «Det er vår eiendom,» insisterer krigerne. «og den bør være beskyttet på samme måte som all annen eiendom er beskyttet.» -


[70] +


[70] Se IFPI (International Federation of the Phonographic Industry), @@ -3287,7 +3287,7 @@ Se IFPI (International Federation of the Phonographic Industry), juli 2003, tilgjengelig fra link #14. Se også Ben Hunt, «Companies Warned on Music Piracy Risk», Financial Times, 14. februar 2003, 11. -

[71] +

[71] Se Peter Drahos og John Braithwaite, Information Feudalism: Who Owns the Knowledge Economy? (New York: The New Press, 2003), @@ -3303,8 +3303,8 @@ ikke-kommersielle form tillatelse fra patentinnehaveren. Utviklingsland kan være i stand til å bruke dette til å få fordelene fra utenlandske patenter til lavere priser. Dette er en lovende strategi for utviklingsland innenfor -TRIPS-rammeverket. -

[72] +TRIPS-rammeverket. +

[72] For en analyse av den økonomiske effekten av kopieringsteknologi, se Stan Liebowitz, Rethinking the Network Economy (New York: @@ -3313,15 +3313,15 @@ av piratvirksomhet p verdien av verket vil være neglisjerbart. Et åpenbart tilfelle er der individet som tar nyter godt av piratvirksomheten ikke ville ha kjøpt originalen selv om piratvirksomhet ikke var en mulighet.» Ibid., -149. -

[73] +149. +

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

[74] +

[74] - Se Clayton M. Christensen, + Se Clayton M. Christensen, The Innovator's Dilemma: The Revolutionary National Bestseller That Changed the Way We Do Business (New York: HarperBusiness, 2000). Professor Christensen undersøker hvorfor selskaper som gir opphav @@ -3330,8 +3330,8 @@ de mest kreative, paradigmeskiftende m på. Denne jobben ender som oftest opp hos oppfinnere utenfra, som setter sammen eksisterende teknologi på nyskapende måter. For en diskusjon om Christensens idéer, se Lawrence Lessig, Future, -89–92, 139. -

[75] +89–92, 139. +

[75] Se Carolyn Lochhead, «Silicon Valley Dream, Hollywood @@ -3343,7 +3343,7 @@ Chronicle, 23. mai 2003, C1; Call,» Economist, 24. juni 2000, 23; John Naughton, «Hollywood at War with the Internet» (London) Times, 26. juli 2002, 18. -

[76] +

[76] @@ -3351,18 +3351,18 @@ Se Ipsos-Insight, TEMPO: Keeping Pace with Online Music Distribution (september 2002), som rapporterer at 28 prosent av amerikanere eldre enn tolv år hadde lastet musikk ned fra internettet og 30 prosent hadde lyttet til digitale musikkfiler lagred på sine datamaskiner. -

[77] +

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

[78] +

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

[79] +148–49. +

[79] - Se Cap Gemini Ernst & Young, + Se Cap Gemini Ernst & Young, Technology Evolution and the Music Industry's Business Model Crisis (2003), 3. Denne rapporten beskriver musikkindustriens innsats for å stigmatisere den voksende praksis med å ta opp på kassett på @@ -3374,11 +3374,11 @@ prosent av forbrukerne eldre enn ti tatt opp musikk p 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, oktober 1989), -145–56.

[80] +145–56.

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

[81] +

[81] Se Recording Industry Association of America, 2002 Yearend @@ -3394,14 +3394,14 @@ siste verdensbasis har gått ned fra å være en $39 milliarders industri i 2000 til å bli en $32 milliarders industri i 2002 (basert på US dollarverdi for utsendinger.» -

[82] +

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

[83] +13. februar 2003, tilgjengelig fra link #17. +

[83] ibid. -

[84] +

[84] Et estimat forteller at 75 prosent av musikken gitt ut av de store @@ -3410,9 +3410,9 @@ Copyright Law—Coming Soon to a Digital Device Near You: H the Senate Committee on the Judiciary, 107. kongr., 1. sesj. (3. april 2001) (forberedt innlegg av the Future of Music Coalition), tilgjengelig fra link #18. -

[85] +

[85] - Mens det ikke finnes noen gode + Mens det ikke finnes noen gode estimater over antallet bruktplatebutikker, så var det i 2002 7 7198 bruktbokhandler i USA, en økning på 20 prosent siden 1993. Se Book Hunter Press, The Quiet Revolution: The Expansion of the Used Book @@ -3420,7 +3420,7 @@ Market (2002), tilgjengelig fra «2002 Annual Survey Results», tilgjengelig fra link #20. -

[86] +

[86] Se referat fra forhandlingene, In Re: Napster Copyright Litigation ved 34-35 @@ -3429,38 +3429,38 @@ tilgjengelig fra 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): høring om S. 1758 foran the Senate Committee on the Judiciary, 97. kongr., 1. and 2. sess., 459 (1982) (vitnesbyrd fra Jack Valenti, president, Motion Picture Association of America, Inc.). -

[88] +

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

[89] +

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

[90] +

[90] Copyright Infringements (Audio and Video Recorders), 485 (vitnesbyrd fra 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] Dette er de viktigste forekomstene i vår historie, men det er også andre tilfeller. For eksempel var teknologien til digitale lydkasetter (DAT) @@ -3473,13 +3473,13 @@ U.S.C. for gratispassasjerer slik jeg har beskrevet. Se Lessig Future, 71. Se også Picker, «From Edison to the Broadcast Flag,» University of Chicago Law -Review 70 (2003): 293–96. -

[94] +Review 70 (2003): 293–96. +

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

[95] +

[95] John Schwartz, «New Economy: The Attack on Peer-to-Peer Software @@ -3504,7 +3504,7 @@ piknik-bordet, og etter at jeg tar det har ikke du det. Men hva tar jeg n jeg tar den gode idéen som du hadde om å plassere piknik-bordet i bakhagen—ved å for eksempel dra til butikken Sears, kjøpe et bord, og plassere det i min egen bakhage? Hva er tingen jeg tar da? -

+

Poenget er ikke bare om hvorvidt piknik-bord og idéer er ting, selv om det er en viktig forskjell. Poenget er istedet at i det vanlige tilfelle—faktisk i praktisk talt ethvert tilfelle unntatt en begrenset @@ -3514,8 +3514,8 @@ ut hvis jeg gjorde det hver dag, og spesielt s Istedet, som Thomas Jefferson sa (og det er spesielt sant når jeg kopierer hvordan noen andre kler seg), «Den som mottar en idé fra meg, får selv informasjon uten å ta noe fra meg, på samme måte som den som tenner sitt lys -fra min veike får lys uten å forlate meg i mørket».[96] -

+fra min veike får lys uten å forlate meg i mørket».[96] +

Unntakene til fri bruk er idéer og uttrykk innenfor dekningsområdet til loven om patent og opphavsrett, og noen få andre områder som jeg ikke vil diskutere her. Her sier loven at du ikke kan ta min idé eller uttrykk uten @@ -3524,7 +3524,7 @@ min tillatelse: 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 dette er den samme som min strategi i den foregående del. Jeg tilbyr fire historier som bidrar til å plassere @@ -3534,13 +3534,13 @@ Etter disse historiene vil betydningen til dette sanne 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 @@ -3551,7 +3551,7 @@ 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): 373, 429 n. 241. -

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 @@ -3561,30 +3561,30 @@ fortsatt kilden. Jeg overhørte en gang noen 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 +utgiver i London, John Tonson. [98] Tonson var den mest fremstående av en liten gruppe utgivere kalt «the -Conger»[99], som kontrollerte +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 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. -

+

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 beskyttet i fjorten år, en periode som kunne fornyes én gang dersom forfatteren ennå levde, og at alle verk publisert i eller før 1710 skulle ha -en ekstraperiode på 22 tilleggsår.[100] På +en ekstraperiode på 22 tilleggsår.[100] På grunn av denne loven, så skulle Romeo 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 @@ -3635,7 +3635,7 @@ skuespill. S Shakespeares verk uten hans, eller hans arvingers, tillatelse? Hvilke grunner 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 vedtatt. Deretter må vi se på noe spesielt med bokhandlerne. @@ -3652,7 +3652,7 @@ verk kunne brukes. Idag inkluderer retten samling av restriksjoner på andres frihet: den gir forfatteren eksklusiv rett til å kopiere, eksklusiv rett til å distribuere, eksklusiv rett til å fremføre, og så videre. -

+

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 @@ -3660,7 +3660,7 @@ ville ikke ha kontrollert noe mer, for eksempel om hvordan verket kunne fremføres, om verket kunne oversettes eller om Kenneth Branagh ville hatt lov til å lage filmer. «Kopi-retten» var bare en eksklusiv rett til å trykke--ikke noe mindre, selvfølgelig, men heller ikke mer. -

+

Selv denne 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 @@ -3689,7 +3689,7 @@ undertrykkelse, de solgte Englands frihet mot 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] +nødvendig.»[101]

Mange trodde at den makten bokhandlerne utøvde over spredning av kunnskap, var til skade for selve spredningen, men på dette tidspunktet viste @@ -3721,7 +3721,7 @@ utvidelser om igjen og om igjen, s lovforslaget blir vedtatt, vil effekten være: at et evig monopol blir skapt, et stort nederlag for handelen, et angrep mot kunnskapen, ingen fordel for forfatterne, men en stor avgift for folket; og alt dette kun for å øke -bokhandlernes personlige rikdom.[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» @@ -3735,30 +3735,30 @@ utl 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, 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. Inntil 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 +bekymret for forfatterne som en gjeter for sine lam.»[103] Bokselgerne brydde seg ikke det spor om forfatternes rettigheter. Deres bekymring var den monopolprofitten 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 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 +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 mest populære, engelske bøker, i kamp mot sedvanerettens rett til litterær -eiendom.» [107] Bøkene hans var +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. @@ -3767,13 +3767,13 @@ Londons bokselgere begynte straks 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 utløpt, 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 @@ -3794,13 +3794,13 @@ 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 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 @@ -3837,7 +3837,7 @@ en allmenn oppfatning om at kopiretten var evigvarende. Men etter 1774 ble Public Domain født. For første gang i angloamerikansk historie var den lovlige beskyttelsen av et verk utgått, og de største verk i engelsk historie - inkludert Shakespeare, Bacon, Milton, Johnson og Bunyan - var -frie. +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 @@ -3846,7 +3846,7 @@ piratutgiverne hadde holdt til, ble avgj noen gang fått slik oppmerksomhet fra folket, og ingen sak som har blitt prøvet i Overhuset har interessert så mange enkeltmennesker.» «Stor glede i Edinburgh etter seieren over litterær eiendom: bål og -*illuminations*.»[110] +*illuminations*.»[110]

I London, ihvertfall blant utgiverne, var reaksjonen like sterk, men i motsatt retning. Morning Chronicle skrev: @@ -3856,7 +3856,7 @@ er blitt redusert til ingenting. Bokselgerne i London og Westminster, mange av dem har solgt hus og eiendom for å kjøpe kopirettigheter, er med ett ruinerte, og mange som gjennom mange år har opparbeidet kompetanse for å brødfø -familien, sitter nå uten en shilling til sine.[111] +familien, sitter nå uten en shilling til sine.[111]

@@ -3877,13 +3877,13 @@ beundret. Valg i en konkurrerende sammenheng

+

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 + 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 Julie, utga han en utrolig rekke liste av verk som ennå er @@ -3891,25 +3891,25 @@ 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): 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 + Som Siva Vaidhyanathan så pent argumenterer, er det feilaktige å kalle dette en «åndsverkslov». Se Vaidhyanathan, Copyrights and Copywrongs, 40. -

[101] +

[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 @@ -3919,44 +3919,44 @@ Vesting the Copies of Printed Books in the Authors or Purchasers of such Copies, during the Times therein mentioned (London, 1735), in Brief Amici Curiae of Tyler T. Ochoa et al., 8, Eldred v. Ashcroft, 537 U.S. 186 (2003) (No. 01-618). -

[103] +

[103] - Lyman Ray Patterson, «Free Speech, Copyright, and Fair + 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 en fascinerende fremstilling, se 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, + Lyman Ray Patterson, Copyright in Historical Perspective, 167 (der Borwell blir sitert). -

[108] +

[108] 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. @@ -3974,7 +3974,7 @@ 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 @@ -3989,14 +3989,14 @@ med The Simpson. For disse f beskyttet av opphavsretten, og for å bruke beskyttet materiale må man ha tillatelse fra eieren, dersom det ikke er «rimelig bruk» eller det foreligger spesielle avtaler. -

+

Else kontaktet Simpson-skaper Matt Groenings kontor for å få tillatelse. Og Groening gav ham det. Det var tross alt kun snakk om fire og et halvt sekund på et lite fjernsyn, bakerst i et hjørne av rommet. Hvordan kunne det skade? Groening var glad for å få ha det med i filmen, men han ba Else om å kontakte Gracie Films, firmaet som produserer programmet. -

+

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 @@ -4009,7 +4009,7 @@ Fox] trodde at han ikke eide sitt eget verk. 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.» -

+

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 @@ -4025,7 +4025,7 @@ om Wagners Ring Cycle. Som om det ikke var nok, forbl 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 hele tatt. 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 @@ -4051,7 +4051,7 @@ det) kreve hvor mye han vil; $10 eller $1 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. @@ -4075,7 +4075,7 @@ F «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. -

  • +

  • Jeg skulle nok aldri ha bedt om Matt Groenings tillatelse. Men jeg visste @@ -4115,7 +4115,7 @@ Dette eksempelet viser hvor langt denne loven har kommet fra sine syttenhundretalls røtter. Loven som skulle beskytte utgiverne mot urettferdig piratkonkurranse, hadde utviklet seg til et sverd som slo ned på _all_ bruk, transformativ* eller ikke. -


    [112] +


    [112] Ønsker du å lese en flott redegjørelse om hvordan dette er «fair @@ -4123,7 +4123,7 @@ use 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 åtte: Omformerne

    +

    • Kapittel åtte: Omformerne

    I 1993 var Alex Alben en jurist som arbeidet hos Starwave Inc. Starwave var et innovativt firma grunnlagt av Paul Allen, som også hadde vært med på å grunnlegge Microsoft.Starwaves mål @@ -4165,7 +4165,7 @@ Alben tok ideen videre til Michael Slade, leder for Starwave. Slade spurte Alben svarte, «Tja, vi må innhente tillatelse fra alle som opptrer i disse filmene, for musikken og for alt annet som er i disse filmklippene.» Slade svarte «Flott! Gjør -det.»[113] +det.»[113]

    Problemet var at verken Alben eller Slade forstod hva det innebar å innhente disse tillatelsene. Alle skuespillerne i hver av filmene kunne ha krav på @@ -4190,7 +4190,7 @@ tiden p identifisere, siden det ofte er vanskelig å vite hvem som er skuespilleren og hvem som er stuntmannen i Eastwoods filmer. Og deretter samlet vi oss en gjeng og begynte å ringe rundt. -

    +

    Noen skuespillere var glade for å kunne hjelpe — Donald Sutherland fulgte for eksempel opp saken personlig for å sørge for at alt var greit. Andre brydde seg mest om pengene. Alben kunne spørre «Hei, kan @@ -4219,12 +4219,12 @@ gikk vi systematisk igjennom det og fikk tak i rettighetene. Og produktet ble uten tvil særdeles godt. Eastwood elsket det og det solgte veldig godt. -

    +

    Men jeg spurte Alben om hvor merkelig det syntes at det skulle ta et helt år bare å få orden på rettigheter. Alben hadde gjort det hele svært effektivt, men som Peter Drucker så berømmelig har sagt «Det er ikke noe som er så ubrukelig å gjøre effektivt enn det som egentlig ikke gjøres i det hele -tatt.»[114] Var det noe fornuft i at +tatt.»[114] Var det noe fornuft i at det var slik et nye verk skulle skapes, spurte jeg Alben.

    For, som han innrømmet, «veldig få ... har tid og ressurser, og ikke @@ -4268,7 +4268,7 @@ rikeste investorene i verden. Derfor hadde han myndighet og ressurser som en gjennomsnittlig webdesigner ikke kunne drømme om. Så hvis det tok ham et år, hvor lang tid ville det ta noen andre? Og hvor mye kreativitet får aldri form på grunn av kostnadene rundt å kartlegge og skaffe rettigheter? -

    +

    Disse kostnadene er byrdene av en form for regulering. Vi kan prøve å ta på oss en republikanerhatt og bli sinte for et øyeblikk. Staten styrer disse rettighetenes dekningsområde, og dekningsområdet bestemmer hvor mye det vil @@ -4279,7 +4279,7 @@ Fracisco.) Disse rettighetene gav sikkert mening en gang, men n forholdene har endret seg, er meningen borte. Ihvertfall så burde en veltrenet, reguleringsfiendtlig republikaner se på rettighetene og spørre «Gir dette mening nå?» -

    +

    Jeg har sett glimt av gjenkjennelse på dette punktet, men bare noen få ganger. Første gang var på en konferanse for føderale dommere i @@ -4292,14 +4292,14 @@ 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?» -

    +

    Og selvsagt hadde ikke disse to briljante talentene gjort hva Alben hadde gjort. De hadde ikke ordnet alle rettighetene til klippene de brukte. Rent teknisk hadde de brutt loven. Men ingen kom til å straffeforfølge disse to @@ -4316,7 +4316,7 @@ dagens teknologi. Alle som lager presentasjoner vet hvilken eksepsjonell frihet internettets «klippe og lime»-arkitektur gir—på et sekund kan du finne akkurat det bildet du vil ha, og du kan få den inn i presentasjonen din. -

    +

    Men presentasjoner er bare en liten begynnelse. Ved hjelp av internett og dets arkiver, er musikere i stand til å sy sammen nye lydmikser som ingen @@ -4388,20 +4388,20 @@ bruk ordne med rettighetene du trenger, slik at du slipper å stole på rimelig bruk. I begge tilfeller er den kreative prosessen blitt en prosess med å betale jurister—igjen, et privilegium forbeholdt de få. -


    [113] +


    [113] Teknisk sett var rettighetene som Alben måtte klarere i hovedsak de om publisitet—rettigheten en artist har til å kontrollere den kommersielle utnyttelsen av sitt bilde. Men disse rettighetene belaster også «rip, miks, brenn»-kreativiteten slik dette kapittelet -demonstrerer. -

    [114] +demonstrerer. +

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

    Kapittel ni: Samlere

    +

    Kapittel ni: Samlere

    In April 1996, millions of «bots»—computer codes designed to «spider,» or automatically search the Internet and copy content—began running @@ -4410,7 +4410,7 @@ onto a small set of computers located in a basement in San Francisco's Presidio. Once the bots finished the whole of the Internet, they started again. Over and over again, once every two months, these bits of code took copies of the Internet and stored them. -

    +

    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 @@ -4434,13 +4434,13 @@ way for you to know whether the content you are reading is the same as the content you read before. The page may seem the same, but the content could easily be different. The Internet is Orwell's library—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 hometown newspaper to the race riots in Watts @@ -4475,7 +4475,7 @@ a series of projects designed to archive human knowledge. The Internet Archive was just the first of the projects of this Andrew Carnegie of the Internet. By December of 2002, the archive had over 10 billion pages, and it was growing at about a billion pages a month. -

    +

    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 @@ -4491,7 +4491,7 @@ very low fee. 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, -

    +

    Do you remember when Dan Quayle was interacting with Murphy Brown? Remember that back and forth surreal experience of a politician interacting with a @@ -4500,7 +4500,7 @@ study that, and you wanted to get those original back and forth exchanges between the two, the 60 Minutes episode that came out after it … it would be almost impossible. … Those materials are almost unfindable. … -

    +

    Why is that? Why is it that the part of our culture that is recorded in newspapers remains perpetually accessible, while the part that is recorded on videotape is not? How is it that we've created a world where researchers @@ -4513,7 +4513,7 @@ copyright owners were required to deposit copies of their work in libraries. These copies were intended both to facilitate the spread of knowledge and to assure that a copy of the work would be around once the copyright expired, so that others might access and copy the work. -

    +

    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 @@ -4521,7 +4521,7 @@ deposits—for an unlimited time at no cost. In 1915 alone, there were more than 5,475 films deposited and «borrowed back.» Thus, when the copyrights to films expire, there is no copy held by any library. The copy exists—if it exists at all—in the library archive of the -film company.[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, @@ -4532,7 +4532,7 @@ they make a copy of each broadcast for the work to be broadcasters. No library had any right to them; the government didn't demand them. The content of this part of American culture is practically invisible to anyone who would look. -

    +

    Kahle was eager to correct this. Before September 11, 2001, he and his allies had started capturing television. They selected twenty stations from @@ -4541,7 +4541,7 @@ working with dozens of others, selected twenty stations from around the world and, beginning October 11, 2001, made their coverage during the week of September 11 available free on-line. Anyone could see how news reports from around the world covered the events of that day. -

    +

    Kahle had the same idea with film. Working with Rick Prelinger, whose archive of film includes close to 45,000 «ephemeral films» (meaning films other than Hollywood movies, films that were never @@ -4585,9 +4585,9 @@ day to the doorsteps of America. The very next day, it is used to wrap fish or to fill boxes with fragile gifts or to build an archive of knowledge about our history. In this second life, the content can continue to inform even if that information is no longer sold. -

    +

    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 @@ -4623,7 +4623,7 @@ 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 @@ -4635,7 +4635,7 @@ different life, based on this, is … thrilling. It could be one of the things humankind would be most proud of. Up there with the Library of Alexandria, putting a man on the moon, and the invention of the printing press. -

    +

    Kahle is not the only librarian. The Internet Archive is not the only archive. But Kahle and the Internet Archive suggest what the future of @@ -4656,14 +4656,14 @@ these 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 + 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] +

    [116] Doug Herrick, «Toward a National Film Collection: Motion Pictures at @@ -4671,16 +4671,16 @@ the Library of Congress, 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 + 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 44 (2003): 593 n. 51. -

    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 @@ -4688,7 +4688,7 @@ famous picture of Johnson's swearing-in on Air Force One after the assassination of President Kennedy has Valenti in the background. In his almost forty years of running the MPAA, Valenti has established himself as perhaps the most prominent and effective lobbyist in Washington. -

    +

    The MPAA is the American branch of the international Motion Picture Association. It was formed in 1922 as a trade association whose goal was to defend American movies against increasing domestic criticism. The @@ -4728,7 +4728,7 @@ 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 @@ -4752,7 +4752,7 @@ tradition, at least in Washington.

    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, +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 @@ -4834,7 +4834,7 @@ try to understand why. Why did the framer property types that they were, reject the claim that creative property be 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 enabled. Once we see clearly how differently these rights have been @@ -4869,8 +4869,8 @@ 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 @@ -4879,7 +4879,7 @@ 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 @@ -4887,7 +4887,7 @@ property law that defines what must be bought if it is to be taken legally; it is norms that say what is appropriately sold. But given a set of norms, and a background of property and contract law, the market imposes a simultaneous constraint upon how an individual or group might behave. -

    +

    Finally, and for the moment, perhaps, most mysteriously, «architecture»—the physical world as one finds it—is a constraint on behavior. A fallen bridge might constrain your @@ -4916,7 +4916,7 @@ are other constraints (there may well be; my claim is not about comprehensiveness), these four are among the most significant, and any regulator (whether controlling or freeing) must consider how these four in particular interact. -

    +

    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 @@ -4932,7 +4932,7 @@ 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 @@ -4942,12 +4942,12 @@ 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 @@ -4955,7 +4955,7 @@ 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 @@ -4992,7 +4992,7 @@ 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 @@ -5013,14 +5013,14 @@ innovation. And I would be the last person to argue that the changing technology of the Internet has not had a profound effect on the content industry's way of doing business, or as John Seely Brown describes it, its «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 @@ -5031,7 +5031,7 @@ it may well be that this change has weakened the television advertising market. But does anyone believe we should regulate remotes to reinforce commercial television? (Maybe by limiting them to function only once a second, or to switch to only ten channels within an hour?) -

    +

    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 @@ -5039,7 +5039,7 @@ others. Its role is not to pick winners and protect them against loss. If the government did this generally, then we would never have any progress. As Microsoft chairman Bill Gates wrote in 1991, in a memo criticizing software patents, «established companies have an interest in excluding future -competitors.»[123] And relative to a +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 @@ -5075,7 +5075,7 @@ deal upon your values, we should first ask whether we understand the effect of the changes the content industry wants.

    Her kommer metaforen som vil forklare argumentet. -

    +

    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 @@ -5085,7 +5085,7 @@ increase farm production. No one doubts that killing disease-carrying pests or increasing crop production is a good thing. No one doubts that the work of Müller was important and valuable and probably saved lives, possibly millions. -

    +

    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 @@ -5098,11 +5098,11 @@ were originally attacked. Or more accurately, the problems DDT caused were worse than the problems it solved, at least when considering the other, more environmentally friendly ways to solve the problems that DDT was meant to solve. -

    +

    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 +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 @@ -5126,7 +5126,7 @@ 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 @@ -5190,13 +5190,13 @@ 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 uncertainty would make it hard for publishers to rely upon a public domain to reprint and distribute works. -

    +

    That uncertainty ended after Congress passed legislation granting copyrights. Because federal law overrides any contrary state law, federal protections for copyrighted works displaced any state law protections. Just @@ -5215,7 +5215,7 @@ 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 @@ -5227,11 +5227,11 @@ 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 @@ -5291,7 +5291,7 @@ dramatic. In 1973, more than 85 percent of copyright owners failed to renew their copyright. That meant that the average term of copyright in 1973 was just 32.2 years. Because of the elimination of the renewal requirement, the average term of copyright is now the maximum term. In thirty years, then, -the average term has tripled, from 32.2 years to 95 years.[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 law. The scope of American copyright has changed dramatically. Those @@ -5361,7 +5361,7 @@ 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.

    @@ -5412,16 +5412,16 @@ 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 @@ -5436,7 +5436,7 @@ originally granted. Whereas originally the law regulated only publishers, the change in copyright's scope means that the law today regulates publishers, users, and authors. It regulates them because all three are capable of making copies, -and the core of the regulation of copyright law is copies.[133] +and the core of the regulation of copyright law is copies.[133]

    @@ -5454,7 +5454,7 @@ 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. @@ -5481,7 +5481,7 @@ therefore regulated by copyright law. Indeed, this particular use stands at the core of this circle of possible uses of a copyrighted work. It is the paradigmatic use properly regulated by copyright regulation (see first diagram on next page). -

    +

    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». @@ -5503,9 +5503,9 @@ In real space, then, the possible uses of a book are divided into three sorts: (1) unregulated uses, (2) regulated uses, and (3) regulated uses that are nonetheless deemed «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 @@ -5525,7 +5525,7 @@ nothing to say about whether you read the book once, ten times, or every night before you went to bed. None of those instances of use—reading— could be regulated by copyright law because none of those uses produced a copy. -

    +

    But the same book as an e-book is effectively governed by a different set of rules. Now if the copyright owner says you may read the book only once or only once a month, then copyright law would aid the @@ -5568,7 +5568,7 @@ about whether I have a fair use right to read, because before the Internet, reading did not trigger the application of copyright law and hence the need for a fair use defense. The right to read was effectively protected before because reading was not regulated. -

    +

    This point about fair use is totally ignored, even by advocates for free culture. We have been cornered into arguing that our rights depend upon fair use—never even addressing the earlier question about the expansion in @@ -5582,7 +5582,7 @@ business of making 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 @@ -5620,7 +5620,7 @@ court was that the stores were allowed to sell the films and they were permitted to list the titles of the films they were selling, but they were not allowed to show clips of the films as a way of selling them without Disney's permission. -

    +

    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 @@ -5632,7 +5632,7 @@ Disney to centralize control over access to this content. Because each use of the Internet produces a copy, use on the Internet becomes subject to the copyright owner's control. The technology expands the scope of effective control, because the technology builds a copy into every transaction. -

    +

    No doubt, a potential is not yet an abuse, and so the potential for control @@ -5665,16 +5665,16 @@ 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 +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. @@ -5691,7 +5691,7 @@ 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 @@ -5722,13 +5722,13 @@ text to the clipboard.) I also have the permission to print ten pages from the book every ten days. Lastly, I have the permission to use the Read Aloud button to hear 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

    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".

    +

    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.

    @@ -5740,7 +5740,7 @@ Now, the Adobe eBook Reader calls these controls control how you use these works. For works under copyright, the copyright owner certainly does have the power—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 @@ -5760,7 +5760,7 @@ same with the silly restriction that says that you can't use the Read Aloud button to read my book aloud—it's not that the company will sue you if you do; instead, if you push the Read Aloud button with my book, the machine simply won't read aloud. -

    +

    These are controls, not permissions. Imagine a world @@ -5813,13 +5813,13 @@ disable the technological protection built into an Adobe eBook so that a blind person, say, could use a computer to read the book aloud, would Adobe agree that such a use of an eBook Reader was fair? Adobe didn't answer because the answer, however absurd it might seem, is no. -

    +

    The point is not to blame Adobe. Indeed, Adobe is among the most innovative companies developing strategies to balance open access to content with incentives for companies to innovate. But Adobe's technology enables control, and Adobe has an incentive to defend this control. That incentive is understandable, yet what it creates is often crazy. -

    +

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

    @@ -5841,7 +5841,7 @@ differently. So to say that aibopet.com was giving information about how to teach the dog to do new tricks is just to say that aibopet.com was giving information to users of the Aibo pet about how to hack their computer «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 connotation. Nonprogrammers hack bushes or weeds. Nonprogrammers in horror @@ -5865,7 +5865,7 @@ 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 @@ -5877,7 +5877,7 @@ be a crime (though we don't have a lot to go on here) to teach your robot dog to dance jazz. Dancing jazz is a completely legal activity. One imagines that the owner of aibopet.com thought, What possible problem could there be with teaching a robot dog to dance? -

    +

    Let's put the dog to sleep for a minute, and turn to a pony show— not literally a pony show, but rather a paper that a Princeton academic named Ed Felten prepared for a conference. This Princeton academic is well known and @@ -5888,7 +5888,7 @@ 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. @@ -5933,7 +5933,7 @@ 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: @@ -5969,7 +5969,7 @@ 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 @@ -5987,7 +5987,7 @@ system could be circumvented, the RIAA lawyer suggested, Felten himself was distributing a circumvention technology. Thus, even though he was not himself infringing anyone's copyright, his academic paper was enabling others to infringe others' copyright. -

    +

    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 @@ -5995,7 +5995,7 @@ consumers to copy films without the permission of the copyright owner. No doubt there were uses of the technology that were legal: Fred Rogers, aka «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 @@ -6010,7 +6010,7 @@ whole approach in broadcasting has always been 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]

    @@ -6019,7 +6019,7 @@ 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.

    @@ -6035,14 +6035,14 @@ A handgun can be used to shoot a police officer or a child. Most would agree such a use is bad. Or a handgun can be used for target practice or to protect against an intruder. At least some would say that such a use would be good. It, too, is a technology that has both good and bad uses. -

    Figur 10.18. VCR/handgun cartoon.

    VCR/handgun cartoon.

    +

    Figur 10.18. VCR/handgun cartoon.

    VCR/handgun cartoon.

    The obvious point of Conrad's cartoon is the weirdness of a world where guns are legal, despite the harm they can do, while VCRs (and circumvention technologies) are illegal. Flash: 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. -

    +

    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 @@ -6076,14 +6076,14 @@ 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 with by the copyright police. You were free in that space to do as you wished with this part of our culture. You were allowed to build on it as you wished without fear of legal control. -

    +

    But if you moved your club onto the Internet, and made it generally available for others to join, the story would be very different. Bots scouring the Net for trademark and copyright infringement would quickly find @@ -6131,15 +6131,15 @@ most expect that within a few years, we will live in a world where just three companies control more than percent of the media.

    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 +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 @@ -6150,7 +6150,7 @@ radio owners dropped by 34 percent. Today, in most markets, the two largest broadcasters control 74 percent of that market's revenues. Overall, just four companies control 90 percent of the nation's radio advertising revenues. -

    +

    Newspaper ownership is becoming more concentrated as well. Today, there are six hundred fewer daily newspapers in the United States than there were eighty years ago, and ten companies control half of the nation's @@ -6163,7 +6163,7 @@ 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 @@ -6173,7 +6173,7 @@ 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 @@ -6193,7 +6193,7 @@ 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 @@ -6204,7 +6204,7 @@ 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]

    @@ -6224,18 +6224,18 @@ new series were produced for a network by a company it controlled. Last year, the percentage of shows produced by controlled companies more than quintupled to 77 percent.» «In 1992, 16 new series were produced independently of conglomerate control, last year there was -one.»[147] In 2002, 75 percent of +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 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,

    @@ -6244,7 +6244,7 @@ channel and then distribute worldwide everything that goes through their controlled distribution system, then what you get is fewer and fewer actual voices participating in the process. [We u]sed to have dozens and dozens of thriving independent production companies producing television programs. Now -you have less than a handful.[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 @@ -6255,16 +6255,16 @@ 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 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 @@ -6328,7 +6328,7 @@ This selectivity might be thought inconsistent with the First Amendment, but the Supreme Court has held that stations have the right to choose what they run. Thus, the major channels of commercial media will refuse one side of a crucial debate the opportunity to present its case. And the courts will -defend the rights of the stations to be this biased.[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 @@ -6338,7 +6338,7 @@ positions it will allow to be promoted on its channels, then in an obvious and important way, concentration matters. You might like the positions the handful of companies selects. But you should not like a world in which a mere few get to decide which issues the rest of us get to know about. -

    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 the abstract, it is obviously true and, ordinarily, totally harmless. No @@ -6401,7 +6401,7 @@ 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. @@ -6463,7 +6463,7 @@ The issue is therefore not simply whether copyright is property. Of course copyright is a kind of «property,» and of course, as with any property, the state ought to protect it. But first impressions notwithstanding, historically, this property right (as with all property -rights[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 @@ -6471,7 +6471,7 @@ tradition, the 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 @@ -6498,7 +6498,7 @@ 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, @@ -6506,7 +6506,7 @@ H.R. 4808, H.R. 5250, H.R. 5488, and H.R. 5705 Before the Subcommittee on Courts, Civil Liberties, and the Administration of Justice of the Committee on the Judiciary of the House of Representatives, 97th Cong., 2nd sess. (1982): 65 (testimony of Jack Valenti). -

    [119] +

    [119] Lawyers speak of «property» not as an absolute thing, but as a @@ -6517,7 +6517,7 @@ best effort to connect the ordinary meaning of «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 @@ -6528,7 +6528,7 @@ more timidly expressed. See Lawrence Lessig, Code: And Ot Laws of Cyberspace (New York: Basic Books, 1999): 90–95; 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 object because their focus when considering the constraints that exist at @@ -6556,9 +6556,9 @@ 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 @@ -6567,26 +6567,26 @@ analysis of Kodak's place in the market, see Chana R. Schoenberger, «Can Kodak Make Up for Lost Moments?» Forbes.com, 6 October 2003, available at 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 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 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] +(emphasis added). +

    [126] Although 13,000 titles were published in the United States from 1790 to @@ -6602,7 +6602,7 @@ overwhelming majority of works fell immediately into the public domain. Even those works that were copyrighted fell into the public domain quickly, because the term of copyright was short. The initial term of copyright was fourteen years, with the option of renewal for an additional fourteen -years. Copyright Act of May 31, 1790, §1, 1 stat. 124.

    [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 @@ -6613,17 +6613,17 @@ 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,» 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] +

    [130] See Thomas Bender and David Sampliner, «Poets, Pirates, and the @@ -6632,19 +6632,19 @@ 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] +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] +(2002): 1–60 (see especially pp. 53–59). +

    [133] This is a simplification of the law, but not much of one. The law certainly @@ -6656,14 +6656,14 @@ doesn't make a copy; 17 United States Code, section 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 @@ -6671,16 +6671,16 @@ different, but rather that its present instantiation entails a copy. Optical networks need not make copies of content they transmit, and a digital network could be designed to delete anything it copies so that the same number of copies remain. -

    [136] +

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

    [137] +

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

    [138] +

    [138] In principle, a contract might impose a requirement on me. I might, for @@ -6689,7 +6689,7 @@ it only three times, or that I promise to read it three times. But that obligation (and the limits for creating that obligation) would come from the contract, not from copyright law, and the obligations of contract would not necessarily pass to anyone who subsequently acquired the book. -

    [139] +

    [139] See Pamela Samuelson, «Anticircumvention Rules: Threat to Science,» Science 293 (2001): 2028; Brendan @@ -6702,42 +6702,42 @@ Concerns, «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 + 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] +270–71. +

    [141] 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] +

    [144] 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] +Monthly (September 2003): 89. +

    [146] Leonard Hill, «The Axis of Access,» remarks before Weidenbaum @@ -6745,7 +6745,7 @@ Center Forum, 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 @@ -6754,18 +6754,18 @@ 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 Bill Moyers, Bill Moyers, 25 April 2003, redigert avskrift tilgjengelig fra link #31. -

    [150] +

    [150] Clayton M. Christensen, The Innovator's Dilemma: The @@ -6778,7 +6778,7 @@ 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 @@ -6803,26 +6803,26 @@ networks. In a recent example from San Francisco, the San Francisco transit authority rejected an ad that criticized its Muni diesel buses. Phillip Matier and Andrew Ross, «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] +the criticism was «too controversial.» + +

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

    [153] +

    [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 Pennock and John W. Chapman, eds. (New York: New York University Press, -1980). +1980).

    Del III. Nøtter

    Kapittel elleve: Fantasifoster

    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 +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 @@ -6883,7 +6883,7 @@ DNA. The DNA in the blood, for example, might be different from the DNA of the skin. This possibility is an underused plot for murder mysteries. «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 @@ -6918,7 +6918,7 @@ into a Tower Records and taking a CD off the shelf and walking out with it,» that's true, at least in part. If, after Lyle Lovett (finally) releases a new album, rather than buying it, I go to Kazaa and find a free copy to take, that is very much like stealing a copy from Tower. - +

    @@ -6943,9 +6943,9 @@ 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 @@ -6997,25 +6997,25 @@ turn will directly influence the options that are available to consumers, both in terms of the ease with which they will be able to access digital media and the equipment that they will require to do so. Poor choices made this early in the game will retard the growth of this market, hurting -everyone's interests.[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. +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 and Other Stories, Michael Sherborne, ed. (New York: Oxford University Press, 1996). -

    [155] +

    [155] - For an excellent summary, see the + For an excellent summary, see the report prepared by GartnerG2 and the Berkman Center for Internet and Society at Harvard Law School, «Copyright and Digital Media in a Post-Napster World,» 27 June 2003, available at link #33. Reps. John Conyers @@ -7042,8 +7042,8 @@ 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] +#36. +

    [156] WIPO and the DMCA One Year Later: Assessing Consumer Access to Digital @@ -7068,12 +7068,12 @@ In my view, it is not. There is no good reason why this time, for the first time, the law should defend the old against the new, just when the power of the property called «intellectual property» is at its greatest in our history. -

    +

    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. -

    +

    There will be many consequences of continuing this war. I want to describe @@ -7121,7 +7121,7 @@ politicians or businesses; sites that gather newspaper articles on remote topics of science or culture. There is a vast amount of creative work spread across the Internet. But as the law is currently crafted, this work is presumptively illegal. -

    +

    That presumption will increasingly chill creativity, as the examples of extreme penalties for vague infringements continue to proliferate. It is impossible to get a clear sense of what's allowed and what's not, and at the @@ -7131,14 +7131,14 @@ 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? -

    +

    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 @@ -7151,10 +7151,10 @@ 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 +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 the increasing ease with which infractions can be tracked. As users of @@ -7163,7 +7163,7 @@ copyright owners to get courts to order Internet service providers to reveal who has what content. It is as if your cassette tape player transmitted a list of the songs that you played in the privacy of your own home that anyone could tune into for whatever reason they chose. -

    +

    Never in our history has a painter had to worry about whether his painting infringed on someone else's work; but the modern-day painter, using the tools of Photoshop, sharing content on the Web, must worry all the @@ -7236,7 +7236,7 @@ pages into a book like this), then you can see this other aspect by substituting «free market» every place I've spoken of «free culture.» The point is the same, even if the interests affecting culture are more fundamental. -

    +

    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 @@ -7247,7 +7247,7 @@ just because some regulation is good, it doesn't follow that more regulation is better. And both perspectives are constantly attuned to the ways in which regulation simply enables the powerful industries of today to protect themselves against the competitors of tomorrow. -

    +

    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 @@ -7262,14 +7262,14 @@ 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 create content. Unlike the major labels, MP3.com offered creators a venue to distribute their creativity, without demanding an exclusive engagement from the creators. -

    +

    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 @@ -7292,7 +7292,7 @@ opportunity existed with or without MP3.com. The aim of the my.mp3.com service was to give users access to their own content, and as a by-product, by seeing the content they already owned, to discover the kind of content the users liked. -

    +

    To make this system function, however, MP3.com needed to copy 50,000 CDs to a server. (In principle, it could have been the user who uploaded the music, but that would have taken a great deal of time, and would have produced a @@ -7329,11 +7329,11 @@ 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 @@ -7344,13 +7344,13 @@ buys you not only a company, it also buys you a lawsuit. So extreme has the environment become that even car manufacturers are afraid of technologies that touch content. In an article in Business 2.0, 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 @@ -7373,7 +7373,7 @@ only have fewer parking tickets, we'd also have much less driving. The same principle applies to innovation. If innovation is constantly checked by this uncertain and unlimited liability, we will have much less vibrant innovation and much less creativity. -

    +

    The point is directly parallel to the crunchy-lefty point about fair use. Whatever the «real» law is, realism about the effect of law in both contexts is the same. This wildly punitive system of regulation @@ -7414,17 +7414,17 @@ distributors have a harder time controlling the distribution of content. One obvious response to this efficiency is thus to make the Internet less efficient. If the Internet enables «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 +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 @@ -7432,10 +7432,10 @@ not regulate the code to remove the problem. But any regulation of technical infrastructure will always be tuned to the particular technology of the day. It will impose significant burdens and costs on the technology, but will likely be eclipsed by advances around exactly those requirements. -

    +

    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.

    @@ -7447,10 +7447,10 @@ Copyright may be property, but like all property, it is also a form of regulation. It is a regulation that benefits some and harms others. When done right, it benefits creators and harms leeches. When done wrong, it is regulation the powerful use to defeat competitors. -

    +

    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 @@ -7462,12 +7462,12 @@ new technology and the legitimate rights of content creators, both the courts and Congress have imposed legal restrictions that will have the effect of smothering the new to benefit the old.

    -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. -

    +

    @@ -7506,7 +7506,7 @@ 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. -

    +

    @@ -7528,11 +7528,11 @@ 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 @@ -7556,9 +7556,9 @@ 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 @@ -7626,7 +7626,7 @@ 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, @@ -7641,12 +7641,12 @@ up with a rate that's so much higher? Why is it worth more than radio? Because here we have hundreds of thousands of webcasters who want to pay, and that should establish the market rate, and if you set the rate so high, you're going to drive the small webcasters out of business. …» -

    +

    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.) -

    +

    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 @@ -7666,7 +7666,7 @@ 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 @@ -7685,14 +7685,14 @@ money he had in the world ($12,000) to make the suit go away. The same strategy animates the RIAA's suits against individual users. In September 2003, the RIAA sued 261 individuals—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 awful system for defending rights. It is an embarrassment to our tradition. And the consequence of our law as it is, is that those with the power can use the law to quash any rights they oppose. -

    +

    Wars of prohibition are nothing new in America. This one is just something more extreme than anything we've seen before. We experimented with alcohol prohibition, at a time when the per capita consumption of alcohol was 1.5 @@ -7700,16 +7700,16 @@ gallons per capita per year. The war against drinking initially reduced that consumption to just 30 percent of its preprohibition levels, but by the end of prohibition, consumption was up to 70 percent of the preprohibition level. Americans were drinking just about as much, but now, a vast number -were criminals.[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 +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. -

    +

    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 @@ -7783,7 +7783,7 @@ copy-protection technologies, I am 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 @@ -7812,7 +7812,7 @@ protection technologies would effectively destroy the archiving use of CDs. The technology, in other words, would force us all back to the world where we either listened to music by manipulating pieces of plastic or were part of a massively complex «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 the freedom to move content would be justifiable. But what if there were @@ -7848,7 +7848,7 @@ It is understandable why they choose as they do. It is not understandable why we as a democracy continue to choose as we do. Jack Valenti is charming; but not so charming as to justify giving up a tradition as deep and important as our tradition of free culture. -

    +

    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 @@ -7856,7 +7856,7 @@ attorney Fred von Lohmann describes, this is the 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,

    @@ -7888,12 +7888,12 @@ copyrighted music from file-sharing systems. But as we've seen, the potential damages from these suits are astronomical: If a family's computer is used to download a single CD's worth of music, the family could be liable for $2 million in damages. That didn't stop the RIAA from suing a number of -these families, just as they had sued Jesse Jordan.[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.» @@ -7907,9 +7907,9 @@ if the college network is 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 +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 lawyer for her (at $300 per hour, if you're lucky), and she can plead that @@ -7944,15 +7944,15 @@ same objective— securing rights to authors—without these millions being considered «criminals,» who is the villain? Americans or the law? Which is American, a constant war on our own people or a concerted effort through our democracy to change our law? -


    [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), 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 @@ -7961,8 +7961,8 @@ Back,' Say Tort Reformers, «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] @@ -7970,7 +7970,7 @@ Se Danit Lidor, 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,» @@ -7980,32 +7980,32 @@ Janelle Brown, Salon.com, 1 June 2001, available at link #42. See also Jon Healey, «Online Music Services Besieged,» Los Angeles Times, 28 May 2001. -

    [161] +

    [161] 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,» 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,» 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 + The only circuit court exception is found in Recording Industry Association of America (RIAA) v. Diamond Multimedia Systems, 180 F. 3d 1072 (9th Cir. 1999). There the court of appeals for the Ninth Circuit @@ -8019,9 +8019,9 @@ 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] +

    [167] - For example, in July 2002, + 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 @@ -8033,17 +8033,17 @@ content. And in March of the same year, Senator Fritz Hollings introduced the Consumer Broadband and Digital Television Promotion Act, which mandated copyright protection technology in all digital media devices. See GartnerG2, «Copyright and Digital Media in a Post-Napster World,» 27 June -2003, 33–34, available at link #44. - -

    [168] +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 @@ -8059,39 +8059,39 @@ these are just old-fashioned entry barriers. Analog radio stations are protected from digital entrants, reducing entry in radio and diversity. Yes, this is done in the name of getting royalties to copyright holders, but, absent the play of powerful interests, that could have been done in a -media-neutral way.» - -

    [171] +media-neutral way.» + +

    [171] 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, Business. -

    [173] +

    [173] 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 (1998): 818 (survey of compliance literature). -

    [176] +

    [176] See Frank Ahrens, «RIAA's Lawsuits Meet Surprised Targets; Single @@ -8106,12 +8106,12 @@ September 2003, 4D; John Schwartz, 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] +

    [178] See Jeff Adler, «Cambridge: On Campus, Pirates Are Not @@ -8187,7 +8187,7 @@ It didn't work—at least for his daughters. They didn't find Hawthorne any more interesting than before. But Eldred's experiment gave birth to a hobby, and his hobby begat a cause: Eldred would build a library of public domain works by scanning these works and making them available for free. -

    +

    Eldred's library was not simply a copy of certain public domain works, though even a copy would have been of great value to people across the world @@ -8208,7 +8208,7 @@ 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 @@ -8217,7 +8217,7 @@ for the taking. This has produced what we might call the «noncommercial publishing industry,» which before the Internet was limited to people with large egos or with political or social causes. But with the Internet, it includes a wide range of individuals and -groups dedicated to spreading culture generally.[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 @@ -8229,13 +8229,13 @@ any works more recent than 1923 to his collection until 2019. Indeed, no copyrighted work would pass into the public domain until that year (and not even then, if Congress extends the term again). By contrast, in the same period, more than 1 million patents will pass into the public domain. -

    +

    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] +forever.»[180]

    Eldred decided to fight this law. He first resolved to fight it through @@ -8264,7 +8264,7 @@ something quite specific—to 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 @@ -8361,10 +8361,10 @@ In the lobbying that led to the passage of the Sonny Bono Copyright Term Extension Act, this «theory» about incentives was proved real. Ten of the thirteen original sponsors of the act in the House received the maximum contribution from Disney's political action committee; in the -Senate, eight of the twelve sponsors received contributions.[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 @@ -8397,7 +8397,7 @@ 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 @@ -8410,15 +8410,15 @@ 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 +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 @@ -8438,7 +8438,7 @@ in such an interpretation of the Constitution. The idea that the Supreme Court decides cases based upon its politics struck me as extraordinarily boring. I was not going to devote my life to teaching constitutional law if these nine Justices were going to be petty politicians. -

    +

    Now let's pause for a moment to make sure we understand what the argument in Eldred was not about. By insisting on the Constitution's limits to copyright, obviously @@ -8454,10 +8454,10 @@ power—expressed through the power of lobbyists' money—to get another twenty-year dollop of monopoly. That twenty-year dollop would be taken from the public domain. Eric Eldred was fighting a piracy that affects us all. -

    +

    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. @@ -8485,7 +8485,7 @@ 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]

    @@ -8495,7 +8495,7 @@ 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 @@ -8551,7 +8551,7 @@ 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 @@ -8561,7 +8561,7 @@ after 1923 would have begun entering the public domain. Because Agee controls the exclusive rights for these popular films, he makes a great deal of money. According to one estimate, «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 @@ -8580,7 +8580,7 @@ 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. @@ -8612,7 +8612,7 @@ 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 @@ -8714,7 +8714,7 @@ 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 @@ -8722,7 +8722,7 @@ doing the job, then we should allow nonmarket forces the freedom to fill the gaps. As one researcher calculated for American culture, 94 percent of the films, books, and music produced between and 1946 is not commercially available. However much you love the commercial market, if access is a -value, then 6 percent is a failure to provide that value.[191] +value, then 6 percent is a failure to provide that value.[191]

    In January 1999, we filed a lawsuit on @@ -8753,7 +8753,7 @@ We asked the Court of Appeals for the D.C. Circuit as a whole to hear the case. Cases are ordinarily heard in panels of three, except for important cases or cases that raise issues specific to the circuit as a whole, where the court will sit «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 @@ -8784,7 +8784,7 @@ 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 @@ -8793,7 +8793,7 @@ flyttet til, Jones, Day, Reavis og Pogue. Jones Day mottok mye press fra sine opphavsrettsbeskyttende klienter på grunn av sin støtte til oss. De ignorert dette presset (noe veldig få advokatfirmaer noen sinne ville gjøre), og ga alt de hadde gjennom hele saken. -

    +

    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 @@ -8842,7 +8842,7 @@ views. To show that this claim against the CTEA was grounded in widest range of credible critics—credible not because they were rich and famous, but because they, in the aggregate, demonstrated that this law was unconstitutional regardless of one's politics. -

    +

    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, @@ -8861,7 +8861,7 @@ our position. Their brief made the argument that became the core claim in the Supreme Court: If Congress can extend the term of existing copyrights, there is no limit to Congress's power to set terms. That strong conservative argument persuaded a strong conservative judge, Judge Sentelle. -

    +

    In the Supreme Court, the briefs on our side were about as diverse as it gets. They included an extraordinary historical brief by the Free Software @@ -8871,17 +8871,17 @@ were two law professors' briefs, one by copyright scholars and one by First Amendment scholars. There was an exhaustive and uncontroverted brief by the world's experts in the history of the Progress Clause. And of course, there was a new brief by Eagle Forum, repeating and strengthening its arguments. -

    +

    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. -

    +

    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 @@ -8891,7 +8891,7 @@ terms of existing copyrights would do anything to increase incentives to create. Such extensions were nothing more than «rent-seeking»—the fancy term economists use to describe special-interest legislation gone wild. -

    +

    The same effort at balance was reflected in the legal team we gathered to write our briefs in the case. The Jones Day lawyers had been with us from @@ -8902,7 +8902,7 @@ 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 companies the special favor of extended copyright terms. Fried was the only @@ -8925,17 +8925,17 @@ their power and, indirectly, the gravy train of contributions such power induced. And of course it was not surprising that the copyright holders would defend the idea that they should continue to have the right to control who did what with content they wanted to control. -

    +

    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, +«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.

    @@ -8959,7 +8959,7 @@ 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 @@ -8968,7 +8968,7 @@ 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 @@ -8987,13 +8987,13 @@ well-known intellectual property scholar) were cut from the same intellectual property cloth. We expected she would agree with the writings of her daughter: that Congress had the power in this context to do as it wished, even if what Congress wished made little sense. -

    +

    Close behind Justice Ginsburg were two justices whom we also viewed as unlikely allies, though possible surprises. Justice Souter strongly favored deference to Congress, as did Justice Breyer. But both were also very sensitive to free speech concerns. And as we strongly believed, there was a very important free speech argument against these retrospective extensions. -

    +

    The only vote we could be confident about was that of Justice Stevens. History will record Justice Stevens as one of the greatest judges on this Court. His votes are consistently eclectic, which just means that no @@ -9055,7 +9055,7 @@ power to set terms. Going with the government would mean that terms would be effectively unlimited; going with us would give Congress a clear line to follow: Don't extend existing terms. The moots were an effective practice; I found ways to take every question back to this central idea. -

    +

    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 @@ -9066,7 +9066,7 @@ willing to upset this practice that the government says has been a consistent practice for two hundred years. You have to make them see the harm—passionately get them to see the harm. For if they don't see 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 thing—not because of politics but because it was right. As a law @@ -9099,7 +9099,7 @@ 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.

    @@ -9134,7 +9134,7 @@ 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 @@ -9158,7 +9158,7 @@ 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, @@ -9218,7 +9218,7 @@ principle in this case from the principle in Lopez. The argument was nowhere to be found. The case was not even cited. The argument that was the core argument of our case did not even appear in the Court's opinion. -

    +

    @@ -9249,7 +9249,7 @@ 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 @@ -9259,7 +9259,7 @@ 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 @@ -9282,7 +9282,7 @@ 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 been one thing for them to have explained why the principle of Lopez didn't apply in this case. That wouldn't have @@ -9311,7 +9311,7 @@ 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 @@ -9337,7 +9337,7 @@ stood before hundreds of audiences trying to persuade; I have used passion in that effort to persuade; but I refused to stand before this audience and try to persuade with the passion I had used elsewhere. It was not the basis on which a court should decide the issue. -

    +

    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? @@ -9352,7 +9352,7 @@ anything except the right thing. They are not lobbied. They have little reason to resist doing right. I can't help but think that if I had stepped down from this pretty picture of dispassionate justice, I could have persuaded. -

    +

    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 @@ -9388,8 +9388,8 @@ 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

    +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 @@ -9398,9 +9398,9 @@ Constitution. 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 + There's a parallel here with pornography that is a bit hard to describe, but it's a strong one. One phenomenon that the Internet created was a world of noncommercial pornographers—people who were distributing porn but were not making @@ -9413,41 +9413,41 @@ 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] +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 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», 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] +

    [183] 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 @@ -9459,19 +9459,19 @@ the context of the Copyright Clause. Here, too, the government's interpretation would allow the government unending power to regulate copyrights—the limitation to «limited times» notwithstanding. -

    [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 @@ -9479,7 +9479,7 @@ Law, 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 @@ -9488,17 +9488,17 @@ 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», 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 @@ -9513,7 +9513,7 @@ it that I was giving a speech to technologists at Disney World.) This was a particularly long flight to my least favorite city. The drive into the city from Dulles was delayed because of traffic, so I opened up my computer and wrote an op-ed piece. -

    +

    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 @@ -9541,7 +9541,7 @@ and obvious: Remove copyright where it is doing nothing except blocking access and the spread of knowledge. Leave it for as long as Congress allows for those works where its worth is at least $1. But for everything else, let the content go. -

    +

    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 @@ -9560,11 +9560,11 @@ marking content is not required, since no formality at all is required, it is often impossibly hard to locate copyright owners to ask permission to use or license their work. This system would lower these costs, by establishing at least one registry where copyright owners could be identified. -

    +

    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 +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 @@ -9577,7 +9577,7 @@ copyright policy. It is absurd especially for authors, because a world without formalities harms the creator. The ability to spread «Walt Disney creativity» is destroyed when there is no simple way to know what's protected and what's not. -

    +

    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 @@ -9639,7 +9639,7 @@ owner. And like a car, there's no way to buy and sell creative property with confidence unless there is some simple way to authenticate who is the author and what rights he has. Simple transactions are destroyed in a world without formalities. Complex, expensive, 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 @@ -9689,13 +9689,13 @@ fifty years after a work was published. Based upon historical data, that system would move up to 98 percent of commercial work, commercial work that no longer had a commercial life, into the public domain within fifty years. What do you think? -

    +

    Da Steve Forbes støttet idéen, begynte enkelte i Washington å følge med. Mange kontaktet meg med tips til representanter som kan være villig til å introdusere en Eldred-lov. og jeg hadde noen få som foreslo direkte at de kan være villige til å ta det første skrittet. -

    +

    En representant, Zoe Lofgren fra California, gikk så langt som å få lovforslaget utarbeidet. Utkastet løste noen problemer med internasjonal lov. Det påla de enklest mulige forutsetninger på innehaverne av @@ -9764,7 +9764,7 @@ Mickey Mouses of the world, it is possible still to understand why the law favors Hollywood: Most people don't recognize the reasons for limiting copyright terms; it is thus still possible to see good faith within the resistance. -

    +

    But when the copyright owners oppose a proposal such as the Eldred Act, then, finally, there is an example that lays bare the naked selfinterest driving this war. This act would free an extraordinary range of content that @@ -9798,7 +9798,7 @@ 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 @@ -9812,9 +9812,9 @@ the Internet. The consequence will be an increasing 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 + 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 @@ -9831,7 +9831,7 @@ 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.

    Konklusjon

    +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 @@ -9851,8 +9851,8 @@ 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] +

    Disse prisene er ikke høye fordi ingrediensene til medisinene er dyre. @@ -9877,19 +9877,19 @@ annen ting afrikanske ledere begynte å erkjenne ødeleggelsen AIDS brakte, begynte de å se etter måter å importere HIV-medisiner til kostnader betydelig under markedspris. -

    +

    I 1997 forsøkte Sør-Afrika seg på en tilnærming. Landet vedtok en lov som tillot import av patenterte medisiner som hadde blitt produsert og solgt i en annen nasjons marked med godkjenning fra patenteieren. For eksempel, hvis medisinen var solgt i India, så kunne den bli importert inn til Afrika fra India. Dette kalles «parallellimport» og er generelt tillatt i internasjonal handelslovgivning, og spesifikt tillatt i den -europeiske union.[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 +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 @@ -9900,8 +9900,8 @@ 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 til medisiner. Fattigdom og den totale mangel på effektivt helsevesen betyr @@ -9927,12 +9927,12 @@ 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 +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 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 @@ -9941,7 +9941,7 @@ fordel var 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? -

    +

    Noen skylder på farmasiselskapene. Det gjør ikke jeg. De er selskaper, og deres ledere er lovpålagt å tjene penger for selskapene. De presser på for en bestemt patentpolitikk, ikke på grunn av idealer, men fordi det er dette @@ -9955,7 +9955,7 @@ medisinprodusentene ville elske—sier de selv, og jeg tror dem — steder. Det er utfordringer de må løse å sikre at medisinene ikke kommer tilbake til USA, men dette er bare teknologiske utfordring. De kan bli overvunnet. -

    +

    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 @@ -9970,7 +9970,7 @@ 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». -

    +

    Så når du konfronteres av ditt barns sunne fornuft, hva vil du si? Når den sunne fornuften hos en generasjon endelig gjør opprør mot hva vi har gjort, hvordan vil vi rettferdiggjøre det? Hva er argumentet? @@ -9985,14 +9985,14 @@ medisiner til et land som uansett ikke er rikt nok til markedsprisen. En fornuftig politikk kan en dermed si kunne være en balansert politikk. For det meste av vår historie har både opphavsrett- og patentpolitikken i denne forstand vært balansert. -

    +

    Men vi som kultur har mistet denne følelsen for balanse. Vi har mistet det kritiske blikket som hjelper oss til å se forskjellen mellom sannhet og ekstremisme. En slags eiendomsfundamentalisme, uten grunnlag i vår tradisjon, hersker nå i vår kultur—sært, og med konsekvenser mer alvorlig for spredningen av idéer og kultur enn nesten enhver annen politisk enkeltavgjørelse vi som demokrati kan fatte. -

    +

    En enkel idé blender oss, og under dekke av mørket skjer mye som de fleste av oss ville avvist hvis vi hadde fulgt @@ -10017,10 +10017,11 @@ 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. -

    +

    + 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 +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 @@ -10037,16 +10038,16 @@ 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». -

    +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 balansert med avtaler om å holde tilgang åpen, eller for å legge 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 @@ -10077,7 +10078,7 @@ S 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. -

    +

    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 @@ -10088,7 +10089,7 @@ Microsofts programvare. Og internasjonalt har mange myndigheter begynt utforske krav om at de skal bruke åpen kildekode eller fri programvare, i 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 det klart at skillet ikke er mellom kommersiell og ikke-kommersiell programvare. Det er mange viktige selskaper som er fundamentalt avhengig av @@ -10097,8 +10098,8 @@ grad skiftet sitt fokus til GNU/Linux-operativsystemet, det mest ber 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 @@ -10115,14 +10116,14 @@ opphavsrett r programvare, så kunne ikke fri programvare pålegge slike krav på de som tar i bruk programvaren. Den er dermed like avhengig av åndsverksloven som Microsoft. -

    +

    Det er dermed forståelig at Microsoft, som utviklere av proprietær programvare, gikk imot et slikt WIPO-møte, og like fullt forståelig at de bruker sine lobbyister til å få USAs myndigheter til å gå imot møtet. Og ganske riktig, det er akkurat dette som i følge rapporter hadde skjedd. I følge Jonathan Krim i 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 +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 @@ -10130,7 +10131,7 @@ interesser i samsvar med loven. Og lobbyvirksomhet mot myndighetene er åpenbart i samsvar med loven. Det er ikke noe overraskende her med deres lobbyvirksomhet, og ikke veldig overraskende at den mektigste programvareprodusenten i USA har lyktes med sin lobbyvirksomhet. -

    +

    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 @@ -10139,9 +10140,9 @@ internasjonale forbindelser ved USAs patent og varemerkekontor, at 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.» -

    +

    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 @@ -10150,7 +10151,7 @@ at de 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 kjeft om på den forberedende konferansen til WSIS, skal WIPO vurdere ikke @@ -10162,7 +10163,7 @@ balansen. Men at det skulle v medisiner med patenter som er utløpt) i strid med WIPOs oppdrag? Svekker allemannseie immaterielle rettigheter? Ville det vært bedre om internettets protokoller hadde vært patentert? -

    +

    For det tredje, selv om en tror at formålet med WIPO var å maksimere immaterielle rettigheter, så innehas immaterielle rettigheter, i vår tradisjon, av individer og selskaper. De får bestemme hva som skal gjøres @@ -10183,7 +10184,7 @@ stoppe individer fra «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 føydalismen var eiendommer ikke bare kontrollert av et relativt lite antall @@ -10192,19 +10193,19 @@ sikre at landeier i systemet ikke svekke f og eiendomene som de kontrollerte til det frie markedet. Føydalismen var avhengig av maksimal kontroll og konsentrasjon. Det sloss mot enhver frihet som kunne forstyrre denne kontrollen. -

    +

    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 mot det føydale. -

    +

    Da denne bataljen brøt ut, blogget jeg om dette. En heftig debatt brøt ut i kommentarfeltet. Ms. Boland hadde en rekke støttespillere som forsøkte å vise hvorfor hennes kommentarer ga mening. Men det var spesielt en kommentar som gjorde meg trist. En anonym kommentator skrev, -

    +

    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 @@ -10223,7 +10224,7 @@ avsl illusjon om ekstremismen hos våre myndigheter, uansett om de er republikanere eller demokrater. Min eneste tilsynelatende illusjon er hvorvidt våre myndigheter bør snakke sant eller ikke.) -

    +

    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 @@ -10254,7 +10255,7 @@ 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 medieeierskap, dannet det @@ -10300,13 +10301,13 @@ evnen til

    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 +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 +over.[207] En på innsiden i Hollywood—som insisterer på at han må forbli anonym—rapporterer «en utrolig samtale med disse studiofolkene. De har fantastisk [gammelt] innhold som de ville elske å bruke, men det kan de ikke på grunn @@ -10316,14 +10317,14 @@ med advokater for snakker om å gi datavirus politimyndighet for å ta ned datamaskiner som antas å bryte loven. Universiteter truer med å utvise ungdommer som bruker en datamaskin for å dele innhold. -

    +

    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 +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 @@ -10337,7 +10338,7 @@ 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), @@ -10345,12 +10346,12 @@ tilgjengelig fra

    [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 @@ -10361,13 +10362,13 @@ account of the struggle over South Africa, see Hearing Before the Subcommittee on Criminal Justice, Drug Policy, and Human Resources, House Committee on Government Reform, H. Rep., 1st sess., Ser. No. 106-126 (22 July 1999), 150–57 (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] @@ -10384,7 +10385,7 @@ the HIV/AIDS Crisis: Finding the Proper Balance Between Intellectual Property Rights and Compassion, a Synopsis,» Widener Law Symposium Journal (Spring 2001): 175. -

    [200] +

    [200] Jonathan Krim, «The Quiet War over Open-Source», Washington Post, august 2003, E1, tilgjengelig fra @@ -10395,10 +10396,10 @@ tilgjengelig fra «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 @@ -10415,15 +10416,15 @@ Public Policy Research, 2002), 69, tilgjengelig fra 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] +

    [204] Se Drahos with Braithwaite, Information Feudalism, -210–20. -

    [205] +210–20. +

    [205] John Borland, «RIAA Sues 261 File Swappers», CNET News.com, @@ -10438,23 +10439,23 @@ Calif., 12-Year-Old Girl in N.Y. Among Defendants Washington Post, 10. september 2003, E1; Katie Dean, «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] +

    [207] 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 fra BBC, 24. august 2003, tilgjengelig fra link #70. -

    [209] +

    [209] «Creative Commons and Brazil», Creative Commons Weblog, @@ -10552,8 +10553,8 @@ amount of privacy. That privacy is guaranteed to us by friction. Not by law (there is no law protecting «privacy» in public places), and in many places, not by norms (snooping and gossip are just fun), but instead, by the costs that friction imposes on anyone who would want to spy. -

    -Så kommer internettet, hvor kostnaden med å spore spesielt det blir bladd i +

    +Inn kommer internettet, hvor kostnaden med å spore spesielt det blir bladd i har blitt svært liten. Hvis du er en kunde av Amazon, så vil Amazon samle informasjon om hva du har sett på mens du tittet på sidene der. Du vet dette på grunn av at det i en spalte på siden vises en liste med @@ -10570,12 +10571,12 @@ f kan det hende denne endringen i teknologien for overvåkning angår deg. Hvis det blir enkelt å samle inn og sortere hvem som gjør hva i det elektroniske rom, så forsvinner det friksjons-induserte personvernet fra tidligere tider. -

    +

    Det er denne virkeligheten som forklarer at mange gjør en innsats for å definere «personvern» på internettet. Det er erkjennelsen om at teknologi akn fjerne det friksjon før ga oss som får mange til å be om -lover som gjør det friksjonen gjorde.[210] +lover som gjør det friksjonen gjorde.[210] Og uansett om du er for eller imot disse lovene, så er det mønsteret som er det viktige her. Vi må ta aktive steg for å sikre en slags frihet som var passivt sikret tidligere. En endring i teknologi tvinger nå de som tror på @@ -10587,8 +10588,8 @@ programvare-bevegelsen. Da datamaskiner med programvare f kommersielt tilgjengelig var programvaren—både kildekoden og binærene—fritt tilgjengelig. Du kunne ikke kjøre et program skrevet for en Data General-maskin på en IBM-maskin, så Data General og IBM brydde -seg ikke mye om å kontrollere programvaren sin. -

    +seg ikke mye om å kontrollere programvaren sin. +

    Dette var verden Richard Stallman ble født inn i og som forsker ved MIT lærte han å elske samfunnet som utviklet seg når en var fri til å utforske og fikle med programvaren som kjørte på datamaskiner. Som en av de smarte @@ -10621,13 +10622,13 @@ Dermed begynte praksisen med propriet fri programvare hadde blitt fjernet av en endring i økonomien rundt databehandling. Og han trodde at hvis han ikke gjorde noe med dette, så ville friheten til å endre og dele programvare bli fundametalt svekket. -

    +

    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. - +produsere GNU/Linux-operativsystemet. +

    Stallmans teknikk var å bruke åndsverksloven til å bygge en verden av programvare som må forbli fri. Programvare lisensiert med GPL fra Free @@ -10644,47 +10645,47 @@ var tatt for gitt. Gjennom aktiv bruk av lisenser som gjelder for opphavsrettsbeskyttet kildekode, gjenerobret Stallman aktivt en arena der fri programvare ville overleve. Han beskyttet aktivt det som før hadde vært passivt garantert. -

    +

    Til slutt, la oss se på et veldig nytt eksempel som resonerer mer direkte med historien i denne boken. Dette er overgangen for hvordan akademiske og vitenskapelige tidsskrifter blir produsert. -

    - -As digital technologies develop, it is becoming obvious to many that -printing thousands of copies of journals every month and sending them to -libraries is perhaps not the most efficient way to distribute -knowledge. Instead, journals are increasingly becoming electronic, and -libraries and their users are given access to these electronic journals -through password-protected sites. Something similar to this has been -happening in law for almost thirty years: Lexis and Westlaw have had -electronic versions of case reports available to subscribers to their -service. Although a Supreme Court opinion is not copyrighted, and anyone is -free to go to a library and read it, Lexis and Westlaw are also free to -charge users for the privilege of gaining access to that Supreme Court -opinion through their respective services. -

    -There's nothing wrong in general with this, and indeed, the ability to -charge for access to even public domain materials is a good incentive for -people to develop new and innovative ways to spread knowledge. The law has -agreed, which is why Lexis and Westlaw have been allowed to flourish. And if -there's nothing wrong with selling the public domain, then there could be -nothing wrong, in principle, with selling access to material that is not in -the public domain. -

    +

    + +Etter hvert som teknologien utviklet seg, blir det åpenbart for mange at å +skrive ut tusenvis av kopier av tidsskrifter hver måned og sende dem til +biblioteker kanskje ikke er den mest effektive måten å spre kunnskap. I +stedet blir tidsskrifter mer og mer elektroniske, og biblioteker og deres +brukere gis tilgang til disse elektroniske tidsskriftene gjennom +passord-beskyttede nettsteder. Noe lignende har skjedd innen justissektoren +i nesten tredve år: Lexis og Westlaw har hatt elektroniske versjoner av +domstolavgjørelser tilgjengelig for sine tjenste-abonnenter. Selv om en +høyesterettsdom ikke er opphavsrettsbeskyttet, og enhver står fritt til å gå +til et bibliotek og lese den, så står Lexis og Westlaw også fritt til å +kreve betaling fra sine brukerne for å gi tilgang til den samme +høyesterettsdommen gjennom deres respektive tjenester. +

    +Det er generelt ingenting galt med dette, og muligheten til å ta betalt for +tilgang selv for allemannseid materiale er helt klart et godt insentiv for +folk til å utvikle nye og nyskapende måter å spre kunnskap. Loven har vært +enig, hvilket er det som gjør at Lexis og Westlaw har fått lov til å +blomstre. Og hvis det ikke er noe galt med å selge det som er allemannseie, +så bør det i prinspippet ikke være noe galt i å selge tilgang til materiale +som ikke er allemannseie. +

    Men hva hvis den eneste måten å få tilgang til sosiale og vitenskapelige data var gjennom proprietære tjenester? Hva hvis ingen hadde muligheten til å bla igjennom disse datasettene uten å betale for et abonnement?

    -As many are beginning to notice, this is increasingly the reality with -scientific journals. When these journals were distributed in paper form, -libraries could make the journals available to anyone who had access to the -library. Thus, patients with cancer could become cancer experts because the -library gave them access. Or patients trying to understand the risks of a -certain treatment could research those risks by reading all available -articles about that treatment. This freedom was therefore a function of the -institution of libraries (norms) and the technology of paper journals -(architecture)—namely, that it was very hard to control access to a -paper journal. +Som flere begynner å oppdage, er dette stadig oftere virkeligheten med +vitenskapelige tidsskrifter. Da disse tidsskriftene ble distribuert i +papirutgaven, kunne bibliotekene gjøre tidsskriftene tilgjengelig for enhver +som hadde tilgang til biblioteket. Dermed kunne pasienter med kreft bli +kreft-eksperter på grunn av at biblioteket ga dem tilgang. Eller pasienter +som forsøkte å forstå risikoen med en bestemt behandling kunne forske på +disse risikoene ved å lese alle tilgjengelige artikler om den behandlingen. +Denne friheten var dermed et resultat av hvordan biblioteker fungerte +(normer) og teknologien til papirtidsskrifter (arkitektur)—nemlig at +det var veldig vanskelig a kontrollere tilgang til et papirtidsskrift.

    Etter hvert som tidsskrift blir elektroniske krever derimot utgiverne at bibliotekene ikke gir alle tilgang til tidsskriftene. Dette betyr at @@ -10692,71 +10693,76 @@ frihetene som papirtidsskrifter ga i offentlige biblioteker begynner forsvinne. Dermed, på samme måte som med personvern og programvare, endringer i teknologien og markedet krymper en frihet som vi tok for gitt tidligere. -

    -This shrinking freedom has led many to take affirmative steps to restore the -freedom that has been lost. The Public Library of Science (PLoS), for -example, is a nonprofit corporation dedicated to making scientific research -available to anyone with a Web connection. Authors of scientific work submit -that work to the Public Library of Science. That work is then subject to -peer review. If accepted, the work is then deposited in a public, electronic -archive and made permanently available for free. PLoS also sells a print -version of its work, but the copyright for the print journal does not -inhibit the right of anyone to redistribute the work for free. -

    -This is one of many such efforts to restore a freedom taken for granted -before, but now threatened by changing technology and markets. There's no -doubt that this alternative competes with the traditional publishers and -their efforts to make money from the exclusive distribution of content. But -competition in our tradition is presumptively a good—especially when -it helps spread knowledge and science. -

    16.1.2. Gjenoppbygging av fri kultur: En idé

    +

    + +Denne reduserte friheten har fått mange til å ta aktive steg for å +gjenopprette friheten som har gått tapt. Et eksempel er Det Offentlige +Vitenskapsbiblioteket (PLoS), som er et ikkekommersielt selskap dedikert til +å gjøre vitenskapling forskning tilgjengelig til alle som har en +nettforbindelse. Forfattere av vitenskapelige verk laster sitt verk opp til +Det Offentlige Vitenskapsbiblioteket. Dette verket går så igjennom +fagfellevurdering. Hvis det blir akseptert, så blir verket så lagret i et +offentlig, elektronisk arkiv og gjort gratis og permanent tilgjengelig. +PLoS selger også trykte utgaver av verkene, men opphavsretten til +papirtidsskriftene fratar ingen retten til å fritt videredistribuere verket. +

    +Dette er en av mange slike anstrengelser for å gjenopprette en frihet som +tidligere ble tatt for gitt, men som nå er truet av endringer i teknologi og +marked. Det er ingen tvil om at dette alternativet konkurrerer med de +tradisjonelle forlagene og deres innsats for å tjene penger fra den +eksklusive distribusjonen av innhold. Men konkurranse antas i vår tradisjon +for å være bra—spesielt når det bidrar til å spre kunnskap og +vitenskap. +

    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 -of the extremes that now reign. It does this by making it easy for people to -build upon other people's work, by making it simple for creators to express -the freedom for others to take and build upon their work. Simple tags, tied -to human-readable descriptions, tied to bulletproof licenses, make this -possible. -

    - -Simple—which means without a middleman, or -without a lawyer. By developing a free set of licenses that people can -attach to their content, Creative Commons aims to mark a range of content -that can easily, and reliably, be built upon. These tags are then linked to -machine-readable versions of the license that enable computers automatically -to identify content that can easily be shared. These three expressions -together—a legal license, a human-readable description, and -machine-readable tags—constitute a Creative Commons license. A -Creative Commons license constitutes a grant of freedom to anyone who -accesses the license, and more importantly, an expression of the ideal that -the person associated with the license believes in something different than -the «All» or «No» extremes. Content is marked with -the CC mark, which does not mean that copyright is waived, but that certain -freedoms are given. -

    -These freedoms are beyond the freedoms promised by fair use. Their precise -contours depend upon the choices the creator makes. The creator can choose a -license that permits any use, so long as attribution is given. She can -choose a license that permits only noncommercial use. She can choose a -license that permits any use so long as the same freedoms are given to other -uses («share and share alike»). Or any use so long as no -derivative use is made. Or any use at all within developing nations. Or any -sampling use, so long as full copies are not made. Or lastly, any -educational use. -

    -These choices thus establish a range of freedoms beyond the default of -copyright law. They also enable freedoms that go beyond traditional fair -use. And most importantly, they express these freedoms in a way that -subsequent users can use and rely upon without the need to hire a -lawyer. Creative Commons thus aims to build a layer of content, governed by -a layer of reasonable copyright law, that others can build upon. Voluntary -choice of individuals and creators will make this content available. And -that content will in turn enable us to rebuild a public domain. -

    +

    +Inn kommer Creative Commons. Creative Commons er et ikke-kommersielt +selskap etablert i Massachusetts, men med hjemmet sitt ved Stanford +University. Selskapets mål er å bygge et lag av +rimelig opphavsrett på toppen av ekstremene som nå +regjerer. Det gjør dette ved å gjøre det enkelt for folk å bygge på andre +folks verk, ved å gjøre det enkelt for skapere å uttrykke friheten for andre +til å ta og bygge på deres verk. Dette gjøres mulig med enkle merker, +knyttet til menneskelesbare beskrivelser, som igjen er knyttet til vanntette +lisenser. +

    + +Enkelt—som betyr uten en mellommann eller uten en +advokat. Ved å utvikle et fritt sett med lisenser som folk kan knytte til +sitt innhold, sikter Creative Commons å merke en rekke innhold som enkelt og +pålitelig kan bygges på. Disse merkene er så lenket til maskinlesbare +versjoner av lisensen som gjør det mulig for datamaskiner å automatisk +identifisere innhold som enkelt kan deles. Denne samlingen av tre +uttrykk—en juridisk lisens, en menneske-lesbar beskrivelse og et +maskinlesbart merke—utgjør en Creative Commons-lisens. En Creative +Commons-lisens utgjør en tildeling av frihet til enhver som har tilgang til +lisensen. Og viktigere, et uttrykk for at personen som bruker lisensen tror +på noe annet enn «Alle»- eller +«Ingen»-ytterkantene. Innhold merket med CC-merket betyr ikke +at en har sagt fra seg opphavsretten, men derimot at enkelte friheter er +gitt bort. +

    +Disse frihetene går ut over friheten som loves av rimelig bruk. Frihetenes +presise omriss er avhenging av valgene som skaperen gjør. Skaperen kan velge +en lisens som tillater enhver bruk, så lenge opphavspersonen navngis. Hun +kan velge en lisens som kun tillater ikke-kommersiell bruk. Hun kan velge +en lisens som tillater enhver bruk så lenge de samme friheter gis videre til +andre brukere («del på like vilkår»). Eller enhver bruk så +lenge ingen bearbeidelse blir gjort. Eller enhver bruk i utviklingsland. +Eller enhver bruk som «smakebit», så lenge det ikke lages +komplette kopier. Og til slutt, enhver bruk til opplæring. +

    +Disse valgene etablerer dermed en rekke friheter som går ut over +utgangspunktet i åndsverksloven. De muliggjør også friheter som går ut over +tradisjonell rimelig bruk. Og det viktigste er at de uttrykker disse +frihetene på en måte som de påfølgende brukerne kan bruke og basere seg på +uten å hyre inn en advokat. Creative Commons sikter dermed mot å bygge et +lag av innhold, styrt av et lag av fornuftig åndsverkslov, som andre kan +bygge på. Frivillig valg fra individer og skapere vil gjøre dette innholdet +tilgjengelig. Og dette innholdet vi så gjøre det mulig for oss å +gjenopprette allemannseiet. +

    This is just one project among many within the Creative Commons. And of course, Creative Commons is not the only organization pursuing such @@ -10767,7 +10773,7 @@ movement of consumers and producers of 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. -

    +

    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 @@ -10799,7 +10805,7 @@ Faktisk st Førsteutgaven av boken var utsolgt flere måneder tidligere enn utgiveren hadde forventet. Denne første romanen til en science fiction-formfatter var en total suksess. -

    +

    The idea that free content might increase the value of nonfree content was confirmed by the experience of another author. Peter Wayner, who wrote a @@ -10808,7 +10814,7 @@ 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 @@ -10821,7 +10827,7 @@ others. Because the legal costs of sampli (Walter Leaphart, manager of the rap group Public Enemy, which was born sampling the music of others, has stated that he does not «allow» Public Enemy to sample anymore, because the legal costs -are so high[211]), these artists release +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.

    @@ -10843,12 +10849,11 @@ technologies simple ways for users to mark their content with Creative Commons freedoms. Then the next step is to watch and celebrate creators who build content based upon content set free.

    -These are first steps to rebuilding a public domain. They are not mere -arguments; they are action. Building a public domain is the first step to -showing people how important that domain is to creativity and -innovation. Creative Commons relies upon voluntary steps to achieve this -rebuilding. They will lead to a world in which more than voluntary steps are -possible. +Disse er de første stegene i å gjenoppbygge et allemannseie. De er ikke kun +argumenter, de er handlinger. Bygging av et allemannseie er første steg for +å vise folk hvor viktig dette er for kreativitet og nyskapning. Creative +Commons baserer seg på frivillige steg for å få bygget denne på nytt. De +vil føre til en verden hvor mer enn frivillige steg er mulig.

    Creative Commons is just one example of voluntary efforts by individuals and creators to change the mix of rights that now govern the creative field. The @@ -10856,7 +10861,7 @@ 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

    Vi vil ikke vinne tilbake en fri kultur kun ved individuelle handlinger. Det trengs også viktige lovreformer. Vi har en lang vei a gå før politikerne vil lytte til disse ideene og @@ -10903,7 +10908,7 @@ 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.

    -Loven burde derfor endre dette kravet[212]—men den bør ikke endres ved å gå tilbake til det gamle +Loven burde derfor endre dette kravet[212]—men den bør ikke endres ved å gå tilbake til det gamle ødelagte systemet. Vi bør kreve formaliteter, men vi bør etablere et system som vil skape insentivene for å minimere byrden disse formalitetene påfører.

    @@ -10979,7 +10984,7 @@ published without a copyright notice, the consequence of that failure need not be that the copyright is lost. The consequence could instead be that anyone has the right to use this work, until the copyright owner complains and demonstrates that it is his work and he doesn't give -permission.[213] The meaning of an unmarked +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 @@ -10991,7 +10996,7 @@ again, the system needs to adjust as the technologies evolve. The best way to ensure that the system evolves is to limit the Copyright Office's role to that of approving standards for marking content that have been crafted elsewhere. -

    +

    For example, if a recording industry association devises a method for marking CDs, it would propose that to the Copyright Office. The Copyright Office would hold a hearing, at which other proposals could be made. The @@ -11030,7 +11035,7 @@ 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 @@ -11060,14 +11065,14 @@ klar og aktiv «rimelig bruk» og «idé/uttrykk» mindre nødvendig å håndtere. -

  • +

  • Keep it alive: Copyright should have to be renewed. Especially if the maximum term is long, the copyright owner should be required to signal periodically that he wants the protection continued. This need not be an onerous burden, but there is no reason this monopoly protection has to be granted for free. On average, it takes ninety minutes -for a veteran to apply for a pension.[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.

  • @@ -11096,7 +11101,7 @@ Uten tvil vil ekstremistene kalle disse id enn vernetiden under Richard Nixon. hvor «radikalt» kan det være å be om en mer sjenerøs opphavsrettighet enn da Richard Nixon var president? -

    • 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 @@ -11111,10 +11116,10 @@ writings (made by others) that are sufficiently close to the author's original work. Thus, if I write a book, and you base a movie on that book, I have the power to deny you the right to release that movie, even though that movie is not «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. @@ -11122,7 +11127,7 @@ Benjamin Kaplan. So inured have we become to the extension of the monopoly to a large range of so-called derivative works, that we no longer sense the oddity of accepting such an enlargement of copyright while yet intoning the -abracadabra of idea and expression.[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 @@ -11136,7 +11141,7 @@ John Grisham's right to sell the movie rights to his latest novel (or at least I'm willing to assume it does); but it does not make sense for that right to run for the same term as the underlying copyright. The derivative right could be important in inducing creativity; it is not important long -after the creative work is done. +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 @@ -11148,7 +11153,7 @@ lines. It no longer makes sense for lawyers to negotiate the lines. Think about all the creative possibilities that digital technologies enable; now imagine pouring molasses into the machines. That's what this general requirement of permission does to the creative process. Smothers it. -

    +

    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 @@ -11157,7 +11162,7 @@ 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 @@ -11219,7 +11224,7 @@ ha v Det er mange som bruker fildelingsnettverk for å få tilgang til innhold som ikke er opphavsrettsbeskyttet, eller for å få tilgang som opphavsrettsinnehaveren åpenbart går god for. -

    +

    Any reform of the law needs to keep these different uses in focus. It must avoid burdening type D even if it aims to eliminate type A. The eagerness with which the law aims to eliminate type A, moreover, should depend upon @@ -11257,7 +11262,7 @@ 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 @@ -11273,7 +11278,7 @@ money for the content they give access to. Already cell-phone services in Japan offer music (for a fee) streamed over cell phones (enhanced with plugs for headphones). The Japanese are paying for this content even though «free» content is available in the form of MP3s across the -Web.[219] +Web.[219]

    @@ -11306,7 +11311,7 @@ label he signed with to carry his work. Or it may be unavailable because the work is forgotten. Either way, the aim of the law should be to facilitate the access to this content, ideally in a way that returns something to the artist. -

    +

    Again, the model here is the used book store. Once a book goes out of print, it may still be available in libraries and used book stores. But libraries and used book stores don't pay the copyright owner when someone reads or @@ -11373,7 +11378,7 @@ 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 @@ -11395,7 +11400,7 @@ years. If it continues to make sense to facilitate free exchange of content, supported through a taxation system, then it can be continued. If this form of protection is no longer necessary, then the system could lapse into the old system of controlling access. -

    +

    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 @@ -11405,7 +11410,7 @@ 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 calculation would be outweighed by the benefit of facilitating @@ -11419,7 +11424,7 @@ though the labels have none of the costs of a CD to pay.) Apple's move was countered by Real Networks, offering music at just 79 cents a song. And no doubt there will be a great deal of competition to offer and sell music on-line. -

    +

    This competition has already occurred against the background of «free» music from p2p systems. As the sellers of cable television have known for thirty years, and the sellers of bottled water for @@ -11501,7 +11506,7 @@ min oppfatning av v en verden der rike klienter har sterke synspunkter vil uviljen hos vår yrkesgruppe til å stille spørsmål med eller protestere mot dette sterke synet ødelegge loven. -

    +

    Indisiene for slik bøyning er overbevisene. Jeg er angrepet som en «radikal» av mange innenfor yrket, og likevel er meningene jeg argumenterer for nøyaktig de meningene til mange av de mest moderate og @@ -11509,7 +11514,7 @@ betydningsfulle personene i historien til denne delen av loven. Mange trodde for eksempel at vår utfordring til lovforslaget om å utvide opphavsrettens vernetid var galskap. Mens bare tredve år siden mente den dominerende foreleser og utøver i opphavsrettsfeltet, Melville Nimmer, at den var -åpenbar.[221] +åpenbar.[221]

    Min kritikk av rollen som advokater har spilt i denne debatten handler @@ -11519,7 +11524,7 @@ 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.

    @@ -11550,7 +11555,7 @@ 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 @@ -11570,7 +11575,7 @@ ikke? 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] @@ -11581,54 +11586,54 @@ par. 6–18, available at 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] Forslaget jeg fremmmer her ville kun gjelde for amerikanske verk. Jeg tror naturligvis at det ville være en fordel om samme ide ble adoptert også av -andre land.

    [213] +andre land.

    [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 (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 Inc. Newsletter, 3 April 2002, tilgjengelig fra link #76. -

    [220] +

    [220] William Fisher, Digital Music: Problems and Possibilities (sist revidert: 10. oktober @@ -11658,16 +11663,16 @@ er ganske likt forslaget til Richard Stallman n motsetning til Fishers forslag, ville Stallmanns forslag ikke betale kunstnere proposjonalt, selv om mer populære artister ville få mer betalt enn mindre populære. Slik det er typisk med Stallman, la han fram sitt -forslag omtrent ti år før dagens debatt. Se link #85. - - -

    [221] +forslag omtrent ti år før dagens debatt. Se link #85. + + +

    [221] 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 @@ -11682,7 +11687,7 @@ Industry? 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. +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 @@ -11698,7 +11703,7 @@ Denne boken er produktet av en lang og s da jeg leste om Eric Eldreds krig for å sørge for at bøker forble frie. Eldreds innsats bidro til å lansere en bevegelse, fri kultur-bevegelsen, og denne boken er tilegnet ham. -

    +

    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 @@ -11749,4 +11754,4 @@ 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

    Symboler

    11. september 2001, terrorangrep den, Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere», Kapittel ni: Samlere
    60 Minutes, Kapittel ni: Samlere

    A

    ABC, Kapittel to: «Kun etter-apere», Marked: Konsentrasjon
    Adobe eBook Reader, Arkitektur og lov: Makt, Arkitektur og lov: Makt
    Afrika, medisinering for HIV-pasienter i, Konklusjon, Konklusjon
    Agee, Michael, Kapittel tretten: Eldred, Kapittel tretten: Eldred
    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: Omformerne, Kapittel åtte: Omformerne, Constraining Innovators, Constraining Innovators, 3. Fri Bruk vs. rimelig bruk
    alcohol prohibition, Corrupting Citizens
    Alice i Eventyrland (Carroll), Arkitektur og lov: Makt, Arkitektur og lov: Makt
    All in the Family, Marked: Konsentrasjon
    allemannseie (public domain)
    definert, Kapittel en: Skaperne, Kapittel en: Skaperne
    ebok-begrensninger på, Arkitektur og lov: Makt, Arkitektur og lov: Makt
    offentlige prosjekter i, Konklusjon
    traditional term for conversion to, Kapittel en: Skaperne, Kapittel en: Skaperne
    Allen, Paul, Kapittel åtte: Omformerne
    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»
    Andromeda, Corrupting Citizens
    åndsverkslov
    copies as core issue of, Lov og arkitektur: Rekkevidde, Lov og arkitektur: Rekkevidde
    Engelsk, «Piratvirksomhet»
    Japansk, Kapittel en: Skaperne, Kapittel en: Skaperne
    kreativitet hindret av, «Piratvirksomhet»
    lovbestemte lisenser i, Piratvirksomhet II, Piratvirksomhet II
    om musikkinnspillinger, Innspilt musikk, Innspilt musikk, Piratvirksomhet II, Piratvirksomhet II
    on republishing vs. transformation of original work, «Piratvirksomhet», «Piratvirksomhet», Lov og arkitektur: Rekkevidde, Lov og arkitektur: Rekkevidde
    som beskyttelse for skapere, Introduksjon
    Anello, Douglas, Kabel-TV
    animasjonsfilmer, Kapittel en: Skaperne, Kapittel en: Skaperne
    antiretroviral medisin, Konklusjon, Konklusjon
    Apple Corporation, Konklusjon, 4. Frigjør musikken—igjen
    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: Omformerne
    retrospective compilations on, Kapittel åtte: Omformerne, Kapittel åtte: Omformerne
    ASCAP, «Piratvirksomhet»
    Asia, kommersiell piratvirksomhet i, Piratvirksomhet I, 4. Frigjør musikken—igjen
    AT&T, Introduksjon
    automatiske piano, Innspilt musikk
    avledede verker
    piratvirksomhet vs., Kapittel en: Skaperne, Kapittel en: Skaperne, Lov og arkitektur: Rekkevidde, Lov og arkitektur: Rekkevidde
    technological developments and, Lov og arkitektur: Rekkevidde, Lov og arkitektur: Rekkevidde
    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: Fantasifoster, Constraining Innovators
    Bern-konvensjonen (1908), Kapittel fjorten: Eldred II
    Bernstein, Leonard, Piratvirksomhet II
    Betamax, Piratvirksomhet II
    bilder, eierskap til, Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere», Constraining Creators
    biler, MP3-lydsystem i, Constraining Innovators
    biomedisinsk forskning, Konklusjon, Konklusjon
    Black, Jane, Piratvirksomhet II
    blogger (Web-logger), Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere»
    BMG, Marked: Konsentrasjon
    BMW, Constraining Innovators
    Boies, David, Kapittel åtte: Omformerne
    bøker
    bruktsalg av, Piratvirksomhet II, Loven: Varighet, 4. Frigjør musikken—igjen
    Engelsk åndsverkslov utviklet for, Kapittel seks: Grunnleggerne, Kapittel seks: Grunnleggerne
    gratis online-utgivelser av, Piratvirksomhet II, Piratvirksomhet II, Gjenoppbygging av fri kultur: En idé, Gjenoppbygging av fri kultur: En idé
    på internet, Lov og arkitektur: Rekkevidde, Arkitektur og lov: Makt, Arkitektur og lov: Makt
    totalt antall, Kapittel ni: Samlere
    tre typer bruk av, Lov og arkitektur: Rekkevidde, Lov og arkitektur: Rekkevidde
    utsolgt fra forlaget, Piratvirksomhet II, Kapittel ni: Samlere, Loven: Varighet, 4. Frigjør musikken—igjen
    bokselgere, Engelske, Kapittel seks: Grunnleggerne, Kapittel seks: Grunnleggerne
    Boland, Lois, Konklusjon
    Bolling, Ruben, Kapittel tretten: Eldred
    Bono, Mary, Kapittel tretten: Eldred
    Bono, Sonny, Kapittel tretten: Eldred
    Boswell, James, Kapittel seks: Grunnleggerne
    bot-er, Kapittel ni: Samlere, Arkitektur og lov: Makt
    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
    Britiske parlamentet, det, Kapittel seks: Grunnleggerne, Kapittel seks: Grunnleggerne
    Bromberg, Dan, Kapittel tretten: Eldred
    Brown, John Seely, Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere»
    browsing, Lov og arkitektur: Rekkevidde, Gjenoppbygging av friheter som tidligere var antatt: Eksempler, Gjenoppbygging av friheter som tidligere var antatt: Eksempler
    Buchanan, James, Kapittel tretten: Eldred
    Bunyan, John, Kapittel seks: Grunnleggerne
    Burdick, Quentin, Kabel-TV
    Bush, George W., Constraining Creators

    C

    Camp Chaos, Kapittel åtte: Omformerne
    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»
    CD-ROMer, filmklipp brukt i, Kapittel åtte: Omformerne, Kapittel åtte: Omformerne
    CDer
    mix technology and, Corrupting Citizens, Corrupting Citizens
    opphavsrettsmerking av, Merking
    preference data on, Constraining Innovators, Constraining Innovators
    priser på, 4. Frigjør musikken—igjen
    salgsnivå for, Piratvirksomhet II, Piratvirksomhet II
    utenlands piratvirksomhet mot, Piratvirksomhet I, Piratvirksomhet I
    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
    commercials, Kapittel to: «Kun etter-apere»
    Commons, John R., Kapittel ti: «Eiendom»
    composer's rights vs. producers' rights in, Piratvirksomhet II
    composers, copyright protections of, Piratvirksomhet II
    Conger, Kapittel seks: Grunnleggerne
    Conrad, Paul, Arkitektur og lov: Makt
    Conyers, John, Jr., Kapittel elleve: Fantasifoster
    copyleft-lisenser, Konklusjon
    copyright infringement lawsuits
    against student file sharing, Kapittel tre: Kataloger, Kapittel tre: Kataloger
    exaggerated claims of, Kapittel tre: Kataloger, Constraining Creators
    in recording industry, Kapittel tre: Kataloger, Kapittel tre: Kataloger, Constraining Creators
    individual defendants intimidated by, Kapittel tre: Kataloger, Kapittel tre: Kataloger
    kommersiell kreativitet som hovedformål for, Introduksjon, Introduksjon
    lovbestemte skader for, Kapittel tre: Kataloger
    Country of the Blind, The (Wells), Kapittel elleve: Fantasifoster, Kapittel elleve: Fantasifoster
    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», 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»
    demokrati
    i teknologier for å uttrykke seg, Kapittel to: «Kun etter-apere»
    offentlig diskusjon i, Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere»
    Diller, Barry, Marked: Konsentrasjon
    Disney, Inc., Kapittel en: Skaperne, Kapittel en: Skaperne, Kapittel ti: «Eiendom»
    Disney, Walt, Kapittel en: Skaperne, Kapittel en: Skaperne, Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere», Piratvirksomhet II, Kapittel ni: Samlere, Loven: Virkeområde, Kapittel tretten: Eldred, Kapittel tretten: Eldred
    doctors malpractice claims against, Constraining Creators
    Douglas, William O., Introduksjon, Introduksjon
    doujinshi-tegneserier, Kapittel en: Skaperne, Kapittel en: Skaperne
    Drahos, Peter, Piratvirksomhet I, Konklusjon
    Dreyfuss, Rochelle, «Piratvirksomhet»
    Drucker, Peter, Kapittel åtte: Omformerne
    Dryden, John, Kapittel seks: Grunnleggerne
    Duck and Cover film, Kapittel ni: Samlere
    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
    intangibility of, «Eiendom»
    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
    enkeltnukleotidforskjeller (SNPs), Konklusjon
    ephemeral films, Kapittel ni: Samlere
    epost, Kapittel to: «Kun etter-apere»
    Erskine, Andrew, Kapittel seks: Grunnleggerne

    F

    Fallows, James, Marked: Konsentrasjon
    Fanning, Shawn, Piratvirksomhet II
    fantasifoster/chimera, Kapittel elleve: Fantasifoster, Kapittel elleve: Fantasifoster
    Faraday, Michael, Introduksjon
    FCC
    om FM-radio, Introduksjon, Introduksjon
    filmer
    animert, Kapittel en: Skaperne, Kapittel en: Skaperne
    arkiv av, Kapittel ni: Samlere
    filmindustri
    luksuskinoer mot video-piratvirksomhet i, 4. Frigjør musikken—igjen
    Fisher, William, 4. Frigjør musikken—igjen
    Florida, Richard, «Piratvirksomhet»
    FM-radio, Introduksjon, Introduksjon
    Forbes, Steve, Kapittel fjorten: Eldred II
    Første grunnlovstillegg, Introduksjon
    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
    fri kultur
    avledede verker basert på, Kapittel en: Skaperne, Kapittel en: Skaperne
    tillatelseskultur mot, Introduksjon
    fri programvare/åpen kildekode-programvare (FS/OSS), Piratvirksomhet I
    Fried, Charles, Kapittel tretten: Eldred
    Friedman, Milton, Kapittel tretten: Eldred
    Future of Ideas, The (Lessig), Arkitektur og lov: Makt

    G

    Garlick, Mia, Gjenoppbygging av fri kultur: En idé
    Gates, Bill, Hvorfor Hollywood har rett, Konklusjon
    General Film Company, Film
    General Public License (GPL), Konklusjon
    generiske medisiner, Konklusjon
    Gershwin, George, Kapittel tretten: Eldred
    Gil, Gilberto, Konklusjon
    Ginsburg, Ruth Bader, Kapittel tretten: Eldred, Kapittel tretten: Eldred
    Globalt posisjoneringssystem, 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
    Google, Kapittel tre: Kataloger, Kapittel tre: Kataloger
    GPL (General Public License), Konklusjon
    Gracie Films, Kapittel sju: Innspillerne
    Grimm-eventyr, Kapittel en: Skaperne, Kapittel en: Skaperne, Kapittel tretten: Eldred
    Grisham, John, Innspilt musikk, 3. Fri Bruk vs. rimelig bruk
    Grokster, Ltd., Constraining Innovators
    Grunnloven i USA
    Commerce Clause of, Kapittel tretten: Eldred
    copyright purpose established in, Kapittel tretten: Eldred
    Første tillegg til, Introduksjon

    H

    hacks, Arkitektur og lov: Makt
    Hal Roach Studios, Kapittel tretten: Eldred
    Hand, Learned, Radio
    handguns, Arkitektur og lov: Makt, Arkitektur og lov: Makt
    Hawthorne, Nathaniel, Kapittel tretten: Eldred, Kapittel tretten: Eldred
    Henry V, Kapittel seks: Grunnleggerne
    Henry VIII, Konge av England, Kapittel seks: Grunnleggerne
    Herrera, Rebecca, Kapittel sju: Innspillerne
    Heston, Charlton, Kabel-TV
    history, records of, Kapittel ni: Samlere
    HIV/AIDS-behandlinger, Konklusjon, Konklusjon
    Hollings, Fritz, Constraining Innovators
    Høyesterett, USA
    om luftrom mot landrettigheter, Introduksjon, Introduksjon
    on balance of interests in copyright law, Piratvirksomhet II
    Hummer Winblad, Constraining Innovators
    Hummer, John, Constraining Innovators
    hvis verdi, så rettighet-teorien, «Piratvirksomhet», «Piratvirksomhet», Kapittel fire: «Pirater»
    Hyde, Rosel H., Kabel-TV

    I

    IBM, Konklusjon, Gjenoppbygging av friheter som tidligere var antatt: Eksempler
    immaterielle rettigheter, Introduksjon, Introduksjon
    informasjonskapsler, internett, Gjenoppbygging av friheter som tidligere var antatt: Eksempler
    innovasjon, Piratvirksomhet II
    innspillingsindustrien
    artist remuneration in, Kapittel tre: Kataloger, Piratvirksomhet II
    copyright infringement lawsuits of, Kapittel tre: Kataloger, Kapittel tre: Kataloger
    copyright protections in, Piratvirksomhet II
    radio broadcast and, Piratvirksomhet II
    Intel, Constraining Innovators, Kapittel tretten: Eldred
    internet
    blogger om, Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere»
    copyright applicability altered by technology of, Lov og arkitektur: Rekkevidde, Lov og arkitektur: Rekkevidde
    effektiv innholdsdistribusjon på, «Piratvirksomhet»
    news events on, Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere»
    offentlig diskusjon gjennomført på, Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere»
    peer-generated rankings on, Kapittel to: «Kun etter-apere»
    search engines used on, Kapittel tre: Kataloger, Kapittel tre: Kataloger
    utviklingen av, Introduksjon, Introduksjon
    Internet Exporer, Piratvirksomhet I
    Internett-arkivet, Kapittel ni: Samlere
    Irak-krigen, Kapittel to: «Kun etter-apere», Kapittel ni: Samlere
    ISPer (Internet-tilbydere), brukeridentiteter avslørt av, Kapittel elleve: Fantasifoster, Constraining Creators, Corrupting Citizens, Corrupting Citizens
    Iwerks, Ub, Kapittel en: Skaperne

    J

    Japanske tegneserier, Kapittel en: Skaperne, Kapittel en: Skaperne
    Jaszi, Peter, Kapittel tretten: Eldred
    Jefferson, Thomas, «Eiendom», Kapittel ti: «Eiendom», Kapittel ti: «Eiendom», Gjenoppbygging av fri kultur: En idé
    Jentespeidere, «Piratvirksomhet»
    jernbaneindustri, Hvorfor Hollywood har rett
    Johnson, Lyndon, Kapittel ti: «Eiendom»
    Johnson, Samuel, Kapittel seks: Grunnleggerne
    Jonson, Ben, Kapittel seks: Grunnleggerne
    Jordan, Jesse, Kapittel tre: Kataloger, Constraining Creators
    journalism, Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere»
    jurysystem, Kapittel to: «Kun etter-apere»

    K

    kabel-TV, Kabel-TV, Kabel-TV, Piratvirksomhet II, Piratvirksomhet II, Marked: Konsentrasjon, 4. Frigjør musikken—igjen
    kamerateknologi, Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere», Hvorfor Hollywood har rett
    Kaplan, Benjamin, 3. Fri Bruk vs. rimelig bruk
    kassettopptak, Piratvirksomhet II
    Videospillere/opptakere, Piratvirksomhet II, Piratvirksomhet II, Arkitektur og lov: Makt, Arkitektur og lov: Makt, Constraining Innovators, 4. Frigjør musikken—igjen
    Keaton, Buster, Kapittel en: Skaperne, Kapittel en: Skaperne
    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», Kapittel to: «Kun etter-apere»
    Kodak-kamera, Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere»
    Kongressen i USA
    constitutional powers of, Kapittel tretten: Eldred
    om åndsverkslover, Piratvirksomhet II, Piratvirksomhet II
    om innspillingenindustri, Piratvirksomhet II, Piratvirksomhet II
    on VCR technology, Piratvirksomhet II
    Kozinski, Alex, Piratvirksomhet II
    kreativ eiendel
    hvis verdi, så rettighet-teorien om, «Piratvirksomhet», «Piratvirksomhet»
    kreativitet
    juridiske begrensninger på, «Piratvirksomhet», «Piratvirksomhet»
    ved å endre tidligere verker, Kapittel en: Skaperne, Kapittel en: Skaperne
    Krim, Jonathan, Konklusjon
    kringkastingsflagg, Film, Piratvirksomhet II, Constraining Innovators
    kultur
    kommersiell vs. ikke-kommersiell, Introduksjon, Introduksjon
    kunst, undergrunns, Constraining Creators

    L

    landbrukspatenter, Piratvirksomhet I
    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
    legal system, attorney costs in, Kapittel tre: Kataloger
    Lessig, Lawrence, Arkitektur og lov: Makt
    Lessing, Lawrence, Introduksjon, Introduksjon
    libraries
    arkiveringsfunksjon for, Kapittel ni: Samlere
    Library of Congress, Kapittel ni: Samlere
    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 lisenser, Piratvirksomhet II
    lovbestemte skader, Kapittel tre: Kataloger
    loven
    databaser med saksrapporter om, Piratvirksomhet I
    Lovett, Lyle, Radio, Kapittel elleve: Fantasifoster, Constraining Innovators, Kapittel fjorten: Eldred II
    Lucas, George, Kapittel sju: Innspillerne
    Lucky Dog, The, Kapittel tretten: Eldred
    lufttrafikk, landeierskap mot, Introduksjon, Introduksjon

    M

    Madonna, Radio, Radio, Piratvirksomhet II, Kapittel ti: «Eiendom»
    makt, konsentrasjon av, Forord, Forord, Introduksjon
    manga, Kapittel en: Skaperne, Kapittel en: Skaperne
    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
    media
    blog pressure on, Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere»
    commercial imperatives of, Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere»
    eierskapskonsentrasjon i, Introduksjon, Introduksjon, Kapittel to: «Kun etter-apere»
    medisiner
    farmasøytisk, Konklusjon
    Mehra, Salil, Kapittel en: Skaperne, Kapittel en: Skaperne
    MGM, Kapittel ti: «Eiendom»
    Michigan Technical University, Kapittel tre: Kataloger
    Microsoft, Kapittel åtte: Omformerne
    government case against, Arkitektur og lov: Makt
    internasjonal piratkopiering av, Piratvirksomhet I
    konkurransemessige strategier for, Piratvirksomhet I
    nettverksfilsystemet til, Kapittel tre: Kataloger, Kapittel tre: Kataloger
    Windows-operativsystemet til, Piratvirksomhet I
    WIPO-møte motarbeidet av, Konklusjon
    Mikke Mus, Kapittel en: Skaperne, Kapittel en: Skaperne, Loven: Virkeområde
    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
    MTV, Piratvirksomhet II
    Müller, Paul Hermann, Hvorfor Hollywood har rett
    MusicStore, 4. Frigjør musikken—igjen
    musikkpublisering, «Piratvirksomhet»

    N

    Napster, Kapittel to: «Kun etter-apere»
    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
    newspapers
    arkiver av, Kapittel ni: Samlere
    Nimmer, David, Kapittel åtte: Omformerne
    Nimmer, Melville, 5. Spark en masse advokater
    normer, reguleringspåvirkning fra, Kapittel ti: «Eiendom», Hvorfor Hollywood har rett
    noteark, «Piratvirksomhet», Innspilt musikk
    nyhetsdekning, Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere», Kapittel ni: Samlere, Kapittel ni: Samlere

    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
    opphavsrett
    constitutional purpose of, Kapittel tretten: Eldred
    varighet til, Kapittel en: Skaperne, Kapittel en: Skaperne, Kapittel tretten: Eldred
    originalism, Kapittel tretten: Eldred
    Orwell, George, Kapittel ni: Samlere, Kapittel ni: Samlere

    P

    Paramount Pictures, Kapittel ti: «Eiendom»
    patenter
    on pharmaceuticals, Konklusjon
    Patterson, Raymond, Kapittel seks: Grunnleggerne
    peer-to-peer(p2p)-fildeling
    effektiviteten til, «Piratvirksomhet», «Piratvirksomhet»
    Picker, Randal C., Film, Radio, Piratvirksomhet II, Constraining Innovators
    piratvirksomhet
    avledede verk vas., Kapittel en: Skaperne, Kapittel en: Skaperne, Lov og arkitektur: Rekkevidde, Lov og arkitektur: Rekkevidde
    i Asia, Piratvirksomhet I, 4. Frigjør musikken—igjen
    in development of content industry, Kapittel fire: «Pirater», Kabel-TV
    PLoS (Public Library of Science), Konklusjon, Gjenoppbygging av friheter som tidligere var antatt: Eksempler
    Pogue, David, Forord, Forord
    Politikk, (Aristotles), Arkitektur og lov: Makt
    politisk diskusjon, Kapittel to: «Kun etter-apere»
    Porgy and Bess, Kapittel tretten: Eldred
    pornografi, Kapittel tretten: Eldred
    Prelinger, Rick, Kapittel ni: Samlere
    Princeton University, Kapittel tre: Kataloger
    Promises to Keep (Fisher), 4. Frigjør musikken—igjen, 4. Frigjør musikken—igjen
    protection of artists vs. business interests, Introduksjon
    Public Citizen, Kapittel tretten: Eldred
    Public Enemy, Gjenoppbygging av fri kultur: En idé

    Q

    Quayle, Dan, Kapittel ni: Samlere

    R

    radio
    FM-spektrum for, Introduksjon, Introduksjon
    music recordings played on, Piratvirksomhet II
    rap music, Gjenoppbygging av fri kultur: En idé
    RCA, Introduksjon, Introduksjon
    Reagan, Ronald, Kapittel tretten: Eldred, Konklusjon
    Real Networks, Constraining Innovators, 4. Frigjør musikken—igjen
    Recording Industry Association of America (RIAA)
    copyright infringement lawsuits filed by, Kapittel tre: Kataloger, Kapittel tre: Kataloger
    intimidation tactics of, Kapittel tre: Kataloger, Kapittel tre: Kataloger
    lobbying power of, Kapittel tre: Kataloger
    Rehnquist, William H., Kapittel tretten: Eldred
    Rensselaer Polytechnic Institute (RPI), Kapittel tre: Kataloger, Kapittel tre: Kataloger
    computer network search engine of, 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
    Romeo and Juliet (Shakespeare), Kapittel seks: Grunnleggerne, Kapittel seks: Grunnleggerne
    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
    search engines, Kapittel tre: Kataloger, Kapittel tre: Kataloger
    Seasons, The (Thomson), Kapittel seks: Grunnleggerne
    Shakespeare, William, Kapittel en: Skaperne, Kapittel seks: Grunnleggerne
    Silent Sprint (Carson), Hvorfor Hollywood har rett
    Sonny Bono Copyright Term Extension Act (CTEA) (1998)
    Supreme Court challenge of, 5. Spark en masse advokater
    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 Anne (1710), Kapittel seks: Grunnleggerne, Loven: Varighet
    Statute of Monopolies (1656), Kapittel seks: Grunnleggerne
    Steamboat Bill, Jr., Kapittel en: Skaperne, Kapittel en: Skaperne, Kapittel to: «Kun etter-apere»
    Steamboat Willie, Kapittel en: Skaperne, Kapittel en: Skaperne
    Stevens, Ted, Forord
    Steward, Geoffrey, Kapittel tretten: Eldred
    Storbritannia
    public creative archive in, Konklusjon
    Supermann-tegneserier, Kapittel en: Skaperne
    Sutherland, Donald, Kapittel åtte: Omformerne

    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
    tegneserier, japanske, Kapittel en: Skaperne, Kapittel en: Skaperne
    teknologi
    copyright intent altered by, Lov og arkitektur: Rekkevidde, Lov og arkitektur: Rekkevidde
    Television Archive, Kapittel ni: Samlere
    televisjon
    kabel-TV mot kringkasting, 4. Frigjør musikken—igjen
    markedsføring på, Kapittel to: «Kun etter-apere»
    Thurmond, Strom, Kapittel to: «Kun etter-apere»
    tillatelser
    fotografering som ikke trenger, Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere»
    tillatelseskultur
    fri kultur mot, Introduksjon
    Tocqueville, Alexis de, Kapittel to: «Kun etter-apere»
    Tonson, Jacob, Kapittel seks: Grunnleggerne, Kapittel seks: Grunnleggerne
    Torvalds, Linus, Gjenoppbygging av friheter som tidligere var antatt: Eksempler
    Turner, Ted, Konklusjon
    Twentieth Century Fox, Kapittel ti: «Eiendom»
    Tysk åndsverkslov, Kapittel fjorten: Eldred II

    U

    Universal Music Group, Marked: Konsentrasjon, Constraining Innovators
    Universal Pictures, Kapittel ti: «Eiendom»
    university computer networks, p2p sharing on, Kapittel tre: Kataloger, Kapittel tre: Kataloger
    utdanning
    fikling som metode for, Kapittel tre: Kataloger
    uttrykke seg, teknologier for å
    demokratisk, Kapittel to: «Kun etter-apere»

    V

    Vaidhyanathan, Siva, Kapittel en: Skaperne, Film, Kapittel seks: Grunnleggerne, Arkitektur og lov: Makt, Sammen
    Valenti, Jack
    on creative property rights, Introduksjon
    valg, Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere»
    Vanderbilt University, Kapittel ni: Samlere
    veteranpensjoner, 2. Kortere vernetid
    Videospillere/opptakere, Constraining Innovators, 4. Frigjør musikken—igjen
    Vivendi Universal, Kapittel elleve: Fantasifoster, 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»
    Way Back Machine, Kapittel ni: Samlere
    Wayner, Peter, Gjenoppbygging av fri kultur: En idé
    Web-logger (blogger), Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere»
    Webster, Noah, Introduksjon
    Wellcome Trust, Konklusjon
    Wells, H. G., Kapittel elleve: Fantasifoster, Kapittel elleve: Fantasifoster
    White House press releases, Kapittel ni: Samlere
    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
    World Summit on the Information Society (WSIS), Konklusjon, Konklusjon
    World Trade Center, Kapittel to: «Kun etter-apere»
    World Wide Web, Konklusjon
    Worldcom, Constraining Creators
    WRC, Marked: Konsentrasjon
    Wright-brødrene, Introduksjon, Introduksjon

    Y

    Yanofsky, Dave, Kapittel to: «Kun etter-apere»

    Z

    Zimmerman, Edwin, Kabel-TV
    Zittrain, Jonathan, «Piratvirksomhet», Loven: Virkeområde
    +

    Indeks

    Symboler

    11. september 2001, terrorangrep den, Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere», Kapittel ni: Samlere
    60 Minutes, Kapittel ni: Samlere

    A

    ABC, Kapittel to: «Kun etter-apere», Marked: Konsentrasjon
    Adobe eBook Reader, Arkitektur og lov: Makt, Arkitektur og lov: Makt
    Afrika, medisinering for HIV-pasienter i, Konklusjon, Konklusjon
    Agee, Michael, Kapittel tretten: Eldred, Kapittel tretten: Eldred
    Aibo robothund, Arkitektur og lov: Makt, Arkitektur og lov: Makt
    AIDS-medisiner, Konklusjon, Konklusjon
    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: Omformerne, Kapittel åtte: Omformerne, Constraining Innovators, Constraining Innovators, 3. Fri Bruk vs. rimelig bruk
    alcohol prohibition, Corrupting Citizens
    Alice i Eventyrland (Carroll), Arkitektur og lov: Makt, Arkitektur og lov: Makt
    All in the Family, Marked: Konsentrasjon
    allemannseie (public domain)
    access fees for material in, Gjenoppbygging av friheter som tidligere var antatt: Eksempler
    definert, Kapittel en: Skaperne, Kapittel en: Skaperne
    ebok-begrensninger på, Arkitektur og lov: Makt, Arkitektur og lov: Makt
    license system for rebuilding of, Gjenoppbygging av friheter som tidligere var antatt: Eksempler, Gjenoppbygging av fri kultur: En idé
    offentlige prosjekter i, Konklusjon
    traditional term for conversion to, Kapittel en: Skaperne, Kapittel en: Skaperne
    Allen, Paul, Kapittel åtte: Omformerne
    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»
    Andromeda, Corrupting Citizens
    åndsverkslov
    copies as core issue of, Lov og arkitektur: Rekkevidde, Lov og arkitektur: Rekkevidde
    Engelsk, «Piratvirksomhet»
    Japansk, Kapittel en: Skaperne, Kapittel en: Skaperne
    kreativitet hindret av, «Piratvirksomhet»
    lovbestemte lisenser i, Piratvirksomhet II, Piratvirksomhet II
    om musikkinnspillinger, Innspilt musikk, Innspilt musikk, Piratvirksomhet II, Piratvirksomhet II
    on republishing vs. transformation of original work, «Piratvirksomhet», «Piratvirksomhet», Lov og arkitektur: Rekkevidde, Lov og arkitektur: Rekkevidde
    som beskyttelse for skapere, Introduksjon
    Anello, Douglas, Kabel-TV
    animasjonsfilmer, Kapittel en: Skaperne, Kapittel en: Skaperne
    antiretroviral medisin, Konklusjon, Konklusjon
    Apple Corporation, Konklusjon, 4. Frigjør musikken—igjen
    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: Omformerne
    retrospective compilations on, Kapittel åtte: Omformerne, Kapittel åtte: Omformerne
    ASCAP, «Piratvirksomhet»
    Asia, kommersiell piratvirksomhet i, Piratvirksomhet I, 4. Frigjør musikken—igjen
    AT&T, Introduksjon
    automatiske piano, Innspilt musikk
    avledede verker
    piratvirksomhet vs., Kapittel en: Skaperne, Kapittel en: Skaperne, Lov og arkitektur: Rekkevidde, Lov og arkitektur: Rekkevidde
    technological developments and, Lov og arkitektur: Rekkevidde, Lov og arkitektur: Rekkevidde
    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: Fantasifoster, Constraining Innovators
    Bern-konvensjonen (1908), Kapittel fjorten: Eldred II
    Bernstein, Leonard, Piratvirksomhet II
    Betamax, Piratvirksomhet II
    bilder, eierskap til, Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere», Constraining Creators
    biler, MP3-lydsystem i, Constraining Innovators
    biomedisinsk forskning, Konklusjon
    Black, Jane, Piratvirksomhet II
    blogger (Web-logger), Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere»
    BMG, Marked: Konsentrasjon
    BMW, Constraining Innovators
    Boies, David, Kapittel åtte: Omformerne
    bøker
    bruktsalg av, Piratvirksomhet II, Loven: Varighet, 4. Frigjør musikken—igjen
    Engelsk åndsverkslov utviklet for, Kapittel seks: Grunnleggerne, Kapittel seks: Grunnleggerne
    gratis online-utgivelser av, Piratvirksomhet II, Piratvirksomhet II, Gjenoppbygging av fri kultur: En idé, Gjenoppbygging av fri kultur: En idé
    på internet, Lov og arkitektur: Rekkevidde, Arkitektur og lov: Makt, Arkitektur og lov: Makt
    totalt antall, Kapittel ni: Samlere
    tre typer bruk av, Lov og arkitektur: Rekkevidde, Lov og arkitektur: Rekkevidde
    utsolgt fra forlaget, Piratvirksomhet II, Kapittel ni: Samlere, Loven: Varighet, 4. Frigjør musikken—igjen
    bokselgere, Engelske, Kapittel seks: Grunnleggerne, Kapittel seks: Grunnleggerne
    Boland, Lois, Konklusjon
    Bolling, Ruben, Kapittel tretten: Eldred
    Bono, Mary, Kapittel tretten: Eldred
    Bono, Sonny, Kapittel tretten: Eldred
    Boswell, James, Kapittel seks: Grunnleggerne
    bot-er, Kapittel ni: Samlere, Arkitektur og lov: Makt
    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
    Britiske parlamentet, det, Kapittel seks: Grunnleggerne, Kapittel seks: Grunnleggerne
    Bromberg, Dan, Kapittel tretten: Eldred
    Brown, John Seely, Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere»
    browsing, Lov og arkitektur: Rekkevidde, Gjenoppbygging av friheter som tidligere var antatt: Eksempler, Gjenoppbygging av friheter som tidligere var antatt: Eksempler
    Buchanan, James, Kapittel tretten: Eldred
    Bunyan, John, Kapittel seks: Grunnleggerne
    Burdick, Quentin, Kabel-TV
    Bush, George W., Constraining Creators

    C

    Camp Chaos, Kapittel åtte: Omformerne
    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»
    CD-ROMer, filmklipp brukt i, Kapittel åtte: Omformerne, Kapittel åtte: Omformerne
    CDer
    mix technology and, Corrupting Citizens, Corrupting Citizens
    opphavsrettsmerking av, Merking
    preference data on, Constraining Innovators, Constraining Innovators
    priser på, 4. Frigjør musikken—igjen
    salgsnivå for, Piratvirksomhet II, Piratvirksomhet II
    utenlands piratvirksomhet mot, Piratvirksomhet I, Piratvirksomhet I
    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
    commercials, Kapittel to: «Kun etter-apere»
    Commons, John R., Kapittel ti: «Eiendom»
    composer's rights vs. producers' rights in, Piratvirksomhet II
    composers, copyright protections of, Piratvirksomhet II
    Conger, Kapittel seks: Grunnleggerne
    Conrad, Paul, Arkitektur og lov: Makt
    Conyers, John, Jr., Kapittel elleve: Fantasifoster
    copyleft-lisenser, Konklusjon
    copyright infringement lawsuits
    against student file sharing, Kapittel tre: Kataloger, Kapittel tre: Kataloger
    exaggerated claims of, Kapittel tre: Kataloger, Constraining Creators
    in recording industry, Kapittel tre: Kataloger, Kapittel tre: Kataloger, Constraining Creators
    individual defendants intimidated by, Kapittel tre: Kataloger, Kapittel tre: Kataloger
    kommersiell kreativitet som hovedformål for, Introduksjon, Introduksjon
    lovbestemte skader for, Kapittel tre: Kataloger
    corporations
    in pharmaceutical industry, Konklusjon, Konklusjon
    Country of the Blind, The (Wells), Kapittel elleve: Fantasifoster, Kapittel elleve: Fantasifoster
    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», 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»
    demokrati
    i teknologier for å uttrykke seg, Kapittel to: «Kun etter-apere»
    offentlig diskusjon i, Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere»
    developing countries, foreign patent costs in, Konklusjon, Konklusjon
    Diller, Barry, Marked: Konsentrasjon
    Disney, Inc., Kapittel en: Skaperne, Kapittel en: Skaperne, Kapittel ti: «Eiendom»
    Disney, Walt, Kapittel en: Skaperne, Kapittel en: Skaperne, Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere», Piratvirksomhet II, Kapittel ni: Samlere, Loven: Virkeområde, Kapittel tretten: Eldred, Kapittel tretten: Eldred
    doctors malpractice claims against, Constraining Creators
    Douglas, William O., Introduksjon, Introduksjon
    doujinshi-tegneserier, Kapittel en: Skaperne, Kapittel en: Skaperne
    Drahos, Peter, Piratvirksomhet I, Konklusjon
    Dreyfuss, Rochelle, «Piratvirksomhet»
    Drucker, Peter, Kapittel åtte: Omformerne
    Dryden, John, Kapittel seks: Grunnleggerne
    Duck and Cover film, Kapittel ni: Samlere
    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
    føydalsystem for, Konklusjon, Konklusjon
    intangibility of, «Eiendom»
    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
    enkeltnukleotidforskjeller (SNPs), Konklusjon
    ephemeral films, Kapittel ni: Samlere
    epost, Kapittel to: «Kun etter-apere»
    Erskine, Andrew, Kapittel seks: Grunnleggerne

    F

    Fallows, James, Marked: Konsentrasjon
    Fanning, Shawn, Piratvirksomhet II
    fantasifoster/chimera, Kapittel elleve: Fantasifoster, Kapittel elleve: Fantasifoster
    Faraday, Michael, Introduksjon
    farmasøytiske patenter, Konklusjon, Konklusjon
    FCC
    om FM-radio, Introduksjon, Introduksjon
    filmer
    animert, Kapittel en: Skaperne, Kapittel en: Skaperne
    arkiv av, Kapittel ni: Samlere
    filmindustri
    luksuskinoer mot video-piratvirksomhet i, 4. Frigjør musikken—igjen
    Fisher, William, 4. Frigjør musikken—igjen
    Florida, Richard, «Piratvirksomhet»
    FM-radio, Introduksjon, Introduksjon
    Forbes, Steve, Kapittel fjorten: Eldred II
    Første grunnlovstillegg, Introduksjon
    fotografering, Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere»
    Fourneaux, Henri, Innspilt musikk, Innspilt musikk
    Fox, William, Film
    føydalsystem, Konklusjon, Konklusjon
    Free for All (Wayner), Gjenoppbygging av fri kultur: En idé
    fri kultur
    avledede verker basert på, Kapittel en: Skaperne, Kapittel en: Skaperne
    tillatelseskultur mot, Introduksjon
    fri programvare/åpen kildekode-programvare (FS/OSS), Piratvirksomhet I, Konklusjon, Konklusjon
    Fried, Charles, Kapittel tretten: Eldred
    Friedman, Milton, Kapittel tretten: Eldred
    Future of Ideas, The (Lessig), Arkitektur og lov: Makt

    G

    Garlick, Mia, Gjenoppbygging av fri kultur: En idé
    Gates, Bill, Hvorfor Hollywood har rett, Konklusjon
    General Film Company, Film
    General Public License (GPL), Konklusjon
    generiske medisiner, Konklusjon
    Gershwin, George, Kapittel tretten: Eldred
    Gil, Gilberto, Konklusjon
    Ginsburg, Ruth Bader, Kapittel tretten: Eldred, Kapittel tretten: Eldred
    Globalt posisjoneringssystem, 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
    Google, Kapittel tre: Kataloger, Kapittel tre: Kataloger
    GPL (General Public License), Konklusjon
    Gracie Films, Kapittel sju: Innspillerne
    Grimm-eventyr, Kapittel en: Skaperne, Kapittel en: Skaperne, Kapittel tretten: Eldred
    Grisham, John, Innspilt musikk, 3. Fri Bruk vs. rimelig bruk
    Grokster, Ltd., Constraining Innovators
    Grunnloven i USA
    Commerce Clause of, Kapittel tretten: Eldred
    copyright purpose established in, Kapittel tretten: Eldred
    Første tillegg til, Introduksjon

    H

    hacks, Arkitektur og lov: Makt
    Hal Roach Studios, Kapittel tretten: Eldred
    Hand, Learned, Radio
    handguns, Arkitektur og lov: Makt, Arkitektur og lov: Makt
    Hawthorne, Nathaniel, Kapittel tretten: Eldred, Kapittel tretten: Eldred
    Henry V, Kapittel seks: Grunnleggerne
    Henry VIII, Konge av England, Kapittel seks: Grunnleggerne
    Herrera, Rebecca, Kapittel sju: Innspillerne
    Heston, Charlton, Kabel-TV
    history, records of, Kapittel ni: Samlere
    HIV/AIDS-behandlinger, Konklusjon, Konklusjon
    Hollings, Fritz, Constraining Innovators
    Høyesterett, USA
    access to opinions of, Gjenoppbygging av friheter som tidligere var antatt: Eksempler
    om luftrom mot landrettigheter, Introduksjon, Introduksjon
    on balance of interests in copyright law, Piratvirksomhet II
    Hummer Winblad, Constraining Innovators
    Hummer, John, Constraining Innovators
    hvis verdi, så rettighet-teorien, «Piratvirksomhet», «Piratvirksomhet», Kapittel fire: «Pirater»
    Hyde, Rosel H., Kabel-TV

    I

    IBM, Konklusjon, Gjenoppbygging av friheter som tidligere var antatt: Eksempler
    immaterielle rettigheter, Introduksjon, Introduksjon
    international organization on issues of, Konklusjon, Konklusjon
    of drug patents, Konklusjon, Konklusjon
    informasjonskapsler, internett, Gjenoppbygging av friheter som tidligere var antatt: Eksempler
    innovasjon, Piratvirksomhet II
    innspillingsindustrien
    artist remuneration in, Kapittel tre: Kataloger, Piratvirksomhet II
    copyright infringement lawsuits of, Kapittel tre: Kataloger, Kapittel tre: Kataloger
    copyright protections in, Piratvirksomhet II
    radio broadcast and, Piratvirksomhet II
    Intel, Constraining Innovators, Kapittel tretten: Eldred
    internasjonal lov, Konklusjon, Konklusjon
    internet
    blogger om, Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere»
    copyright applicability altered by technology of, Lov og arkitektur: Rekkevidde, Lov og arkitektur: Rekkevidde
    effektiv innholdsdistribusjon på, «Piratvirksomhet»
    news events on, Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere»
    offentlig diskusjon gjennomført på, Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere»
    peer-generated rankings on, Kapittel to: «Kun etter-apere»
    search engines used on, Kapittel tre: Kataloger, Kapittel tre: Kataloger
    utviklingen av, Introduksjon, Introduksjon, Konklusjon
    Internet Exporer, Piratvirksomhet I
    Internett-arkivet, Kapittel ni: Samlere
    Irak-krigen, Kapittel to: «Kun etter-apere», Kapittel ni: Samlere
    ISPer (Internet-tilbydere), brukeridentiteter avslørt av, Kapittel elleve: Fantasifoster, Constraining Creators, Corrupting Citizens, Corrupting Citizens
    Iwerks, Ub, Kapittel en: Skaperne

    J

    Japanske tegneserier, Kapittel en: Skaperne, Kapittel en: Skaperne
    Jaszi, Peter, Kapittel tretten: Eldred
    Jefferson, Thomas, «Eiendom», Kapittel ti: «Eiendom», Kapittel ti: «Eiendom», Gjenoppbygging av fri kultur: En idé
    Jentespeidere, «Piratvirksomhet»
    jernbaneindustri, Hvorfor Hollywood har rett
    Johnson, Lyndon, Kapittel ti: «Eiendom»
    Johnson, Samuel, Kapittel seks: Grunnleggerne
    Jonson, Ben, Kapittel seks: Grunnleggerne
    Jordan, Jesse, Kapittel tre: Kataloger, Constraining Creators
    journalism, Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere»
    jurysystem, Kapittel to: «Kun etter-apere»

    K

    kabel-TV, Kabel-TV, Kabel-TV, Piratvirksomhet II, Piratvirksomhet II, Marked: Konsentrasjon, 4. Frigjør musikken—igjen
    kamerateknologi, Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere», Hvorfor Hollywood har rett
    Kaplan, Benjamin, 3. Fri Bruk vs. rimelig bruk
    kassettopptak, Piratvirksomhet II
    Videospillere/opptakere, Piratvirksomhet II, Piratvirksomhet II, Arkitektur og lov: Makt, Arkitektur og lov: Makt, Constraining Innovators, 4. Frigjør musikken—igjen
    Keaton, Buster, Kapittel en: Skaperne, Kapittel en: Skaperne
    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», Kapittel to: «Kun etter-apere»
    Kodak-kamera, Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere»
    Kongressen i USA
    constitutional powers of, Kapittel tretten: Eldred
    om åndsverkslover, Piratvirksomhet II, Piratvirksomhet II
    om innspillingenindustri, Piratvirksomhet II, Piratvirksomhet II
    on VCR technology, Piratvirksomhet II
    Kozinski, Alex, Piratvirksomhet II
    kreativ eiendel
    hvis verdi, så rettighet-teorien om, «Piratvirksomhet», «Piratvirksomhet»
    kreativitet
    juridiske begrensninger på, «Piratvirksomhet», «Piratvirksomhet»
    ved å endre tidligere verker, Kapittel en: Skaperne, Kapittel en: Skaperne
    Krim, Jonathan, Konklusjon, Konklusjon
    kringkastingsflagg, Film, Piratvirksomhet II, Constraining Innovators
    kultur
    kommersiell vs. ikke-kommersiell, Introduksjon, Introduksjon
    kunst, undergrunns, Constraining Creators

    L

    landbrukspatenter, Piratvirksomhet I
    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
    legal system, attorney costs in, Kapittel tre: Kataloger
    Lessig, Lawrence, Arkitektur og lov: Makt
    in international debate on intellectual property, Konklusjon, Konklusjon
    Lessing, Lawrence, Introduksjon, Introduksjon
    Lexis and Westlaw, Gjenoppbygging av friheter som tidligere var antatt: Eksempler, Gjenoppbygging av friheter som tidligere var antatt: Eksempler
    libraries
    arkiveringsfunksjon for, Kapittel ni: Samlere
    tidsskrifter i, Gjenoppbygging av friheter som tidligere var antatt: Eksempler
    Library of Congress, Kapittel ni: Samlere
    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 lisenser, Piratvirksomhet II
    lovbestemte skader, Kapittel tre: Kataloger
    loven
    databaser med saksrapporter om, Piratvirksomhet I, Gjenoppbygging av friheter som tidligere var antatt: Eksempler, Gjenoppbygging av friheter som tidligere var antatt: Eksempler
    Lovett, Lyle, Radio, Kapittel elleve: Fantasifoster, Constraining Innovators, Kapittel fjorten: Eldred II
    Lucas, George, Kapittel sju: Innspillerne
    Lucky Dog, The, Kapittel tretten: Eldred
    lufttrafikk, landeierskap mot, Introduksjon, Introduksjon

    M

    Madonna, Radio, Radio, Piratvirksomhet II, Kapittel ti: «Eiendom»
    makt, konsentrasjon av, Forord, Forord, Introduksjon
    manga, Kapittel en: Skaperne, Kapittel en: Skaperne
    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
    media
    blog pressure on, Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere»
    commercial imperatives of, Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere»
    eierskapskonsentrasjon i, Introduksjon, Introduksjon, Kapittel to: «Kun etter-apere»
    medisiner
    farmasøytisk, Konklusjon, Konklusjon
    Mehra, Salil, Kapittel en: Skaperne, Kapittel en: Skaperne
    MGM, Kapittel ti: «Eiendom»
    Michigan Technical University, Kapittel tre: Kataloger
    Microsoft, Kapittel åtte: Omformerne
    government case against, Arkitektur og lov: Makt
    internasjonal piratkopiering av, Piratvirksomhet I
    konkurransemessige strategier for, Piratvirksomhet I
    nettverksfilsystemet til, Kapittel tre: Kataloger, Kapittel tre: Kataloger
    om fri programvare, Konklusjon, Konklusjon
    Windows-operativsystemet til, Piratvirksomhet I
    WIPO-møte motarbeidet av, Konklusjon
    Mikke Mus, Kapittel en: Skaperne, Kapittel en: Skaperne, Loven: Virkeområde
    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
    MTV, Piratvirksomhet II
    Müller, Paul Hermann, Hvorfor Hollywood har rett
    MusicStore, 4. Frigjør musikken—igjen
    musikkpublisering, «Piratvirksomhet»

    N

    Napster, Kapittel to: «Kun etter-apere»
    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
    newspapers
    arkiver av, Kapittel ni: Samlere
    Nimmer, David, Kapittel åtte: Omformerne
    Nimmer, Melville, 5. Spark en masse advokater
    normer, reguleringspåvirkning fra, Kapittel ti: «Eiendom», Hvorfor Hollywood har rett
    noteark, «Piratvirksomhet», Innspilt musikk
    nyhetsdekning, Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere», Kapittel ni: Samlere, Kapittel ni: Samlere

    O

    O'Connor, Sandra Day, Kapittel tretten: Eldred
    Offentlige Vitenskapsbiblioteket, det (PLoS), Konklusjon, Gjenoppbygging av friheter som tidligere var antatt: Eksempler
    Olafson, Steve, Kapittel to: «Kun etter-apere»
    Olson, Theodore B., Kapittel tretten: Eldred
    Oppenheimer, Matt, Kapittel tre: Kataloger
    opphavsrett
    constitutional purpose of, Kapittel tretten: Eldred
    varighet til, Kapittel en: Skaperne, Kapittel en: Skaperne, Kapittel tretten: Eldred
    originalism, Kapittel tretten: Eldred
    Orwell, George, Kapittel ni: Samlere, Kapittel ni: Samlere

    P

    parallellimport, Konklusjon, Konklusjon
    Paramount Pictures, Kapittel ti: «Eiendom»
    patenter
    on pharmaceuticals, Konklusjon, Konklusjon
    Patterson, Raymond, Kapittel seks: Grunnleggerne
    peer-to-peer(p2p)-fildeling
    effektiviteten til, «Piratvirksomhet», «Piratvirksomhet»
    Picker, Randal C., Film, Radio, Piratvirksomhet II, Constraining Innovators
    piratvirksomhet
    avledede verk vas., Kapittel en: Skaperne, Kapittel en: Skaperne, Lov og arkitektur: Rekkevidde, Lov og arkitektur: Rekkevidde
    i Asia, Piratvirksomhet I, 4. Frigjør musikken—igjen
    in development of content industry, Kapittel fire: «Pirater», Kabel-TV
    PLoS (Offentlige Vitenskapsbiblioteket, det), Konklusjon, Gjenoppbygging av friheter som tidligere var antatt: Eksempler
    Pogue, David, Forord, Forord
    Politikk, (Aristotles), Arkitektur og lov: Makt
    politisk diskusjon, Kapittel to: «Kun etter-apere»
    Porgy and Bess, Kapittel tretten: Eldred
    pornografi, Kapittel tretten: Eldred
    Prelinger, Rick, Kapittel ni: Samlere
    Princeton University, Kapittel tre: Kataloger
    Promises to Keep (Fisher), 4. Frigjør musikken—igjen, 4. Frigjør musikken—igjen
    protection of artists vs. business interests, Introduksjon
    Public Citizen, Kapittel tretten: Eldred
    Public Enemy, Gjenoppbygging av fri kultur: En idé

    Q

    Quayle, Dan, Kapittel ni: Samlere

    R

    radio
    FM-spektrum for, Introduksjon, Introduksjon
    music recordings played on, Piratvirksomhet II
    rap music, Gjenoppbygging av fri kultur: En idé
    RCA, Introduksjon, Introduksjon
    Reagan, Ronald, Kapittel tretten: Eldred, Konklusjon
    Real Networks, Constraining Innovators, 4. Frigjør musikken—igjen
    Recording Industry Association of America (RIAA)
    copyright infringement lawsuits filed by, Kapittel tre: Kataloger, Kapittel tre: Kataloger
    intimidation tactics of, Kapittel tre: Kataloger, Kapittel tre: Kataloger
    lobbying power of, Kapittel tre: Kataloger
    Rehnquist, William H., Kapittel tretten: Eldred
    Rensselaer Polytechnic Institute (RPI), Kapittel tre: Kataloger, Kapittel tre: Kataloger
    computer network search engine of, 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
    Romeo and Juliet (Shakespeare), Kapittel seks: Grunnleggerne, Kapittel seks: Grunnleggerne
    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
    search engines, Kapittel tre: Kataloger, Kapittel tre: Kataloger
    Seasons, The (Thomson), Kapittel seks: Grunnleggerne
    Shakespeare, William, Kapittel en: Skaperne, Kapittel seks: Grunnleggerne
    Silent Sprint (Carson), Hvorfor Hollywood har rett
    Sonny Bono Copyright Term Extension Act (CTEA) (1998)
    Supreme Court challenge of, 5. Spark en masse advokater
    Sony
    Aibo robothund produsert av, Arkitektur og lov: Makt, Arkitektur og lov: Makt
    Sony Pictures Entertainment, Kapittel ti: «Eiendom»
    Sousa, John Philip, Innspilt musikk
    South Africa, Republic of, pharmaceutical imports by, Konklusjon, Konklusjon
    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 Anne (1710), Kapittel seks: Grunnleggerne, Loven: Varighet
    Statute of Monopolies (1656), Kapittel seks: Grunnleggerne
    Steamboat Bill, Jr., Kapittel en: Skaperne, Kapittel en: Skaperne, Kapittel to: «Kun etter-apere»
    Steamboat Willie, Kapittel en: Skaperne, Kapittel en: Skaperne
    Stevens, Ted, Forord
    Steward, Geoffrey, Kapittel tretten: Eldred
    Storbritannia
    public creative archive in, Konklusjon
    Supermann-tegneserier, Kapittel en: Skaperne
    Sutherland, Donald, Kapittel åtte: Omformerne

    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
    tegneserier, japanske, Kapittel en: Skaperne, Kapittel en: Skaperne
    teknologi
    copyright intent altered by, Lov og arkitektur: Rekkevidde, Lov og arkitektur: Rekkevidde
    Television Archive, Kapittel ni: Samlere
    televisjon
    kabel-TV mot kringkasting, 4. Frigjør musikken—igjen
    markedsføring på, Kapittel to: «Kun etter-apere»
    Thurmond, Strom, Kapittel to: «Kun etter-apere»
    tillatelser
    fotografering som ikke trenger, Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere»
    tillatelseskultur
    fri kultur mot, Introduksjon
    Tocqueville, Alexis de, Kapittel to: «Kun etter-apere»
    Tonson, Jacob, Kapittel seks: Grunnleggerne, Kapittel seks: Grunnleggerne
    Torvalds, Linus, Gjenoppbygging av friheter som tidligere var antatt: Eksempler
    Turner, Ted, Konklusjon
    Twentieth Century Fox, Kapittel ti: «Eiendom»
    Tysk åndsverkslov, Kapittel fjorten: Eldred II

    U

    United States Trade Representative (USTR), Konklusjon
    Universal Music Group, Marked: Konsentrasjon, Constraining Innovators
    Universal Pictures, Kapittel ti: «Eiendom»
    university computer networks, p2p sharing on, Kapittel tre: Kataloger, Kapittel tre: Kataloger
    utdanning
    fikling som metode for, Kapittel tre: Kataloger
    uttrykke seg, teknologier for å
    demokratisk, Kapittel to: «Kun etter-apere»

    V

    Vaidhyanathan, Siva, Kapittel en: Skaperne, Film, Kapittel seks: Grunnleggerne, Arkitektur og lov: Makt, Sammen
    Valenti, Jack
    on creative property rights, Introduksjon
    valg, Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere»
    Vanderbilt University, Kapittel ni: Samlere
    veteranpensjoner, 2. Kortere vernetid
    Videospillere/opptakere, Constraining Innovators, 4. Frigjør musikken—igjen
    vitenskapelige tidsskrifter, Gjenoppbygging av friheter som tidligere var antatt: Eksempler, Gjenoppbygging av friheter som tidligere var antatt: Eksempler
    Vivendi Universal, Kapittel elleve: Fantasifoster, 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»
    Way Back Machine, Kapittel ni: Samlere
    Wayner, Peter, Gjenoppbygging av fri kultur: En idé
    Web-logger (blogger), Kapittel to: «Kun etter-apere», Kapittel to: «Kun etter-apere»
    Webster, Noah, Introduksjon
    Wellcome Trust, Konklusjon
    Wells, H. G., Kapittel elleve: Fantasifoster, Kapittel elleve: Fantasifoster
    White House press releases, Kapittel ni: Samlere
    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
    World Intellectual Property Organization (WIPO), Konklusjon, Konklusjon
    World Summit on the Information Society (WSIS), Konklusjon, Konklusjon
    World Trade Center, Kapittel to: «Kun etter-apere»
    World Wide Web, Konklusjon
    Worldcom, Constraining Creators
    WRC, Marked: Konsentrasjon
    Wright-brødrene, Introduksjon, Introduksjon

    Y

    Yanofsky, Dave, Kapittel to: «Kun etter-apere»

    Z

    Zimmerman, Edwin, Kabel-TV
    Zittrain, Jonathan, «Piratvirksomhet», Loven: Virkeområde
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