TED2007
Lawrence Lessig: Laws that choke creativity
Lawrence Lessig: Seadus lämmatab loovust
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Larry Lessig, neti kõige kuulsam jurist, tsiteerib enda väites meie loomekultuuri taaselustamisest Philip Sousat, taevalikke autoriõiguseid ja "ASCAP kartelli".
Lawrence Lessig - Legal activist
Lawrence Lessig has already transformed intellectual-property law with his Creative Commons innovation. Now he's focused on an even bigger problem: The US' broken political system. Full bio
Lawrence Lessig has already transformed intellectual-property law with his Creative Commons innovation. Now he's focused on an even bigger problem: The US' broken political system. Full bio
Double-click the English transcript below to play the video.
00:24
(Applause)
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(Aplaus)
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I want to talk to you a little bit about user-generated content.
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Tahan teile pisut rääkida kasutaja loodud sisust.
00:29
I'm going to tell you three stories on the way to one argument
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Räägin teile ühe väite poole liikudes kolm lugu,
00:33
that's going to tell you a little bit
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mis räägivad teile pisut sellest,
00:35
about how we open user-generated content up for business.
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kuidas me avame kasutaja loodud sisu ärile.
00:39
So, here's the first story.
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Nii, siin on esimene lugu.
00:40
1906. This man, John Philip Sousa, traveled to this place,
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1906. See mees, John Philip Sousa, reisis
00:46
the United States Capitol, to talk about this technology,
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Ühendriikide Kapitooliumi, et rääkida tehnoloogiast,
00:50
what he called the, quote, "talking machines."
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mida tema nimetas, tsiteerin, “rääkivateks masinateks.”
00:54
Sousa was not a fan of the talking machines.
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Sousa polnud rääkivate masinate fänn.
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This is what he had to say.
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Siin on, mida tal oli öelda.
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"These talking machines are going to ruin artistic development
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“Need rääkivad masinad hävitavad selle maa muusika
01:03
of music in this country.
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kunstilise arengu.
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When I was a boy, in front of every house in the summer evenings,
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Kui ma olin väike poiss, võis suveõhtuti leida iga maja ees
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you would find young people together
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noori inimesi koos,
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singing the songs of the day, or the old songs.
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laulmas ajakohaseid või vanu laule.
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Today, you hear these infernal machines going night and day.
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Tänapäeval kuuled sa neid põrgumasinaid mängimas ööd ja päevad.
01:21
We will not have a vocal chord left," Sousa said.
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Meile ei jää häälepaelagi alles,” ütles Sousa.
01:24
"The vocal chords will be eliminated by a process of evolution
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"Häälepaelad kõrvaldatakse evolutsiooni protsessi käigus,
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as was the tail of man when he came from the ape."
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nagu inimese sabagi, kui ta ahvist arenes."
01:32
Now, this is the picture I want you to focus on.
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Nüüd ma tahan, et te pööraksite tähelepanu sellele pildile.
01:37
This is a picture of culture.
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See on pilt kultuurist.
01:39
We could describe it using modern computer terminology
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Me võiksime seda kirjeldada kasutades moodsat arvuti terminoloogiat -
01:43
as a kind of read-write culture.
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nagu mingit read-write kultuuri.
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It's a culture where people participate in the creation
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See on kultuur, kus inimesed osalevad oma kultuuri loomises
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and the re-creation of their culture. In that sense, it's read-write.
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ja taasloomises. Selles mõttes on see read-write.
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Sousa's fear was that we would lose that capacity
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Sousa hirm oli, et me kaotame selle võime
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because of these, quote, "infernal machines." They would take it away.
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nende, tsiteerin, “põrgumasinate” tõttu. Nad võtaks selle ära.
02:04
And in its place, we'd have the opposite of read-write culture,
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Ja selle asemele tekiks read-write kultuuri vastand,
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what we could call read-only culture.
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mida me võiksime nimetada read-only kultuuriks.
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Culture where creativity was consumed
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Kultuur, kus loovust tarbiti,
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but the consumer is not a creator.
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ent tarbija ei ole looja.
02:17
A culture which is top-down, owned,
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Kultuur, mis on ladviku käes, omatud,
02:20
where the vocal chords of the millions have been lost.
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kus miljonite häälepaelad on kaduma läinud.
02:24
Now, as you look back at the twentieth century,
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Nüüd, vaadates tagasi 20ndale sajandile,
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at least in what we think of as the, quote, "developed world" --
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vähemalt sellele, mida me peame, tsiteerin, “arenenud maailmaks,”
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hard not to conclude that Sousa was right.
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on raske mitte järeldada, et Sousa’l oli õigus.
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Never before in the history of human culture
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Mitte kunagi varem inimkultuuri ajaloo jooksul pole
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had it been as professionalized, never before as concentrated.
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see olnud nii professionaliseeritud, mitte kunagi varem nii kontsentreeritud.
02:43
Never before has creativity of the millions
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Mitte kunagi varem pole miljonite loovus
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been as effectively displaced,
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olnud nii efektiivselt ümberpaigutatud,
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and displaced because of these, quote, "infernal machines."
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ja ümberpaigutatud just nende, tsiteerin, “põrgumasinate” poolt.
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The twentieth century was that century
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20. sajand oli sajand, mil,
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where, at least for those places we know the best,
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vähemalt nendes kohtades, mida me teame kõige paremini,
02:57
culture moved from this read-write to read-only existence.
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liikus kultuur sellest read-write eksistentsist read-only eksistentsi.
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So, second. Land is a kind of property --
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Nüüd teiseks. Maa on teatud tüüpi omand -
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it is property. It's protected by law.
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see on omand. See on kaitstud seadusega.
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As Lord Blackstone described it, land is protected by trespass law,
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Nagu Lord Blackstone seda kirjeldas, on maa kaitstud läbikäiguseadusega,
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for most of the history of trespass law,
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enamuse läbikäiguseaduse ajaloost
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by presuming it protects the land all the way down below
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eeldades, et see kaitseb maad lõpuni alla
03:25
and to an indefinite extent upward.
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ja lõputult üles.
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Now, that was a pretty good system
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No see oli päris hea süsteem
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for most of the history of the regulation of land,
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enamuse selle maa regulatsiooni ajaloo vältel,
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until this technology came along, and people began to wonder,
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kuni see tehnoloogia saabus ja inimesed hakkasid pead murdma,
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were these instruments trespassers
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kas need instrumendid on sissetungijad,
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as they flew over land without clearing the rights
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kui nad üle maa lendasid ega kooskõlastanud seda
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of the farms below as they traveled across the country?
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allolevate taludega, lennates üle kogu riigi.
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Well, in 1945, Supreme Court got a chance to address that question.
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Igatahes aastal 1945 sai Ülemkohus võimaluse sellele küsimusele vastata.
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Two farmers, Thomas Lee and Tinie Causby, who raised chickens,
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Kahel talunikul, Thomas Lee’l ja Tinie Causby’l, kes kasvatasid kanu,
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had a significant complaint because of these technologies.
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oli oluline kaebus nende tehnoloogiate tõttu.
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The complaint was that their
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Kaebus oli, et nende
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chickens followed the pattern of the airplanes
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kanad järgisid lennukite kulgu
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and flew themselves into the walls of the barn
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ja lennutasid ennast vastu lauta,
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when the airplanes flew over the land.
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kui lennukid üle maa lendasid.
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And so they appealed to Lord Blackstone
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Ja nii nad pöördusid nõudega Lord Blackstone’i poole,
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to say these airplanes were trespassing.
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öeldes, et need lennukid olid sissetungijad.
04:21
Since time immemorial, the law had said,
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Aegade algusest peale oli seadus öelnud,
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you can't fly over the land without permission of the landowner,
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et ei tohi lennata üle maa ilma maaomaniku loata,
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so this flight must stop.
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seega, see lendamine peab lõppema.
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Well, the Supreme Court considered this 100-years tradition
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No Ülemkohus kaalutles seda 100-aastast traditsiooni
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and said, in an opinion written by Justice Douglas,
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ja ütles, Justice Douglas’e poolt kirjutatud arvamuses,
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that the Causbys must lose.
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et Causby’d peavad kaotama.
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The Supreme Court said the doctrine protecting land
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Ülemkohus ütles, et doktriin, mis kaitseb maad
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all the way to the sky has no place in the modern world,
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lõputult taevasse, ei oma kohta moodsas maailmas,
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otherwise every transcontinental flight would
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muidu annaks iga transkontinentaalne lend aluse
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subject the operator to countless trespass suits.
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muuta operaator lõputute läbikäiguseaduse hagide subjektiks.
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Common sense, a rare idea in the law, but here it was. Common sense --
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Terve mõistus, harv idee seaduses, aga seal ta oli, terve mõistus.
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(Laughter) --
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(Naer)
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Revolts at the idea. Common sense.
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Terve mõistus on selle mõtte vastu. Terve mõistus.
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Finally. Before the Internet, the last great terror
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Viimaks. Enne internetti oli viimane suur terror,
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to rain down on the content industry
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mis sadas meediatööstuse kaela,
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was a terror created by this technology. Broadcasting:
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loodud selle tehnoloogia poolt: ringhääling.
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a new way to spread content,
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Uus moodus sisu levitada
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and therefore a new battle over the control
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ja seega uus lahing kontrolli üle
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of the businesses that would spread content.
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äris, mis sisu levitama hakkaks.
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Now, at that time, the entity,
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Nüüd, sel ajal entiteet -
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the legal cartel, that controlled the performance rights
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seaduslik kartell, mis kontrollis esinemisõigusi
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for most of the music that would be broadcast
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enamuse muusika üle, mis oleks eetrisse sattunud
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using these technologies was ASCAP.
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kasutades neid tehnoloogiaid, oli ASCAP.
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They had an exclusive license on the most popular content,
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Neil oli eksklusiivne litsents kõige populaarsema sisu üle
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and they exercised it in a way that tried to demonstrate
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ja nad kasutasid seda nii, et demonstreerida
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to the broadcasters who really was in charge.
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ringhäälingutele, kes tegelikult asja juhib.
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So, between 1931 and 1939, they raised rates by some 448 percent,
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Seega, 1931 ja 1939 vahel tõstsid nad tariife 448%,
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until the broadcasters finally got together
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kuni ringhäälingud said lõpuks kokku
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and said, okay, enough of this.
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ja ütlesid, hea küll, aitab sellest.
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And in 1939, a lawyer, Sydney Kaye, started something
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Ning aastal 1939 alustas jurist Sydney Kaye midagi
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called Broadcast Music Inc. We know it as BMI.
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nimega Broadcast Music Incorporated. Me teame seda kui BMI.
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And BMI was much more democratic in the art
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Ja BMI oli hulga demokraatlikum kunsti osas,
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that it would include within its repertoire,
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mida ta kaasas oma repertuaari,
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including African American music for the first time in the repertoire.
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lisades esmakordselt Afroameerika muusika oma repertuaari.
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But most important was that BMI took public domain works
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Aga kõige tähtsam oli, et BMI võttis vaba kasutuse töid
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and made arrangements of them, which they gave away for free
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ja tegi nendest kokkuleppeid, mida nad andsid ära tasuta
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to their subscribers. So that in 1940,
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oma tellijatele. Nii et 1940. aastal,
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when ASCAP threatened to double their rates,
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kui ASCAP ähvardas oma tariife kahekordistada,
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the majority of broadcasters switched to BMI.
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läks enamus kanaleid üle BMI’sse.
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Now, ASCAP said they didn't care.
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Nii, ASCAP ütles, et neil on ükskõik.
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The people will revolt, they predicted, because the very best music
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Inimesed hakkavad mässama, ennustasid nad, kuna parim muusika
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was no longer available, because they had shifted
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pole enam kättesaadav, sest nad olid valinud
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to the second best public domain provided by BMI.
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paremuselt teise vaba kasutuse domeeni, mida pakkus BMI.
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Well, they didn't revolt, and in 1941, ASCAP cracked.
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No nad ei hakanud mässama ning aastal 1941 ASCAP murdus.
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And the important point to recognize
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Oluline on siinkohal mõista,
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is that even though these broadcasters
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et kuigi need jaamad
07:17
were broadcasting something you would call second best,
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lasid eetrisse midagi, mida võiks kutsuda paremuselt teiseks,
07:19
that competition was enough to break, at that time,
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oli see konkurents piisav, et murda tol ajal
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this legal cartel over access to music.
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see muusikale juurdepääsu piirav seaduslik kartell.
07:28
Okay. Three stories. Here's the argument.
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Nonii. Kolm lugu. Siit tuleb väide.
07:32
In my view, the most significant thing to recognize
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Minu arvates on kõige olulisem asi ära tunda
07:34
about what this Internet is doing
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selle juures, mida see internet teeb,
07:36
is its opportunity to revive the read-write culture
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selle võimalust taaselustada see read-write kultuur,
07:40
that Sousa romanticized.
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millest Sousa romantiseeris.
07:44
Digital technology is the opportunity
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Digitaalne tehnoloogia on võimalus
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for the revival of these vocal chords
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taaselustada need häälepaelad,
07:48
that he spoke so passionately to Congress about.
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millest ta nii kirglikult Kongressile rääkis.
07:52
User-generated content, spreading in businesses
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Kasutaja loodud sisu, levides ärides
07:56
in extraordinarily valuable ways like these,
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nõnda erakordselt väärtuslikel viisidel,
07:59
celebrating amateur culture.
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tähistamas amatöörkultuuri.
08:02
By which I don't mean amateurish culture,
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Selle all ei pea ma silmas algajalikku kultuuri,
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I mean culture where people produce
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ma pean silmas kultuuri, mida inimesed loovad
08:08
for the love of what they're doing and not for the money.
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armastusest selle tegevuse vastu ja mitte raha pärast.
08:12
I mean the culture that your kids are producing all the time.
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Ma pean silmas kultuuri, mida teie lapsed loovad kogu aeg.
08:17
For when you think of what Sousa romanticized
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Sest kui te mõtlete, millest Sousa romantiseeris
08:20
in the young people together, singing the songs of the day,
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noortes, laulmas koos tänapäevaseid laule,
08:23
of the old songs, you should recognize
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ja vanadest lauludest, peaksite te ära tundma
08:25
what your kids are doing right now.
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selle, mida teie lapsed teevad just praegu.
08:28
Taking the songs of the day and the old songs
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Võttes tänapäeva laulud ja vanad laulud
08:30
and remixing them to make them something different.
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ja remiksides neid, tehes neid millekski erinevaks.
08:34
It's how they understand access to this culture.
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Nii mõistavad nad juurdepääsu sellele kultuurile.
08:37
So, let's have some very few examples
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Seega, võtame mõned üksikud näited,
08:40
to get a sense of what I'm talking about here.
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et saaksite aru, millest ma siin räägin.
08:42
Here's something called Anime Music Video, first example,
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Siin on miski, mida kutsutakse Anima Muusika Video, esimene näide,
08:44
taking anime captured from television
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võttes anima televisioonist
08:48
re-edited to music tracks.
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ja redigeerides selle uuesti muusikalugudele.
08:50
(Music)
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(Muusika)
09:30
This one you should be -- confidence. Jesus survives. Don't worry.
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Seda te peaksite – enesekindlust. Jeesus jääb elama. Ärge muretsege.
09:35
(Music)
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(Muusika: ”I Will Survive” Gloria Gaynor)
10:20
(Laughter)
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(Naer)
10:28
And this is the best.
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Ja see on parim.
10:30
(Music)
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(Muusika: ”Endless Love” Lionel Ritche ja Diana Ross)
10:37
My love ...
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Mu arm ...
10:41
There's only you in my life ...
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Ainult sina oled mu elus …
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The only thing that's bright ...
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Ainus, mis on ere …
10:52
My first love ...
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Mu esimene armastus …
10:57
You're every breath that I take ...
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Oled mu iga hingetõmme …
11:01
You're every step I make ...
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Oled mu iga samm …
11:07
And I ....
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Ja mina ...
11:11
I want to share all my love with you ...
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Mina tahan oma armastust sinuga jagada …
11:22
No one else will do ...
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Keegi teine pole see …
11:27
And your eyes ...
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Ja sinu silmad ...
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They tell me how much you care ...
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Nad räägivad, kui palju sa hoolid …
11:37
(Music)
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(Muusika)
11:42
So, this is remix, right?
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Niisiis see on remiks, eksole?
11:44
(Applause)
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(Aplaus)
11:50
And it's important to emphasize that what this is not
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Oluline on rõhutada, et see ei ole see,
11:52
is not what we call, quote, "piracy."
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mida me nimetame, tsiteerin, “piraatluseks”.
11:55
I'm not talking about nor justifying
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Ma ei räägi ega õigusta
11:58
people taking other people's content in wholesale
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inimesi, kes võtavad teiste inimeste sisu ja panevad selle hulgimüüki
12:01
and distributing it without the permission of the copyright owner.
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ja jagavad seda ilma autoriõiguse omaja loata.
12:04
I'm talking about people taking and recreating
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Ma räägin inimestest, kes võtavad ja loovad uuesti,
12:07
using other people's content, using digital technologies
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kasutades teiste inimeste loodud sisu, kasutades digitaalset tehnoloogiat,
12:11
to say things differently.
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et öelda asju teisiti.
12:13
Now, the importance of this
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Nii, selle tähtsus
12:14
is not the technique that you've seen here.
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ei ole see tehnika, mida te siin nägite.
12:18
Because, of course, every technique that you've seen here
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Sest loomulikult on iga tehnika, mida te siin nägite,
12:20
is something that television and film producers
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olnud miski, mida televisioon ja filmitootjad
12:22
have been able to do for the last 50 years.
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on olnud võimelised tegema viimased 50 aastat.
12:24
The importance is that that technique has been democratized.
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Tähtis on, et see tehnika on demokratiseeritud.
12:29
It is now anybody with access to a $1,500 computer
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Nüüd võib igaüks, kel on juurdepääs 1500-dollarilisele arvutile,
12:34
who can take sounds and images from the culture around us
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võtta helisid ja pilte meid ümbritsevast kultuurist
12:36
and use it to say things differently.
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ja kasutada neid, et öelda asju teisiti.
12:38
These tools of creativity have become tools of speech.
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Need loovuse riistad on saanud kõne riistadeks.
12:43
It is a literacy for this generation. This is how our kids speak.
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See on selle generatsiooni kirjaoskus. See on kuidas meie lapsed räägivad.
12:50
It is how our kids think. It is what your kids are
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See on kuidas meie lapsed mõtlevad; see on mis teie lapsed on
12:55
as they increasingly understand digital technologies
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kui nad üha enam mõistavad digitaalseid tehnoloogiaid
12:59
and their relationship to themselves.
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ja nende suhet endiga.
13:02
Now, in response to this new use of culture using digital technologies,
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Nii, vastuseks sellele uuele kultuurikasutusele, mis kasutab digitaalset tehnoloogiat,
13:09
the law has not greeted this Sousa revival
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pole seadus Sousa taaselavdamist tervitanud
13:13
with very much common sense.
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just eriti ohtra terve mõistusega.
13:15
Instead, the architecture of copyright law
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Selle asemel on autoriõiguse seaduse arhitektuur
13:18
and the architecture of digital technologies,
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ja digitaalse tehnoloogia arhitektuur
13:20
as they interact, have produced the presumption
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vastastikuselt toimides loonud eelduse,
13:23
that these activities are illegal.
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et need tegevused on illegaalsed.
13:26
Because if copyright law at its core regulates something called copies,
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Kuna kui autoriõiguse seadus reguleerib põhitasandil miskit nimega koopiad,
13:29
then in the digital world the one fact we can't escape
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siis digitaalses maailmas on üks vältimatu fakt,
13:32
is that every single use of culture produces a copy.
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et iga kultuuri kasutus loob koopia.
13:37
Every single use therefore requires permission;
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Iga kasutus vajab seetõttu luba;
13:40
without permission, you are a trespasser.
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ilma selle loata oled sa sissetungija.
13:43
You're a trespasser with about as much sense
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Sa oled sissetungija umbes samamoodi,
13:45
as these people were trespassers.
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nagu olid nood inimesed sissetungijad.
13:50
Common sense here, though, has not yet revolted
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Terve mõistus pole siinkohal siiski veel mässama hakanud
13:54
in response to this response that the law has offered
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vastuseks seaduse pakutud vastusele
13:57
to these forms of creativity.
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seda tüüpi loovusele.
14:00
Instead, what we've seen
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Selle asemel, mida me oleme näinud
14:01
is something much worse than a revolt.
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on miski palju halvem kui mäss.
14:05
There's a growing extremism that comes from both sides
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See on kasvav ekstremism, mis tuleb selle debati
14:09
in this debate, in response to this conflict
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mõlemalt poolelt, vastuseks sellele konfliktile
14:12
between the law and the use of these technologies.
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seaduste ja nende tehnoloogiate kasutamise vahel.
14:15
One side builds new technologies, such as one recently announced
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Üks pool ehitab uusi tehnoloogiaid, nagu viimati välja kuulutatu,
14:19
that will enable them
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mis võimaldab neil
14:22
to automatically take down from sites like YouTube
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lehtedelt nagu YouTube automaatselt maha võtta
14:25
any content that has any copyrighted content in it,
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iga materjali, milles on mingi osa autoriõigusega kaitstud,
14:27
whether or not there's a judgment of fair use
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hoolimata sellest, kas seal on hinnang õiglasele kasutusele,
14:30
that might be applied to the use of that content.
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mida vöiks rakendada selle materjali kasutamiseks.
14:32
And on the other side, among our kids,
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Ja teisel pool, meie laste seas,
14:35
there's a growing copyright abolitionism,
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on kasvav autoriõiguse ümberlükkamine,
14:39
a generation that rejects the very notion
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generatsioon, mis hülgab just selle,
14:42
of what copyright is supposed to do, rejects copyright
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mida autoriõigus peaks tegema, hülgab autoriõiguse
14:45
and believes that the law is nothing more than an ass
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ja usub, et seadus pole muud kui eesel,
14:48
to be ignored and to be fought at every opportunity possible.
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keda ignoreerida ja kellega võidelda igal võimalusel.
14:55
The extremism on one side begets extremism on the other,
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Ekstremism ühel poolel sigitab ekstremismi teisel pool,
14:59
a fact we should have learned many, many times over,
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fakt, mida me oleksime pidanud õppima mitu, mitu korda
15:03
and both extremes in this debate are just wrong.
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ning mõlemad ekstreemsused selles debatis on lihtsalt valed.
15:07
Now, the balance that I try to fight for,
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Nüüd see tasakaal, mille nimel ma katsun võidelda, –
15:11
I, as any good liberal, try to fight for first
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mina, nagu iga hea liberaal proovib võidelda esmalt
15:13
by looking to the government. Total mistake, right?
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vaadates valitsuse poole. Täielik viga, eks?
15:17
(Laughter)
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(Naer)
15:18
Looked first to the courts and the legislatures to try to get them
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Vaatasin esmalt kohtu ja seadusandliku võimu poole, et proovida nad
15:21
to do something to make the system make more sense.
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panna tegema midagi, mis süsteemi mõistlikumaks teeks.
15:23
It failed partly because the courts are too passive,
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See kukkus läbi osaliselt, kuna kohtud on liiga passiivsed,
15:27
partly because the legislatures are corrupted,
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ja osaliselt, kuna seadusandlik võim on korrumpeerunud,
15:29
by which I don't mean that there's bribery
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mille all ma ei pea silmas, et on altkäemaksu,
15:32
operating to stop real change,
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mis tegutseb takistamaks tõelist muutust,
15:35
but more the economy of influence that governs how Congress functions
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vaid pigem mõjutuste majanduskorda, mis juhib Kongressi tööd,
15:39
means that policymakers here will not understand this
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tähendades, et seaduseloojad ei mõista seda olukorda,
15:43
until it's too late to fix it.
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kuni on liiga hilja, et seda parandada.
15:45
So, we need something different, we need a different kind of solution.
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Seega on meil vaja midagi erinevat, me vajame teistsugust lahendust,
15:49
And the solution here, in my view, is a private solution,
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ja see lahendus siin, minu arvates, see on privaatne lahendus,
15:53
a solution that looks to legalize what it is to be young again,
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lahendus, mis proovib uuesti noor olemist seadustada
15:57
and to realize the economic potential of that,
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ja mõista selle majanduslikku potentsiaali,
15:59
and that's where the story of BMI becomes relevant.
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ning see on koht, kus BMI lugu muutub asjakohaseks.
16:03
Because, as BMI demonstrated, competition here
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Sest nagu BMI demonstreeris, võib konkurents siin
16:06
can achieve some form of balance. The same thing can happen now.
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saavutada teatud tasakaalu. Sama asi võib juhtuda praegu.
16:11
We don't have a public domain to draw upon now,
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Meil pole vabakasutuse domeeni, millele praegu tugineda
16:14
so instead what we need is two types of changes.
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ja mida me selle asemel vajame, on kahte sorti muutused.
16:17
First, that artists and creators embrace the idea,
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Esmalt, et artistid ja loojad võtaks omaks selle idee
16:21
choose that their work be made available more freely.
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valida, et nende looming tehtaks vabamalt kättesaadavaks.
16:25
So, for example, they can say their work is available freely
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Näiteks, nad võivad öelda, et nende looming on vabalt kättesaadav
16:28
for non-commercial, this amateur-type of use,
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mittekommertsialaseks, selleks amatöör-tüüpi kasutuseks,
16:30
but not freely for any commercial use.
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aga mitte vabalt igasuguseks kommertsiaalseks kasutuseks.
16:32
And second, we need the businesses
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Ja teiseks, meil on vaja, et need ärid,
16:35
that are building out this read-write culture
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mis arendavad seda read-write kultuuri,
16:38
to embrace this opportunity expressly, to enable it,
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võtaks selgelt omaks selle võimaluse, võimaldaksid seda,
16:43
so that this ecology of free content, or freer content,
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nii, et see vaba sisu ökoloogia, või vabam sisu,
16:48
can grow on a neutral platform
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saaks kasvada neutraalsel platvormil,
16:50
where they both exist simultaneously,
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kus nad mõlemad eksisteerivad samaaegselt,
16:53
so that more-free can compete with less-free,
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nii et rohkem vaba saab konkureerida vähem vabaga
16:58
and the opportunity to develop the creativity in that competition
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ja võimalus arendada loovust selles konkurentsis
17:02
can teach one the lessons of the other.
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saab õpetada ühele teise õppetunnid.
17:05
Now, I would talk about one particular such plan
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Nüüd ma räägiks ühest konkreetsest sellisest plaanist,
17:09
that I know something about,
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millest ma midagi tean,
17:10
but I don't want to violate TED's first commandment of selling,
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aga ma ei taha rikkuda TED’i esimest käsku mitte müüa,
17:13
so I'm not going to talk about this at all.
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seega ei räägi ma sellest üldse.
17:15
I'm instead just going to remind you of the point that BMI teaches us.
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Selle asemel ma tuletan teile meelde mõtet, mida BMI meile õpetab.
17:22
That artist choice is the key for new technology
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Et artistide valik on võti uue tehnoloogia
17:27
having an opportunity to be open for business,
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võimalusele olla avatud ärile
17:30
and we need to build artist choice here
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ja me peame siinkohal ehitama artistide valikuid,
17:33
if these new technologies are to have that opportunity.
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kui need uued tehnoloogiad selle võimaluse saavad.
17:36
But let me end with something I think much more important --
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Aga las ma lõpetan minu arvates millegi palju olulisemaga –
17:39
much more important than business.
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palju olulisemaga, kui seda on äri.
17:41
It's the point about how this connects to our kids.
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See on mõte sellest, kuidas see seostub meie lastega.
17:44
We have to recognize they're different from us. This is us, right?
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Me peame mõistma, et nad on meist erinevad. Need oleme meie, eks?
17:49
(Laughter)
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(Naer)
17:50
We made mixed tapes; they remix music.
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Meie tegime miksitud kassette; nemad remiksivad muusikat.
17:52
We watched TV; they make TV.
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Meie vaatasime televisiooni; nemad teevad televisiooni.
17:55
It is technology that has made them different,
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See on tehnoloogia, mis on nad erinevaks teinud
17:59
and as we see what this technology can do,
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ja nagu me näeme, mis see tehnoloogia võib teha,
18:01
we need to recognize you can't kill
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peame me mõistma, et ei saa tappa
18:04
the instinct the technology produces. We can only criminalize it.
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tehnoloogia loodud instinkti. Me saame seda ainult kriminaliseerida.
18:08
We can't stop our kids from using it.
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Me ei sa oma lapsi peatada seda kasutamast.
18:10
We can only drive it underground.
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Me saame selle ainult põranda alla suruda.
18:12
We can't make our kids passive again.
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Me ei saa oma lapsi uuesti pasiivseteks muuta.
18:15
We can only make them, quote, "pirates." And is that good?
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Me saame nad ainult muuta, tsiteerin, “piraatideks”. Ja kas see on hea?
18:20
We live in this weird time. It's kind of age of prohibitions,
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Me elame sellel imelikul ajal. See on teatav keeluaeg,
18:24
where in many areas of our life,
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kus me oma elu paljudes valdkondades,
18:26
we live life constantly against the law.
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elame pidevalt seadusevastaselt.
18:29
Ordinary people live life against the law,
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Tavalised inimesed elavad elu seadusevastaselt,
18:31
and that's what I -- we are doing to our kids.
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ja see on mida mina – meie teeme oma lastega.
18:35
They live life knowing they live it against the law.
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Nad elavad elu teades, et nad elavad seda seadusevastaselt.
18:39
That realization is extraordinarily corrosive,
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Selle mõistmine on erakordselt söövitav,
18:43
extraordinarily corrupting.
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erakordselt laostav.
18:46
And in a democracy, we ought to be able to do better.
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Ja demokraatias peaksime me olema võimelised paremaks.
18:50
Do better, at least for them, if not for opening for business.
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Võimelised paremaks, vähemalt nende jaoks, kui mitte avamiseks ärile.
18:57
Thank you very much.
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Tänan väga.
18:58
(Applause)
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(Aplaus)
ABOUT THE SPEAKER
Lawrence Lessig - Legal activistLawrence Lessig has already transformed intellectual-property law with his Creative Commons innovation. Now he's focused on an even bigger problem: The US' broken political system.
Why you should listen
Lawyer and activist Lawrence Lessig spent a decade arguing for sensible intellectual property law, updated for the digital age. He was a founding board member of Creative Commons, an organization that builds better copyright practices through principles established first by the open-source software community.
In 2007, just after his last TED Talk, Lessig announced he was leaving the field of IP and Internet policy, and moving on to a more fundamental problem that blocks all types of sensible policy -- the corrupting influence of money in American politics.
In 2011, Lessig founded Rootstrikers, an organization dedicated to changing the influence of money in Congress. In his latest book, Republic, Lost, he shows just how far the U.S. has spun off course -- and how citizens can regain control. As The New York Times wrote about him, “Mr. Lessig’s vision is at once profoundly pessimistic -- the integrity of the nation is collapsing under the best of intentions --and deeply optimistic. Simple legislative surgery, he says, can put the nation back on the path to greatness.”
Read an excerpt of Lessig's new book, Lesterland >>
Lawrence Lessig | Speaker | TED.com