Translate a few more.

[text-free-culture-lessig.git] / freeculture.xml

diff --git a/freeculture.xml b/freeculture.xml
index 9c8cea9c0e08a10650ef5ad983847184e3b09779..884842f56a75f68ee84d6e31caccdcbb790b85f2 100644 (file)
--- a/freeculture.xml
+++ b/freeculture.xml
@@ -966,7 +966,7 @@ this change, the war to rid the world of Internet <quote>pirates</quote> will al
 culture of values that have been integral to our tradition from the start.
 </para>
 <indexterm><primary>Constitution, U.S.</primary><secondary>First Amendment to</secondary></indexterm>
-<indexterm><primary>Copyright law</primary><secondary>as protection of creators</secondary></indexterm>
+<indexterm><primary>copyright law</primary><secondary>as protection of creators</secondary></indexterm>
 <indexterm><primary>First Amendment</primary></indexterm>
 <indexterm><primary>Netanel, Neil Weinstock</primary></indexterm>
 <para>
@@ -1131,7 +1131,7 @@ to which most of us remain oblivious.
 <title><quote>PIRACY</quote></title>
 <partintro>
 <!-- PAGE BREAK 30 -->
-<indexterm><primary>Copyright law</primary><secondary>English</secondary></indexterm>
+<indexterm><primary>copyright law</primary><secondary>English</secondary></indexterm>
 <indexterm id='idxmansfieldwilliammurraylord' class='startofrange'><primary>Mansfield, William Murray, Lord</primary></indexterm>
 <indexterm><primary>music publishing</primary></indexterm>
 <indexterm><primary>sheet music</primary></indexterm>
@@ -1316,7 +1316,7 @@ context the current battles about behavior labeled <quote>piracy.</quote>
 <indexterm id='idxcartoonfilms' class='startofrange'><primary>cartoon films</primary></indexterm>
 <indexterm id='idxfilmsanimated' class='startofrange'><primary>films</primary><secondary>animated</secondary></indexterm>
 <indexterm id='idxsteamboatwillie' class='startofrange'><primary>Steamboat Willie</primary></indexterm>
-<indexterm id='idxmikeymouse' class='startofrange'><primary>Mikey Mouse</primary></indexterm>
+<indexterm id='idxmickeymouse' class='startofrange'><primary>Mickey Mouse</primary></indexterm>
 <para>
 <emphasis role="strong">In 1928</emphasis>, a cartoon character was born. An early Mickey Mouse
 made his debut in May of that year, in a silent flop called <citetitle>Plane Crazy</citetitle>.
@@ -1418,7 +1418,7 @@ that we get Steamboat Willie, and then from Steamboat Willie, Mickey
 Mouse.
 </para>
 <indexterm startref='idxsteamboatwillie' class='endofrange'/>
-<indexterm startref='idxmikeymouse' class='endofrange'/>
+<indexterm startref='idxmickeymouse' class='endofrange'/>
 <indexterm startref='idxkeatonbuster' class='endofrange'/>
 <indexterm startref='idxsteamboatbilljr' class='endofrange'/>
 <indexterm id='idxcreativitybytransformingpreviousworks' class='startofrange'><primary>creativity</primary><secondary>by transforming previous works</secondary></indexterm>
@@ -1475,7 +1475,6 @@ own extraordinary talent, and then burned that mix into the soul of
 his culture. Rip, mix, and burn.
 </para>
 <indexterm startref='idxgrimmfairytales' class='endofrange'/>
-<indexterm startref="idxanimatedcartoons" class='endofrange'/>
 <para>
 This is a kind of creativity. It is a creativity that we should
 remember and celebrate. There are some who would say that there is no
@@ -1488,6 +1487,9 @@ culture around us and makes it something different.
 <indexterm startref='idxderivativeworkspiracyvs' class='endofrange'/>
 <indexterm startref='idxpiracyderivativeworkvs' class='endofrange'/>
 <indexterm startref='idxcreativitybytransformingpreviousworks' class='endofrange'/>
+<indexterm id='idxcopyrightdurationof' class='startofrange'><primary>copyright</primary><secondary>duration of</secondary></indexterm>
+<indexterm id='idxpublicdomaindefined' class='startofrange'><primary>public domain</primary><secondary>defined</secondary></indexterm>
+<indexterm id='idxpublicdomaintraditionaltermforconversionto' class='startofrange'><primary>public domain</primary><secondary>traditional term for conversion to</secondary></indexterm>
 <para> In 1928, the culture that Disney was free to draw upon was
 relatively fresh. The public domain in 1928 was not very old and was
 therefore quite vibrant. The average term of copyright was just around
@@ -1519,6 +1521,8 @@ for Disney to use and build upon in 1928. It was free for
 anyone&mdash; whether connected or not, whether rich or not, whether
 approved or not&mdash;to use and build upon.
 </para>
+<indexterm startref='idxanimatedcartoons' class='endofrange'/>
+<indexterm startref='idxfilmsanimated' class='endofrange'/>
 <para>
 This is the ways things always were&mdash;until quite recently. For most
 of our history, the public domain was just over the horizon. From
@@ -1533,12 +1537,22 @@ permission. Yet today, the public domain is presumptive only for
 content from before the Great Depression.
 </para>
 <indexterm startref='idxcartoonfilms' class='endofrange'/>
+<indexterm startref='idxdisneyinc' class='endofrange'/>
+<indexterm startref='idxcopyrightdurationof' class='endofrange'/>
+<indexterm startref='idxpublicdomaindefined' class='endofrange'/>
+<indexterm startref='idxpublicdomaintraditionaltermforconversionto' class='endofrange'/>
+<indexterm><primary>Disney, Walt</primary></indexterm>
 <para>
 <emphasis role="strong">Of course</emphasis>, Walt Disney had no monopoly on <quote>Walt Disney creativity.</quote>
 Nor does America. The norm of free culture has, until recently, and
 except within totalitarian nations, been broadly exploited and quite
 universal.
 </para>
+<indexterm id='idxcomicsjapanese' class='startofrange'><primary>comics, Japanese</primary></indexterm>
+<indexterm id='idxderivativeworkspiracyvs2' class='startofrange'><primary>derivative works</primary><secondary>piracy vs.</secondary></indexterm>
+<indexterm id='idxjapanesecomics' class='startofrange'><primary>Japanese comics</primary></indexterm>
+<indexterm id='idxmanga' class='startofrange'><primary>manga</primary></indexterm>
+<indexterm id='idxpiracyderivativeworkvs2' class='startofrange'><primary>piracy</primary><secondary>derivative work vs.</secondary></indexterm>
 <para>
 Consider, for example, a form of creativity that seems strange to many
 Americans but that is inescapable within Japanese culture: <citetitle>manga</citetitle>, or
@@ -1565,6 +1579,7 @@ variant on manga that from a lawyer's perspective is quite odd, but
 from a Disney perspective is quite familiar.
 </para>
 <indexterm id='idxcreativitybytransformingpreviousworks2' class='startofrange'><primary>creativity</primary><secondary>by transforming previous works</secondary></indexterm>
+<indexterm id='idxdoujinshicomics' class='startofrange'><primary>doujinshi comics</primary></indexterm>
 <para>
 This is the phenomenon of <citetitle>doujinshi</citetitle>. Doujinshi are also comics, but
 they are a kind of copycat comic. A rich ethic governs the creation of
@@ -1580,6 +1595,7 @@ must be different if they are to be considered true doujinshi. Indeed,
 there are committees that review doujinshi for inclusion within shows
 and reject any copycat comic that is merely a copy.
 </para>
+<indexterm id='idxdisneywalt2' class='startofrange'><primary>Disney, Walt</primary></indexterm>
 <para>
 These copycat comics are not a tiny part of the manga market. They are
 huge. More than 33,000 <quote>circles</quote> of creators from across Japan produce
@@ -1591,6 +1607,8 @@ competes with that market, but there is no sustained effort by those
 who control the commercial manga market to shut the doujinshi market
 down. It flourishes, despite the competition and despite the law.
 </para>
+<indexterm id='idxcopyrightlawjapanese' class='startofrange'><primary>copyright law</primary><secondary>Japanese</secondary></indexterm>
+<indexterm><primary>Steamboat Bill, Jr.</primary></indexterm>
 <para>
 The most puzzling feature of the doujinshi market, for those trained
 in the law, at least, is that it is allowed to exist at all. Under
@@ -1605,6 +1623,7 @@ the permission of the original copyright owner is illegal. It is an
 infringement of the original copyright to make a copy or a derivative
 work without the original copyright owner's permission.
 </para>
+<indexterm startref='idxdisneywalt2' class='endofrange'/>
 <indexterm id='idxwinickjudd' class='startofrange'><primary>Winick, Judd</primary></indexterm>
 <para>
 Yet this illegal market exists and indeed flourishes in Japan, and in
@@ -1621,6 +1640,7 @@ For an excellent history, see Scott McCloud, <citetitle>Reinventing Comics</cite
 York: Perennial, 2000).
 </para></footnote>
 </para>
+<indexterm startref='idxcopyrightlawjapanese' class='endofrange'/>
 <indexterm><primary>Superman comics</primary></indexterm>
 <para>
 American comics now are quite different, Winick explains, in part
@@ -1630,7 +1650,10 @@ and you have to stick to them.</quote> There are things Superman <quote>cannot</
 do. <quote>As a creator, it's frustrating having to stick to some parameters
 which are fifty years old.</quote>
 </para>
-<indexterm startref="idxwinickjudd" class='endofrange'/>
+<indexterm startref='idxwinickjudd' class='endofrange'/>
+<indexterm id='idxcopyrightlawjapanese2' class='startofrange'><primary>copyright law</primary><secondary>Japanese</secondary></indexterm>
+<indexterm><primary>comics, Japanese</primary></indexterm>
+<indexterm id='idxmehrasalil' class='startofrange'><primary>Mehra, Salil</primary></indexterm>
 <para>
 The norm in Japan mitigates this legal difficulty. Some say it is
 precisely the benefit accruing to the Japanese manga market that
@@ -1650,6 +1673,9 @@ individual self-interest and decide not to press their legal
 rights. This is essentially a prisoner's dilemma solved.</quote>
 </para></footnote>
 </para>
+<indexterm startref='idxcomicsjapanese' class='endofrange'/>
+<indexterm startref='idxjapanesecomics' class='endofrange'/>
+<indexterm startref='idxmanga' class='endofrange'/>
 <para>
 The problem with this story, however, as Mehra plainly acknowledges,
 is that the mechanism producing this laissez faire response is not
@@ -1661,6 +1687,8 @@ individual manga artists have sued doujinshi artists, why is there not
 a more general pattern of blocking this <quote>free taking</quote> by the doujinshi
 culture?
 </para>
+<indexterm startref='idxcopyrightlawjapanese2' class='endofrange'/>
+<indexterm startref='idxmehrasalil' class='endofrange'/>
 <para>
 I spent four wonderful months in Japan, and I asked this question
 as often as I could. Perhaps the best account in the end was offered by
@@ -1680,6 +1708,7 @@ uncompensated sharing? Does piracy here hurt the victims of the
 piracy, or does it help them? Would lawyers fighting this piracy help
 their clients or hurt them?
 </para>
+<indexterm startref='idxdoujinshicomics' class='endofrange'/>
 <para>
 <emphasis role='strong'>Let's pause</emphasis> for a moment.
 </para>
@@ -1707,6 +1736,9 @@ A large, diverse society cannot survive without property; a large,
 diverse, and modern society cannot flourish without intellectual
 property.
 </para>
+<indexterm id='idxdisneywalt3' class='startofrange'><primary>Disney, Walt</primary></indexterm>
+<indexterm id='idxgrimmfairytales2' class='startofrange'><primary>Grimm fairy tales</primary></indexterm>
+<indexterm><primary>Keaton, Buster</primary></indexterm>
 <para>
 But it takes just a second's reflection to realize that there is
 plenty of value out there that <quote>property</quote> doesn't capture. I don't
@@ -1722,6 +1754,7 @@ Disney's use would have been considered <quote>fair.</quote> There was nothing
 wrong with the taking from the Grimms because the Grimms' work was in
 the public domain.
 </para>
+<indexterm id='idxfreeculturederivativeworksbasedon' class='startofrange'><primary>free culture</primary><secondary>derivative works based on</secondary></indexterm>
 <para>
 Thus, even though the things that Disney took&mdash;or more generally,
 the things taken by anyone exercising Walt Disney creativity&mdash;are
@@ -1731,6 +1764,12 @@ valuable, our tradition does not treat those takings as wrong. Some
 things remain free for the taking within a free culture, and that
 freedom is good.
 </para>
+<indexterm startref='idxgrimmfairytales2' class='endofrange'/>
+<indexterm id='idxcopyrightlawjapanese3' class='startofrange'><primary>copyright law</primary><secondary>Japanese</secondary></indexterm>
+<indexterm><primary>comics, Japanese</primary></indexterm>
+<indexterm id='idxdoujinshicomics2' class='startofrange'><primary>doujinshi comics</primary></indexterm>
+<indexterm id='idxjapanesecomics2' class='startofrange'><primary>Japanese comics</primary></indexterm>
+<indexterm id='idxmanga2' class='startofrange'><primary>manga</primary></indexterm>
 <para>
 The same with the doujinshi culture. If a doujinshi artist broke into
 a publisher's office and ran off with a thousand copies of his latest
@@ -1746,6 +1785,13 @@ say that the copycat comic artists are <quote>stealing.</quote> This form of Wal
 Disney creativity is seen as fair and right, even if lawyers in
 particular find it hard to say why.
 </para>
+<indexterm startref='idxderivativeworkspiracyvs2' class='endofrange'/>
+<indexterm startref='idxpiracyderivativeworkvs2' class='endofrange'/>
+<indexterm startref='idxcopyrightlawjapanese3' class='endofrange'/>
+<indexterm startref='idxdoujinshicomics2' class='endofrange'/>
+<indexterm startref='idxjapanesecomics2' class='endofrange'/>
+<indexterm startref='idxmanga2' class='endofrange'/>
+<indexterm><primary>Shakespeare, William</primary></indexterm>
 <para>
 It's the same with a thousand examples that appear everywhere once you
 begin to look. Scientists build upon the work of other scientists
@@ -1771,6 +1817,7 @@ every society has left a certain bit of its culture free for the taking&mdash;fr
 societies more fully than unfree, perhaps, but all societies to some degree.
 <!-- PAGE BREAK 43 -->
 </para>
+<indexterm startref='idxdisneywalt3' class='endofrange'/>
 <para>
 The hard question is therefore not <emphasis>whether</emphasis> a
 culture is free. All cultures are free to some degree. The hard
@@ -1788,14 +1835,15 @@ Free cultures are cultures that leave a great deal open for others to
 build upon; unfree, or permission, cultures leave much less. Ours was a
 free culture. It is becoming much less so.
 </para>
+<indexterm startref='idxfreeculturederivativeworksbasedon' class='endofrange'/>
 
 <!-- PAGE BREAK 44 -->
 </chapter>
 <chapter label="2" id="mere-copyists">
 <title>CHAPTER TWO: <quote>Mere Copyists</quote></title>
-<indexterm id='idxcameratech' class='startofrange'><primary>camera technology</primary></indexterm>
-<indexterm id='idxphotography' class='startofrange'><primary>photography</primary></indexterm>
 <indexterm><primary>Daguerre, Louis</primary></indexterm>
+<indexterm id='idxcameratechnology' class='startofrange'><primary>camera technology</primary></indexterm>
+<indexterm id='idxphotography' class='startofrange'><primary>photography</primary></indexterm>
 <para>
 <emphasis role='strong'>In 1839</emphasis>, Louis Daguerre invented
 the first practical technology for producing what we would call
@@ -1831,7 +1879,8 @@ a developer, driving the costs of photography down substantially. By
 lowering the costs, Eastman expected he could dramatically broaden the
 population of photographers.
 </para>
-<indexterm><primary>Kodak Primer, The (Eastman)</primary></indexterm>
+<indexterm id='idxkodakcameras' class='startofrange'><primary>Kodak cameras</primary></indexterm>
+<indexterm id='idxkodakprimertheeastman' class='startofrange'><primary>Kodak Primer, The (Eastman)</primary></indexterm>
 <para>
 Eastman developed flexible, emulsion-coated paper film and placed
 rolls of it in small, simple cameras: the Kodak. The device was
@@ -1854,12 +1903,13 @@ preliminary study, without a darkroom and without
 chemicals.<footnote>
 <para>
 <!-- f2 -->
+<indexterm><primary>Coe, Brian</primary></indexterm>
 Brian Coe, <citetitle>The Birth of Photography</citetitle> (New York: Taplinger Publishing,
 1977), 53.
-<indexterm><primary>Coe, Brian</primary></indexterm>
 </para></footnote>
 </para>
 </blockquote>
+<indexterm startref='idxkodakprimertheeastman' class='endofrange'/>
 <para>
 For $25, anyone could make pictures. The camera came preloaded
 with film, and when it had been used, the camera was returned to an
@@ -1879,7 +1929,6 @@ an average annual increase of over 17 percent.<footnote><para>
 Based on a chart in Jenkins, p. 178.
 </para></footnote>
 </para>
-<indexterm startref='idxcameratech' class='endofrange'/>
 <indexterm><primary>Coe, Brian</primary></indexterm>
 <para>
 
@@ -1898,6 +1947,8 @@ interpretation or bias.</quote><footnote><para>
 Coe, 58.
 </para></footnote>
 </para>
+<indexterm><primary>democracy</primary><secondary>in technologies of expression</secondary></indexterm>
+<indexterm><primary>expression, technologies of</primary><secondary>democratic</secondary></indexterm>
 <para>
 In this way, the Kodak camera and film were technologies of
 expression.  The pencil or paintbrush was also a technology of
@@ -1911,6 +1962,8 @@ creativity that the Kodak enabled. Democratic tools gave ordinary
 people a way to express themselves more easily than any tools could
 have before.
 </para>
+<indexterm startref='idxkodakcameras' class='endofrange'/>
+<indexterm id='idxpermissionsphotographyexemptedfrom' class='startofrange'><primary>permissions</primary><secondary>photography exempted from</secondary></indexterm>
 <para>
 What was required for this technology to flourish? Obviously,
 Eastman's genius was an important part. But also important was the
@@ -1928,6 +1981,9 @@ v. <citetitle>N.E. Life Ins. Co</citetitle>., 50 S.E. 68 (Ga. 1905);
 Dist. Ct. 1894).
 </para></footnote>
 </para>
+<indexterm startref='idxcameratechnology' class='endofrange'/>
+<indexterm id='idxdisneywalt4' class='startofrange'><primary>Disney, Walt</primary></indexterm>
+<indexterm id='idximagesownershipof' class='startofrange'><primary>images, ownership of</primary></indexterm>
 <para>
 The arguments in favor of requiring permission will sound surprisingly
 familiar. The photographer was <quote>taking</quote> something from the person or
@@ -1940,6 +1996,8 @@ Mickey, so, too, should these photographers not be free to take images
 that they thought valuable.
 </para>
 <indexterm><primary>Brandeis, Louis D.</primary></indexterm>
+<indexterm><primary>Steamboat Bill, Jr.</primary></indexterm>
+<indexterm id='idxcameratechnology2' class='startofrange'><primary>camera technology</primary></indexterm>
 <para>
 On the other side was an argument that should be familiar, as well.
 Sure, there may be something of value being used. But citizens should
@@ -1957,7 +2015,7 @@ gets something for nothing. Just as Disney could take inspiration from
 <citetitle>Steamboat Bill, Jr</citetitle>. or the Brothers Grimm, the photographer should be
 free to capture an image without compensating the source.
 </para>
-<indexterm><primary>images, ownership of</primary></indexterm>
+<indexterm startref='idxdisneywalt4' class='endofrange'/>
 <para>
 Fortunately for Mr. Eastman, and for photography in general, these
 early decisions went in favor of the pirates. In general, no
@@ -1976,6 +2034,8 @@ Inc</citetitle>., 971 F.  2d 1395 (9th Cir. 1992), cert. denied, 508 U.S. 951
 (1993).
 </para></footnote>)
 </para>
+<indexterm><primary>Kodak cameras</primary></indexterm>
+<indexterm><primary>Napster</primary></indexterm>
 <para>
 We can only speculate about how photography would have developed had
 the law gone the other way. If the presumption had been against the
@@ -1991,6 +2051,10 @@ imagine the law then requiring that some form of permission be
 demonstrated before a company developed pictures. We could imagine a
 system developing to demonstrate that permission.
 </para>
+<indexterm startref='idxcameratechnology2' class='endofrange'/>
+<indexterm id='idxcameratechnology3' class='startofrange'><primary>camera technology</primary></indexterm>
+<indexterm><primary>democracy</primary><secondary>in technologies of expression</secondary></indexterm>
+<indexterm><primary>expression, technologies of</primary><secondary>democratic</secondary></indexterm>
 <para>
 
 <!-- PAGE BREAK 48 -->
@@ -2006,7 +2070,10 @@ that growth would have been realized. And certainly, nothing like that
 growth in a democratic technology of expression would have been
 realized.
 </para>
-<indexterm><primary>camera technology</primary></indexterm>
+<indexterm startref='idxphotography' class='endofrange'/>
+<indexterm startref='idxeastmangeorge' class='endofrange'/>
+<indexterm startref='idxpermissionsphotographyexemptedfrom' class='endofrange'/>
+<indexterm startref='idximagesownershipof' class='endofrange'/>
 <para>
 <emphasis role='strong'>If you drive</emphasis> through San
 Francisco's Presidio, you might see two gaudy yellow school buses
@@ -2023,8 +2090,6 @@ schools and enable three hundred to five hundred children to learn
 something about media by doing something with media.  By doing, they
 think. By tinkering, they learn.
 </para>
-<indexterm startref="idxeastmangeorge" class='endofrange'/>
-<indexterm startref="idxphotography" class='endofrange'/>
 <para>
 These buses are not cheap, but the technology they carry is
 increasingly so. The cost of a high-quality digital video system has
@@ -2058,6 +2123,8 @@ and noticing split infinitives are the things that <quote>literate</quote> peopl
 about.
 </para>
 <indexterm><primary>advertising</primary></indexterm>
+<indexterm><primary>commercials</primary></indexterm>
+<indexterm><primary>television</primary><secondary>advertising on</secondary></indexterm>
 <para>
 Maybe. But in a world where children see on average 390 hours of
 television commercials per year, or between 20,000 and 45,000 
@@ -2083,6 +2150,7 @@ how difficult media is. Or more fundamentally, few of us have a sense
 of how media works, how it holds an audience or leads it through a
 story, how it triggers emotion or builds suspense.
 </para>
+<indexterm startref='idxcameratechnology3' class='endofrange'/>
 <para>
 It took filmmaking a generation before it could do these things well.
 But even then, the knowledge was in the filming, not in writing about
@@ -2092,6 +2160,7 @@ reflecting upon what one has written. One learns to write with images
 by making them and then reflecting upon what one has created.
 </para>
 <indexterm><primary>Crichton, Michael</primary></indexterm>
+<indexterm id='idxdaleyelizabeth' class='startofrange'><primary>Daley, Elizabeth</primary></indexterm>
 <para>
 This grammar has changed as media has changed. When it was just film,
 as Elizabeth Daley, executive director of the University of Southern
@@ -2172,7 +2241,7 @@ language of the twenty-first century.</quote><footnote><para>
 Ibid.
 </para></footnote>
 </para>
-<indexterm><primary>Barish, Stephanie</primary></indexterm>
+<indexterm id='idxbarishstephanie' class='startofrange'><primary>Barish, Stephanie</primary></indexterm>
 <para>
 As with any language, this language comes more easily to some than to
 others. It doesn't necessarily come more easily to those who excel in
@@ -2185,6 +2254,7 @@ failure. But Daley and Barish ran a program that gave kids an
 opportunity to use film to express meaning about something the
 students know something about&mdash;gun violence.
 </para>
+<indexterm startref='idxdaleyelizabeth' class='endofrange'/>
 <para>
 The class was held on Friday afternoons, and it created a relatively
 new problem for the school. While the challenge in most classes was
@@ -2210,6 +2280,7 @@ can do well. Yet neither is text a form in which
 <emphasis>these</emphasis> ideas can be expressed well. The power of
 this message depended upon its connection to this form of expression.
 </para>
+<indexterm startref='idxbarishstephanie' class='endofrange'/>
 <para>
 
 <!-- PAGE BREAK 52 -->
@@ -2260,7 +2331,9 @@ had a lot of power with this language.
 <!-- FIXME removed a " from the end of the previous paragraph that did
      not match with any start quote. -->
 </blockquote>
+<indexterm id='idxseptemberterroristattacksof' class='startofrange'><primary>September 11, 2001, terrorist attacks of</primary></indexterm>
 <indexterm><primary>World Trade Center</primary></indexterm>
+<indexterm id='idxnewscoverage' class='startofrange'><primary>news coverage</primary></indexterm>
 <para>
 <emphasis role='strong'>When two planes</emphasis> crashed into the
 World Trade Center, another into the Pentagon, and a fourth into a
@@ -2297,6 +2370,7 @@ the term in his book <citetitle>Cyber Rights</citetitle>, around a news event th
 captured the attention of the world. There was ABC and CBS, but there
 was also the Internet.
 </para>
+<indexterm startref='idxseptemberterroristattacksof' class='endofrange'/>
 <para>
 I don't mean simply to praise the Internet&mdash;though I do think the
 people who supported this form of speech should be praised. I mean
@@ -2316,6 +2390,10 @@ and obviously not just that events are commented upon critically, but
 that this mix of captured images, sound, and commentary can be widely
 spread practically instantaneously.
 </para>
+<indexterm><primary>September 11, 2001, terrorist attacks of</primary></indexterm>
+<indexterm id='idxblogsweblogs' class='startofrange'><primary>blogs (Web-logs)</primary></indexterm>
+<indexterm id='idxinternetblogson' class='startofrange'><primary>Internet</primary><secondary>blogs on</secondary></indexterm>
+<indexterm id='idxweblogsblogs' class='startofrange'><primary>Web-logs (blogs)</primary></indexterm>
 <para>
 September 11 was not an aberration. It was a beginning. Around the
 same time, a form of communication that has grown dramatically was
@@ -2325,7 +2403,8 @@ such as in Japan, it functions very much like a diary. In those
 cultures, it records private facts in a public way&mdash;it's a kind
 of electronic <citetitle>Jerry Springer</citetitle>, available anywhere in the world.
 </para>
-<indexterm><primary>blogs (Web-logs)</primary></indexterm>
+<indexterm><primary>political discourse</primary></indexterm>
+<indexterm id='idxinternetpublicdiscourseconductedon' class='startofrange'><primary>Internet</primary><secondary>public discourse conducted on</secondary></indexterm>
 <para>
 But in the United States, blogs have taken on a very different
 character.  There are some who use the space simply to talk about
@@ -2340,6 +2419,9 @@ are relatively short; they point directly to words used by others,
 criticizing with or adding to them.  They are arguably the most
 important form of unchoreographed public discourse that we have.
 </para>
+<indexterm id='idxdemocracyintechnologiesofexpression' class='startofrange'><primary>democracy</primary><secondary>in technologies of expression</secondary></indexterm>
+<indexterm id='idxelections' class='startofrange'><primary>elections</primary></indexterm>
+<indexterm id='idxexpressiontechnologiesofdemocratic' class='startofrange'><primary>expression, technologies of</primary><secondary>democratic</secondary></indexterm>
 <para>
 That's a strong statement. Yet it says as much about our democracy as
 it does about blogs. This is the part of America that is most
@@ -2351,7 +2433,11 @@ people vote
 in those elections. The cycle of these elections has become totally
 professionalized and routinized. Most of us think this is democracy.
 </para>
+<indexterm startref='idxblogsweblogs' class='endofrange'/>
+<indexterm startref='idxinternetblogson' class='endofrange'/>
+<indexterm startref='idxweblogsblogs' class='endofrange'/>
 <indexterm><primary>Tocqueville, Alexis de</primary></indexterm>
+<indexterm id='idxdemocracypublicdiscoursein' class='startofrange'><primary>democracy</primary><secondary>public discourse in</secondary></indexterm>
 <indexterm><primary>jury system</primary></indexterm>
 <para>
 But democracy has never just been about elections. Democracy
@@ -2373,6 +2459,7 @@ See, for example, Alexis de Tocqueville, <citetitle>Democracy in America</citeti
 bk. 1, trans.  Henry Reeve (New York: Bantam Books, 2000), ch. 16.
 </para></footnote>
 </para>
+<indexterm startref='idxelections' class='endofrange'/>
 <para>
 Yet even this institution flags in American life today. And in its
 place, there is no systematic effort to enable citizen deliberation. Some
@@ -2385,6 +2472,7 @@ And in some towns in New England, something close to deliberation
 remains. But for most of us for most of the time, there is no time or
 place for <quote>democratic deliberation</quote> to occur.
 </para>
+<indexterm id='idxpoliticaldiscourse' class='startofrange'><primary>political discourse</primary></indexterm>
 <para>
 More bizarrely, there is generally not even permission for it to
 occur.  We, the most powerful democracy in the world, have developed a
@@ -2398,8 +2486,13 @@ Cass Sunstein, <citetitle>Republic.com</citetitle> (Princeton: Princeton Univers
 </para></footnote> We say what our friends want to hear, and hear very
 little beyond what our friends say.
 </para>
-<indexterm id='idxblogs1' class='startofrange'><primary>blogs (Web-logs)</primary></indexterm>
+<indexterm id='idxblogsweblogs2' class='startofrange'><primary>blogs (Web-logs)</primary></indexterm>
 <indexterm><primary>e-mail</primary></indexterm>
+<indexterm id='idxinternetblogson2' class='startofrange'><primary>Internet</primary><secondary>blogs on</secondary></indexterm>
+<indexterm id='idxweblogsblogs2' class='startofrange'><primary>Web-logs (blogs)</primary></indexterm>
+<indexterm startref='idxdemocracyintechnologiesofexpression' class='endofrange'/>
+<indexterm startref='idxexpressiontechnologiesofdemocratic' class='endofrange'/>
+<indexterm startref='idxdemocracypublicdiscoursein' class='endofrange'/>
 <para>
 Enter the blog. The blog's very architecture solves one part of this
 problem. People post when they want to post, and people read when they
@@ -2428,6 +2521,8 @@ is having an effect.
 </para>
 <indexterm><primary>Lott, Trent</primary></indexterm>
 <indexterm><primary>Thurmond, Strom</primary></indexterm>
+<indexterm id='idxmediablogpressureon' class='startofrange'><primary>media</primary><secondary>blog pressure on</secondary></indexterm>
+<indexterm id='idxinternetnewseventson2' class='startofrange'><primary>Internet</primary><secondary>news events on</secondary></indexterm>
 <para>
 One direct effect is on stories that had a different life cycle in the
 mainstream media. The Trent Lott affair is an example. When Lott
@@ -2444,6 +2539,7 @@ Noah Shachtman, <quote>With Incessant Postings, a Pundit Stirs the Pot,</quote>
 York Times, 16 January 2003, G5.
 </para></footnote>
 </para>
+<indexterm id='idxmediacommercialimperativesof' class='startofrange'><primary>media</primary><secondary>commercial imperatives of</secondary></indexterm>
 <para>
 This different cycle is possible because the same commercial pressures
 don't exist with blogs as with other ventures. Television and
@@ -2451,6 +2547,8 @@ newspapers are commercial entities. They must work to keep attention.
 If they lose readers, they lose revenue. Like sharks, they must move
 on.
 </para>
+<indexterm startref='idxmediablogpressureon' class='endofrange'/>
+<indexterm><primary>Internet</primary><secondary>peer-generated rankings on</secondary></indexterm>
 <para>
 But bloggers don't have a similar constraint. They can obsess, they
 can focus, they can get serious. If a particular blogger writes a
@@ -2460,6 +2558,8 @@ rises in the ranks of stories. People read what is popular; what is
 popular has been selected by a very democratic process of
 peer-generated rankings.
 </para>
+<indexterm startref='idxmediacommercialimperativesof' class='endofrange'/>
+<indexterm id='idxjournalism' class='startofrange'><primary>journalism</primary></indexterm>
 <indexterm id='idxwinerdave' class='startofrange'><primary>Winer, Dave</primary></indexterm>
 <para>
 There's a second way, as well, in which blogs have a different cycle
@@ -2473,7 +2573,9 @@ conflict of interest is so easily disclosed that you know you can sort of
 get it out of the way.</quote>
 </para>
 <indexterm><primary>CNN</primary></indexterm>
+<indexterm><primary>media</primary><secondary>commercial imperatives of</secondary></indexterm>
 <indexterm><primary>Iraq war</primary></indexterm>
+<indexterm><primary>media</primary><secondary>ownership concentration in</secondary></indexterm>
 <para>
 These conflicts become more important as media becomes more
 concentrated (more on this below). A concentrated media can hide more
@@ -2491,13 +2593,15 @@ account of the war was too bleak: She needed to offer a more
 optimistic story. When she told New York that wasn't warranted, they
 told her that <emphasis>they</emphasis> were writing <quote>the story.</quote>)
 </para>
-<para> Blog space gives amateurs a way to enter the
-debate&mdash;<quote>amateur</quote> not in the sense of inexperienced, but in the
-sense of an Olympic athlete, meaning not paid by anyone to give their
-reports. It allows for a much broader range of input into a story, as
-reporting on the Columbia disaster revealed, when hundreds from across
-the southwest United States turned to the Internet to retell what they
-had seen.<footnote><para>
+<indexterm startref='idxinternetnewseventson2' class='endofrange'/>
+<para>
+Blog space gives amateurs a way to enter the
+debate&mdash;<quote>amateur</quote> not in the sense of inexperienced,
+but in the sense of an Olympic athlete, meaning not paid by anyone to
+give their reports. It allows for a much broader range of input into a
+story, as reporting on the Columbia disaster revealed, when hundreds
+from across the southwest United States turned to the Internet to
+retell what they had seen.<footnote><para>
 <!-- f20 -->
 John Schwartz, <quote>Loss of the Shuttle: The Internet; A Wealth of
 Information Online,</quote> <citetitle>New York Times</citetitle>, 2 February 2003, A28; Staci
@@ -2540,6 +2644,7 @@ And as the inclusion of content in this space is the least infringing use
 of the Internet (meaning infringing on copyright), Winer said, <quote>we will
 be the last thing that gets shut down.</quote>
 </para>
+<indexterm startref='idxjournalism' class='endofrange'/>
 <para>
 This speech affects democracy. Winer thinks that happens because <quote>you
 don't have to work for somebody who controls, [for] a gatekeeper.</quote>
@@ -2555,8 +2660,13 @@ Today there are probably a couple of million blogs where such writing
 happens. When there are ten million, there will be something
 extraordinary to report.
 </para>
-<indexterm startref='idxblogs1' class='endofrange'/>
-<indexterm startref="idxwinerdave" class='endofrange'/>
+<indexterm startref='idxnewscoverage' class='endofrange'/>
+<indexterm startref='idxinternetpublicdiscourseconductedon' class='endofrange'/>
+<indexterm startref='idxpoliticaldiscourse' class='endofrange'/>
+<indexterm startref='idxblogsweblogs2' class='endofrange'/>
+<indexterm startref='idxinternetblogson2' class='endofrange'/>
+<indexterm startref='idxweblogsblogs2' class='endofrange'/>
+<indexterm startref='idxwinerdave' class='endofrange'/>
 <indexterm id='idxbrownjohnseely' class='startofrange'><primary>Brown, John Seely</primary></indexterm>
 <indexterm id='idxadvertising1' class='startofrange'><primary>advertising</primary></indexterm>
 <para>
@@ -2684,6 +2794,9 @@ quipped to me in a rare moment of despondence.
 <title>CHAPTER THREE: Catalogs</title>
 <indexterm><primary>RPI</primary><see>Rensselaer Polytechnic Institute (RPI)</see></indexterm>
 <indexterm id='idxrensselaer' class='startofrange'><primary>Rensselaer Polytechnic Institute (RPI)</primary></indexterm>
+<indexterm id='idxsearchengines' class='startofrange'><primary>search engines</primary></indexterm>
+<indexterm id='idxuniversitycomputernetworksppsharingon' class='startofrange'><primary>university computer networks, p2p sharing on</primary></indexterm>
+<indexterm id='idxinternetsearchenginesusedon' class='startofrange'><primary>Internet</primary><secondary>search engines used on</secondary></indexterm>
 <para>
 <emphasis role='strong'>In the fall</emphasis> of 2002, Jesse Jordan
 of Oceanside, New York, enrolled as a freshman at Rensselaer
@@ -2707,6 +2820,7 @@ available on the RPI network is available on the Internet. But the
 network is designed to enable students to get access to the Internet,
 as well as more intimate access to other members of the RPI community.
 </para>
+<indexterm id='idxgoogle' class='startofrange'><primary>Google</primary></indexterm>
 <para>
 Search engines are a measure of a network's intimacy. Google
 <!-- PAGE BREAK 62 -->
@@ -2719,6 +2833,9 @@ access to material from that institution.  Businesses do this all the
 time, enabling employees to have access to material that people
 outside the business can't get. Universities do it as well.
 </para>
+<indexterm startref='idxuniversitycomputernetworksppsharingon' class='endofrange'/>
+<indexterm id='idxjordanjesse' class='startofrange'><primary>Jordan, Jesse</primary></indexterm>
+<indexterm id='idxmicrosoftnetworkfilesystemof' class='startofrange'><primary>Microsoft</primary><secondary>network file system of</secondary></indexterm>
 <para>
 These engines are enabled by the network technology itself.
 Microsoft, for example, has a network file system that makes it very
@@ -2728,6 +2845,7 @@ content.  Jesse's search engine was built to take advantage of this
 technology. It used Microsoft's network file system to build an index
 of all the files available within the RPI network.
 </para>
+<indexterm startref='idxgoogle' class='endofrange'/>
 <para>
 Jesse's wasn't the first search engine built for the RPI network.
 Indeed, his engine was a simple modification of engines that others
@@ -2740,6 +2858,7 @@ modified the system a bit to fix that problem, by adding a button that
 a user could click to see if the machine holding the file was still
 on-line.
 </para>
+<indexterm startref='idxmicrosoftnetworkfilesystemof' class='endofrange'/>
 <para>
 Jesse's engine went on-line in late October. Over the following six
 months, he continued to tweak it to improve its functionality. By
@@ -2747,6 +2866,7 @@ March, the system was functioning quite well. Jesse had more than one
 million files in his directory, including every type of content that might
 be on users' computers.
 </para>
+<indexterm startref='idxinternetsearchenginesusedon' class='endofrange'/>
 <para>
 Thus the index his search engine produced included pictures, which
 students could use to put on their own Web sites; copies of notes or
@@ -2756,6 +2876,8 @@ might have created; university brochures&mdash;basically anything that
 users of the RPI network made available in a public folder of their
 computer.
 </para>
+<indexterm><primary>Google</primary></indexterm>
+<indexterm><primary>education</primary><secondary>tinkering as means of</secondary></indexterm>
 <para>
 But the index also included music files. In fact, one quarter of the
 files that Jesse's search engine listed were music files. But that
@@ -2793,6 +2915,7 @@ RPI community to get access to content, which Jesse had not himself
 created or posted, and the vast majority of which had nothing to do
 with music.
 </para>
+<indexterm startref='idxsearchengines' class='endofrange'/>
 <indexterm><primary>statutory damages</primary></indexterm>
 <para>
 But the RIAA branded Jesse a pirate. They claimed he operated a
@@ -2902,6 +3025,7 @@ I. &hellip; He's  not a tree hugger. &hellip; I  think it's bizarre that they wo
 pick on him. But he wants to let people know that they're sending the
 wrong message. And he wants to correct the record.</quote>
 </para>
+<indexterm startref='idxjordanjesse' class='endofrange'/>
 <!-- PAGE BREAK 66 -->
 </chapter>
 <chapter label="4" id="pirates">
@@ -3010,6 +3134,7 @@ Edison's creative property.
 </section>
 <section id="recordedmusic">
 <title>Recorded Music</title>
+<indexterm id='idxcopyrightlawonmusicrecordings' class='startofrange'><primary>copyright law</primary><secondary>on music recordings</secondary></indexterm>
 <para>
 The record industry was born of another kind of piracy, though to see
 how requires a bit of detail about the way the law regulates music.
@@ -3146,6 +3271,7 @@ Copyright Act in 1909, record companies were free to distribute copies
 of recordings so long as they paid the composer (or copyright holder)
 the fee set by the statute.
 </para>
+<indexterm><primary>Grisham, John</primary></indexterm>
 <para>
 This is an exception within the law of copyright. When John Grisham
 writes a novel, a publisher is free to publish that novel only if
@@ -3154,8 +3280,8 @@ charge whatever he wants for that permission. The price to publish
 Grisham is thus set by Grisham, and copyright law ordinarily says you
 have no permission to use Grisham's work except with permission of
 Grisham.
-<indexterm><primary>Grisham, John</primary></indexterm>
 </para>
+<indexterm startref='idxcopyrightlawonmusicrecordings' class='endofrange'/>
 <para>
 But the law governing recordings gives recording artists less. And
 thus, in effect, the law <emphasis>subsidizes</emphasis> the recording
@@ -4151,6 +4277,17 @@ legitimate rights of creators while protecting innovation. Sometimes
 this has meant more rights for creators. Sometimes less.
 </para>
 <indexterm><primary>artists</primary><secondary>recording industry payments to</secondary></indexterm>
+<indexterm><primary>composers, copyright protections of</primary></indexterm>
+<indexterm id='idxcongressusoncopyrightlaws2' class='startofrange'><primary>Congress, U.S.</primary><secondary>on copyright laws</secondary></indexterm>
+<indexterm id='idxcongressusonrecordingindustry2' class='startofrange'><primary>Congress, U.S.</primary><secondary>on recording industry</secondary></indexterm>
+<indexterm id='idxcopyrightlawonmusicrecordings2' class='startofrange'><primary>copyright law</primary><secondary>on music recordings</secondary></indexterm>
+<indexterm id='idxcopyrightlawstatutorylicensesin2' class='startofrange'><primary>copyright law</primary><secondary>statutory licenses in</secondary></indexterm>
+<indexterm><primary>radio</primary><secondary>music recordings played on</secondary></indexterm>
+<indexterm><primary>recording industry</primary><secondary>artist remuneration in</secondary></indexterm>
+<indexterm><primary>recording industry</primary><secondary>copyright protections in</secondary></indexterm>
+<indexterm><primary>recording industry</primary><secondary>radio broadcast and</secondary></indexterm>
+<indexterm><primary>statutory licenses</primary></indexterm>
+<indexterm><primary>composer's rights vs. producers' rights in</primary></indexterm>
 <para>
 So, as we've seen, when <quote>mechanical reproduction</quote> threatened the
 interests of composers, Congress balanced the rights of composers
@@ -4172,6 +4309,7 @@ compensation, but at a level set by the law. It likewise gave cable
 companies the right to the content, so long as they paid the statutory
 price.
 </para>
+<indexterm startref='idxcongressusonrecordingindustry2' class='endofrange'/>
 <para>
 
 <!-- PAGE BREAK 88 -->
@@ -4190,6 +4328,8 @@ Congress chose a path that would assure
 <emphasis>compensation</emphasis> without giving the past
 (broadcasters) control over the future (cable).
 </para>
+<indexterm startref='idxcopyrightlawonmusicrecordings2' class='endofrange'/>
+<indexterm startref='idxcopyrightlawstatutorylicensesin2' class='endofrange'/>
 <indexterm startref='idxcabletv2' class='endofrange'/>
 <indexterm><primary>Betamax</primary></indexterm>
 <indexterm id='idxcassettevcrs1' class='startofrange'><primary>cassette recording</primary><secondary>VCRs</secondary></indexterm>
@@ -4206,6 +4346,7 @@ and shows. Sony was therefore benefiting from the copyright
 infringement of its customers. It should therefore, Disney and
 Universal claimed, be partially liable for that infringement.
 </para>
+<indexterm startref='idxcongressusoncopyrightlaws2' class='endofrange'/>
 <para>
 There was something to Disney's and Universal's claim. Sony did
 decide to design its machine to make it very simple to record television
@@ -4221,6 +4362,8 @@ system to minimize the opportunity for copyright infringement. It did
 not, and for that, Disney and Universal wanted to hold it responsible
 for the architecture it chose.
 </para>
+<indexterm id='idxcongressusoncopyrightlaws3' class='startofrange'><primary>Congress, U.S.</primary><secondary>on copyright laws</secondary></indexterm>
+<indexterm><primary>Congress, U.S.</primary><secondary>on VCR technology</secondary></indexterm>
 <para>
 MPAA president Jack Valenti became the studios' most vocal
 champion. Valenti called VCRs <quote>tapeworms.</quote> He warned, <quote>When there are
@@ -4243,7 +4386,7 @@ and plain common sense.</quote><footnote><para>
 <!-- f19 -->
 Copyright Infringements (Audio and Video Recorders), 475.
 </para></footnote>
-Indeed, as surveys would later show,
+Indeed, as surveys would later show, 45
 percent of VCR owners had movie libraries of ten videos or more<footnote><para>
 <!-- f20 -->
 <citetitle>Universal City Studios, Inc</citetitle>. v. <citetitle>Sony Corp. of America</citetitle>, 480 F. Supp. 429,
@@ -4251,8 +4394,8 @@ percent of VCR owners had movie libraries of ten videos or more<footnote><para>
 </para></footnote>
 &mdash; a use the Court would later hold was not <quote>fair.</quote> By
 <quote>allowing VCR owners to copy freely by the means of an exemption from
-copyright infringementwithout creating a mechanism to compensate
-copyrightowners,</quote> Valenti testified, Congress would <quote>take from the
+copyright infringement without creating a mechanism to compensate
+copyright owners,</quote> Valenti testified, Congress would <quote>take from the
 owners the very essence of their property: the exclusive right to
 control who may use their work, that is, who may copy it and thereby
 profit from its reproduction.</quote><footnote><para>
@@ -4303,6 +4446,7 @@ by such new technology.<footnote><para>
 </para></footnote>
 </para>
 </blockquote>
+<indexterm startref='idxcongressusoncopyrightlaws3' class='endofrange'/>
 <para>
 Congress was asked to respond to the Supreme Court's decision.  But as
 with the plea of recording artists about radio broadcasts, Congress
@@ -4383,6 +4527,7 @@ technology to benefit from content made before. It balanced the
 interests at stake.
 <!-- PAGE BREAK 91 -->
 </para>
+<indexterm><primary>Disney, Walt</primary></indexterm>
 <para>
 When you think across these examples, and the other examples that
 make up the first four chapters of this section, this balance makes
@@ -4395,6 +4540,7 @@ to $15 million in damages? Would it have been better if Edison had
 controlled film? Should every cover band have to hire a lawyer to get
 permission to record a song?
 </para>
+<indexterm><primary>Supreme Court, U.S.</primary><secondary>on balance of interests in copyright law</secondary></indexterm>
 <para>
 We could answer yes to each of these questions, but our tradition
 has answered no. In our tradition, as the Supreme Court has stated,
@@ -4485,6 +4631,7 @@ table in the backyard&mdash;by, for example, going to Sears, buying a
 table, and putting it in my backyard? What is the thing I am taking
 then?
 </para>
+<indexterm><primary>Jefferson, Thomas</primary></indexterm>
 <para>
 The point is not just about the thingness of picnic tables versus
 ideas, though that's an important difference. The point instead is that
@@ -4504,6 +4651,7 @@ Letter from Thomas Jefferson to Isaac McPherson (13 August 1813) in
 Ellery Bergh, eds., 1903), 330, 333&ndash;34.
 </para></footnote>
 </para>
+<indexterm><primary>property rights</primary><secondary>intangibility of</secondary></indexterm>
 <para>
 The exceptions to free use are ideas and expressions within the
 reach of the law of patent and copyright, and a few other domains that
@@ -4542,9 +4690,11 @@ from the implications that the copyright warriors would have us draw.
 <!-- PAGE BREAK 96 -->
 <chapter label="6" id="founders">
 <title>CHAPTER SIX: Founders</title>
-<indexterm><primary>Henry V</primary></indexterm>
+<indexterm id='idxbooksenglishcopyrightlawdevelopedfor' class='startofrange'><primary>books</primary><secondary>English copyright law developed for</secondary></indexterm>
 <indexterm><primary>Branagh, Kenneth</primary></indexterm>
-<indexterm id='idxbooksenglishlaw' class='startofrange'><primary>books</primary><secondary>English copyright law developed for</secondary></indexterm>
+<indexterm><primary>Henry V</primary></indexterm>
+<indexterm><primary>Shakespeare, William</primary></indexterm>
+<indexterm id='idxromeoandjulietshakespeare' class='startofrange'><primary>Romeo and Juliet (Shakespeare)</primary></indexterm>
 <para>
 <emphasis role='strong'>William Shakespeare</emphasis> wrote
 <citetitle>Romeo and Juliet</citetitle> in 1595. The play was first
@@ -4557,6 +4707,8 @@ once overheard someone commenting on Kenneth Branagh's adaptation of
 Henry V: <quote>I liked it, but Shakespeare is so full of
 clichés.</quote>
 </para>
+<indexterm><primary>Conger</primary></indexterm>
+<indexterm id='idxtonsonjacob' class='startofrange'><primary>Tonson, Jacob</primary></indexterm>
 <para>
 In 1774, almost 180 years after <citetitle>Romeo and Juliet</citetitle> was written, the
 <quote>copy-right</quote> for the work was still thought by many to be the exclusive
@@ -4588,6 +4740,7 @@ copyright.  Prices of the classics were thus kept high; competition to
 produce better or cheaper editions was eliminated.
 </para>
 <indexterm id='idxbritishparliament' class='startofrange'><primary>British Parliament</primary></indexterm>
+<indexterm><primary>Statute of Anne (1710)</primary></indexterm>
 <para>
 Now, there's something puzzling about the year 1774 to anyone who
 knows a little about copyright law. The better-known year in the
@@ -4605,6 +4758,8 @@ As Siva Vaidhyanathan nicely argues, it is erroneous to call this a
 free in 1731. So why was there any issue about it still being under
 Tonson's control in 1774?
 </para>
+<indexterm startref='idxromeoandjulietshakespeare' class='endofrange'/>
+<indexterm startref='idxtonsonjacob' class='endofrange'/>
 <indexterm><primary>Licensing Act (1662)</primary></indexterm>
 <para>
 The reason is that the English hadn't yet agreed on what a <quote>copyright</quote>
@@ -4667,6 +4822,7 @@ why is it that the law would ever allow someone else to come along and
 take Shakespeare's play without his, or his estate's, permission? What
 reason is there to allow someone else to <quote>steal</quote> Shakespeare's work?
 </para>
+<indexterm><primary>Statute of Anne (1710)</primary></indexterm>
 <para>
 The answer comes in two parts. We first need to see something special
 about the notion of <quote>copyright</quote> that existed at the time of the
@@ -5049,7 +5205,7 @@ world where the Parliament is more pliant, free culture would be less
 protected.
 </para>
 <indexterm startref='idxbritishparliament' class='endofrange'/>
-<indexterm startref='idxbooksenglishlaw' class='endofrange'/>
+<indexterm startref='idxbooksenglishcopyrightlawdevelopedfor' class='endofrange'/>
 <!-- PAGE BREAK 106 -->
 </chapter>
 <chapter label="7" id="recorders">
@@ -5720,6 +5876,7 @@ billion pages, and it was growing at about a billion pages a month.
 <indexterm><primary>Vanderbilt University</primary></indexterm>
 <indexterm><primary>Way Back Machine</primary></indexterm>
 <indexterm><primary>libraries</primary><secondary>archival function of</secondary></indexterm>
+<indexterm id='idxnewscoverage2' class='startofrange'><primary>news coverage</primary></indexterm>
 <para>
 The Way Back Machine is the largest archive of human knowledge in
 human history. At the end of 2002, it held <quote>two hundred and thirty
@@ -5813,6 +5970,7 @@ events of that day.
 </para>
 <indexterm><primary>Movie Archive</primary></indexterm>
 <indexterm><primary>archive.org</primary><seealso>Internet Archive</seealso></indexterm>
+<indexterm startref='idxnewscoverage2' class='endofrange'/>
 <indexterm><primary>films</primary><secondary>archive of</secondary></indexterm>
 <indexterm><primary>Internet Archive</primary></indexterm>
 <indexterm><primary>Duck and Cover film</primary></indexterm>
@@ -5945,6 +6103,7 @@ proud of. Up there with the Library of Alexandria, putting a man on
 the moon, and the invention of the printing press.
 </para>
 </blockquote>
+<indexterm><primary>Disney, Walt</primary></indexterm>
 <para>
 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
@@ -6163,6 +6322,7 @@ should be accorded the same rights as every other property-right
 owner. He is effectively arguing for a change in our Constitution
 itself.
 </para>
+<indexterm id='idxjeffersonthomas' class='startofrange'><primary>Jefferson, Thomas</primary></indexterm>
 <para>
 Arguing for a change in our Constitution is not necessarily wrong.
 There was much in our original Constitution that was plainly wrong.
@@ -6183,6 +6343,8 @@ 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?
 </para>
+<indexterm startref='idxjeffersonthomas' class='endofrange'/>
+
 <para>
 To answer this question, we need to get some perspective on the
 history of these <quote>creative property</quote> rights, and the control that they
@@ -6740,6 +6902,7 @@ 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.
 </para>
+<indexterm><primary>Statute of Anne (1710)</primary></indexterm>
 <para>
 That uncertainty ended after Congress passed legislation granting
 copyrights. Because federal law overrides any contrary state law,
@@ -7075,6 +7238,8 @@ pp. 53&ndash;59).
 </para></footnote>
 These two different uses of my creative work are treated the same.
 </para>
+<indexterm><primary>Disney, Walt</primary></indexterm>
+<indexterm><primary>Mickey Mouse</primary></indexterm>
 <para>
 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
@@ -7139,14 +7304,19 @@ current reach of copyright was never contemplated, much less chosen,
 by the legislators who enacted copyright law.
 </para>
 <para>
-We  can see this point abstractly by beginning with this largely
+We can see this point abstractly by beginning with this largely
 empty circle.
 </para>
 <figure id="fig-1521">
 <title>All potential uses of a book.</title>
 <graphic fileref="images/1521.png"></graphic>
 </figure>
-<indexterm id='idxbooksusetypes' class='startofrange'><primary>books</primary><secondary>three types of uses of</secondary></indexterm>
+<indexterm id='idxbooksthreetypesofusesof' class='startofrange'><primary>books</primary><secondary>three types of uses of</secondary></indexterm>
+<indexterm id='idxcopyrightlawcopiesascoreissueof2' class='startofrange'><primary>copyright law</primary><secondary>copies as core issue of</secondary></indexterm>
+<indexterm id='idxinternetcopyrightapplicabilityalteredbytechnologyof' class='startofrange'><primary>Internet</primary><secondary>copyright applicability altered by technology of</secondary></indexterm>
+<indexterm id='idxtechnologycopyrightintentalteredby' class='startofrange'><primary>technology</primary><secondary>copyright intent altered by</secondary></indexterm>
+<indexterm id='idxderivativeworkspiracyvs4' class='startofrange'><primary>derivative works</primary><secondary>piracy vs.</secondary></indexterm>
+<indexterm id='idxpiracyderivativeworkvs4' class='startofrange'><primary>piracy</primary><secondary>derivative work vs.</secondary></indexterm>
 <para>
 <!-- PAGE BREAK 152 -->
 Think about a book in real space, and imagine this circle to represent
@@ -7173,6 +7343,8 @@ 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).
 </para>
+<indexterm startref='idxderivativeworkspiracyvs4' class='endofrange'/>
+<indexterm startref='idxpiracyderivativeworkvs4' class='endofrange'/>
 <para>
 Finally, there is a tiny sliver of otherwise regulated copying uses
 that remain unregulated because the law considers these <quote>fair uses.</quote>
@@ -7207,7 +7379,7 @@ 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 <quote>fair</quote> regardless of the copyright owner's views.
 </para>
-<indexterm startref='idxbooksusetypes' class='endofrange'/>
+<indexterm startref='idxbooksthreetypesofusesof' class='endofrange'/>
 <indexterm><primary>books</primary><secondary>on Internet</secondary></indexterm>
 <para>
 Enter the Internet&mdash;a distributed, digital network where every use
@@ -7243,6 +7415,7 @@ use&mdash;reading&mdash; could be regulated by copyright law because
 none of those uses produced a copy.
 </para>
 <indexterm><primary>books</primary><secondary>on Internet</secondary></indexterm>
+<indexterm id='idxderivativeworkstechnologicaldevelopmentsand' class='startofrange'><primary>derivative works</primary><secondary>technological developments and</secondary></indexterm>
 <para>
 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
@@ -7269,6 +7442,7 @@ evidence at all that policy makers had this idea in mind when they
 allowed our policy here to shift. Unregulated uses were an important
 part of free culture before the Internet.
 </para>
+<indexterm id='idxcopyrightlawonrepublishingvstransformationoforiginalwork3' class='startofrange'><primary>copyright law</primary><secondary>on republishing vs. transformation of original work</secondary></indexterm>
 <para>
 Second, this shift is especially troubling in the context of
 transformative uses of creative content. Again, we can all understand
@@ -7295,6 +7469,11 @@ copyright law and hence the need for a fair use defense. The right to
 read was effectively protected before because reading was not
 regulated.
 </para>
+<indexterm startref='idxcopyrightlawcopiesascoreissueof2' class='endofrange'/>
+<indexterm startref='idxinternetcopyrightapplicabilityalteredbytechnologyof' class='endofrange'/>
+<indexterm startref='idxtechnologycopyrightintentalteredby' class='endofrange'/>
+<indexterm startref='idxderivativeworkstechnologicaldevelopmentsand' class='endofrange'/>
+<indexterm startref='idxcopyrightlawonrepublishingvstransformationoforiginalwork3' class='endofrange'/>
 <para>
 This point about fair use is totally ignored, even by advocates for
 free culture. We have been cornered into arguing that our rights
@@ -7533,6 +7712,8 @@ the book.
 <title>List of the permissions for Aristotle;s <quote>Politics</quote>.</title>
 <graphic fileref="images/1622.png"></graphic>
 </figure>
+<indexterm><primary>Future of Ideas, The (Lessig)</primary></indexterm>
+<indexterm><primary>Lessig, Lawrence</primary></indexterm>
 <para>
 Finally (and most embarrassingly), here are the permissions for the
 original e-book version of my last book, <citetitle>The Future of
@@ -7586,6 +7767,7 @@ if you push the Read Aloud button with my book, the machine simply
 won't read aloud.
 </para>
 <indexterm><primary>Marx Brothers</primary></indexterm>
+<indexterm><primary>Warner Brothers</primary></indexterm>
 <para>
 <!-- PAGE BREAK 163 -->
 These are <emphasis>controls</emphasis>, not permissions. Imagine a
@@ -7613,7 +7795,8 @@ to defeat these protections as well?
 We've only scratched the surface of this story. Return to the Adobe
 eBook Reader.
 </para>
-<indexterm><primary>Alice's Adventures in Wonderland (Carroll)</primary></indexterm>
+<indexterm id='idxalicesadventuresinwonderlandcarroll' class='startofrange'><primary>Alice's Adventures in Wonderland (Carroll)</primary></indexterm>
+<indexterm id='idxpublicdomainebookrestrictionson2' class='startofrange'><primary>public domain</primary><secondary>e-book restrictions on</secondary></indexterm>
 <para>
 Early in the life of the Adobe eBook Reader, Adobe suffered a public
 relations nightmare. Among the books that you could download for free
@@ -7654,6 +7837,8 @@ 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.
 </para>
+<indexterm startref='idxalicesadventuresinwonderlandcarroll' class='endofrange'/>
+<indexterm startref='idxpublicdomainebookrestrictionson2' class='endofrange'/>
 <para>
 The point is not to blame Adobe. Indeed, Adobe is among the most
 innovative companies developing strategies to balance open access to
@@ -10493,6 +10678,8 @@ 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.
 </para>
+<indexterm id='idxdisneywalt5' class='startofrange'><primary>Disney, Walt</primary></indexterm>
+<indexterm><primary>Grimm fairy tales</primary></indexterm>
 <para>
 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
@@ -10516,7 +10703,8 @@ animated cartoons, sometimes successfully (<citetitle>Cinderella</citetitle>), s
 (<citetitle>The Hunchback of Notre Dame</citetitle>, <citetitle>Treasure Planet</citetitle>). These are all
 commercial publications of public domain works.
 </para>
-<indexterm startref="idxhawthornenathaniel" class='endofrange'/>
+<indexterm startref='idxhawthornenathaniel' class='endofrange'/>
+<indexterm startref='idxdisneywalt5' class='endofrange'/>
 <para>
 The Internet created the possibility of noncommercial publications of
 public domain works. Eldred's is just one example. There are literally
@@ -10529,6 +10717,7 @@ social causes. But with the Internet, it includes a wide range of
 individuals and groups dedicated to spreading culture
 generally.<footnote><para>
 <!-- f1. -->
+<indexterm><primary>pornography</primary></indexterm>
 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&mdash;people who
@@ -10868,6 +11057,10 @@ 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.
 </para>
+<indexterm><primary>Constitution, U.S.</primary><secondary>copyright purpose established in</secondary></indexterm>
+<indexterm><primary>copyright</primary><secondary>constitutional purpose of</secondary></indexterm>
+<indexterm><primary>copyright</primary><secondary>duration of</secondary></indexterm>
+<indexterm><primary>Disney, Walt</primary></indexterm>
 <para>
 <emphasis role='strong'>Now let's pause</emphasis> for a moment to
 make sure we understand what the argument in
@@ -11509,6 +11702,8 @@ who had advised us early on about a First Amendment strategy; and
 finally, former solicitor general Charles Fried.
 </para>
 <indexterm><primary>Fried, Charles</primary></indexterm>
+<indexterm><primary>Congress, U.S.</primary><secondary>constitutional powers of</secondary></indexterm>
+<indexterm><primary>Constitution, U.S.</primary><secondary>Commerce Clause of</secondary></indexterm>
 <para>
 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
@@ -11538,6 +11733,8 @@ continue to have the right to control who did what with content they
 wanted to control.
 </para>
 <indexterm><primary>Gershwin, George</primary></indexterm>
+<indexterm><primary>Porgy and Bess</primary></indexterm>
+<indexterm><primary>pornography</primary></indexterm>
 <para>
 Dr. Seuss's representatives, for example, argued that it was
 better for the Dr. Seuss estate to control what happened to
@@ -12893,6 +13090,7 @@ perspectives.  And WIPO was an ideal venue for this discussion, since
 WIPO is the preeminent international body dealing with intellectual
 property issues.
 </para>
+<indexterm id='idxworldsummitontheinformationsocietywsis' class='startofrange'><primary>World Summit on the Information Society (WSIS)</primary></indexterm>
 <para>
 Indeed, I was once publicly scolded for not recognizing this fact
 about WIPO. In February 2003, I delivered a keynote address to a
@@ -12923,6 +13121,7 @@ had thought it was taken for granted that WIPO could and should. And
 thus the meeting about <quote>open and collaborative projects to create
 public goods</quote> seemed perfectly appropriate within the WIPO agenda.
 </para>
+<indexterm startref='idxworldsummitontheinformationsocietywsis' class='endofrange'/>
 <indexterm><primary>Apple Corporation</primary></indexterm>
 <para>
 But there is one project within that list that is highly
@@ -13037,7 +13236,10 @@ in understanding&mdash;the sort of mistake that is excusable in a
 first-year law student, but an embarrassment from a high government
 official dealing with intellectual property issues.
 </para>
+<indexterm><primary>World Summit on the Information Society (WSIS)</primary></indexterm>
+<indexterm><primary>drugs</primary><secondary>pharmaceutical</secondary></indexterm>
 <indexterm><primary>generic drugs</primary></indexterm>
+<indexterm><primary>patents</primary><secondary>on pharmaceuticals</secondary></indexterm>
 <para>
 Second, who ever said that WIPO's exclusive aim was to <quote>promote</quote>
 intellectual property maximally? As I had been scolded at the
@@ -13710,6 +13912,7 @@ of content (<quote>content conducers,</quote> 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.
 </para>
+<indexterm><primary>Jefferson, Thomas</primary></indexterm>
 <para>
 The aim is not to fight the <quote>All Rights Reserved</quote> sorts. The aim is to
 complement them. The problems that the law creates for us as a culture
@@ -14829,7 +15032,7 @@ permission produces. Again, this is the reality of Brezhnev's Russia.
 The law should regulate in certain areas of culture&mdash;but it should
 regulate culture only where that regulation does good. Yet lawyers
 
-<!-- PAGE BREAK 311 -->
+<!-- PAGE BREAK 311-->
 rarely test their power, or the power they promote, against this
 simple pragmatic question: <quote>Will it do good?</quote> When challenged about
 the expanding reach of the law, the lawyer answers, <quote>Why not?</quote>