Update from Transifex.

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

diff --git a/freeculture.xml b/freeculture.xml
index 26448bc8ec0ed25d156e83a31848e720470a12d5..a31f284cfde7f1e8089bd6f939eeba887f178126 100644 (file)
--- a/freeculture.xml
+++ b/freeculture.xml
@@ -30,6 +30,20 @@
    <firstname>Lawrence</firstname>
    <surname>Lessig</surname>
   </author>
    <firstname>Lawrence</firstname>
    <surname>Lessig</surname>
   </author>

+<!--
+  Keep these out to avoid showing up as author in the PDF.
+
+  <editor>
+   <firstname>Petter</firstname>
+   <surname>Reinholdtsen</surname>
+  </editor>
+
+  <othercredit role='converter'>
+    <firstname>Petter</firstname>
+    <surname>Reinholdtsen</surname>
+    <contrib>Created this Docbook version from an earlier version</contrib>
+  </othercredit>
+-->

  </authorgroup>
 
 <!-- <subjectset> and cover <mediaobject> Based on example from
  </authorgroup>
 
 <!-- <subjectset> and cover <mediaobject> Based on example from


@@ -52,8 +66,8 @@
 
 
  <publisher>
 
 
  <publisher>

-   <publishername>The Penguin Press</publishername>
-   <address><city>New York</city></address>
+   <publishername>Petter Reinholdtsen</publishername>
+   <address><city>Oslo</city></address>

  </publisher>
 
  <copyright>
  </publisher>
 
  <copyright>


@@ -124,7 +138,7 @@ Appeals.
 -->
  </mediaobject>
 
 -->
  </mediaobject>
 

- <biblioid class="isbn">1-59420-006-8</biblioid>
+ <biblioid class="isbn">978-82-92812-XX-Y</biblioid>

 
 <!-- LCCN from
      http://catalog.loc.gov/cgi-bin/Pwebrecon.cgi?v3=1&DB=local&CMD=010a+2003063276&CNT=10+records+per+page
 
 <!-- LCCN from
      http://catalog.loc.gov/cgi-bin/Pwebrecon.cgi?v3=1&DB=local&CMD=010a+2003063276&CNT=10+records+per+page


@@ -132,128 +146,52 @@ Appeals.
   <biblioid class="libraryofcongress">2003063276</biblioid>
 
 </bookinfo>
   <biblioid class="libraryofcongress">2003063276</biblioid>
 
 </bookinfo>

-<!--PAGE BREAK 1-->
-<dedication id="salespoints">
-<title></title>
-<para>
-You can buy a copy of this book by clicking on one of the links below:
-</para>
-<itemizedlist mark="number" spacing="compact">
-<listitem><para><ulink url="http://www.amazon.com/">Amazon</ulink></para></listitem>
-<listitem><para><ulink url="http://www.barnesandnoble.com/">B&amp;N</ulink></para></listitem>
-<listitem><para><ulink url="http://www.penguin.com/">Penguin</ulink></para></listitem>
-<!-- <ulink url="">Local Bookstore</ulink> -->
-</itemizedlist>
-</dedication>
-<!-- PAGE BREAK 2 -->

 <!-- PAGE BREAK 3 -->
 <dedication id="alsobylessig">
 <!-- PAGE BREAK 3 -->
 <dedication id="alsobylessig">

-<title></title>
-<para>
-ALSO BY LAWRENCE LESSIG
-</para>
-<para>
+<title>
+Also by Lawrence Lessig
+</title>
+
+<itemizedlist>
+
+<listitem><para>
+<!-- 2014 -->
+The USA is lesterland: The nature of congressional corruption
+</para></listitem>
+<listitem><para>
+<!-- 2011, 2012 -->
+Republic, lost: How money corrupts Congress - and a plan to stop it 
+</para></listitem>
+<listitem><para>
+<!-- 2008 -->
+Remix: Making art and commerce thrive in the hybrid economy
+</para></listitem>
+<listitem><para>
+<!-- 2006 -->
+Code: Version 2.0
+</para></listitem>
+<listitem><para>
+<!-- 2001, 2002 -->

 The Future of Ideas: The Fate of the Commons in a Connected World
 The Future of Ideas: The Fate of the Commons in a Connected World

-</para>
-<para>
+</para></listitem>
+<listitem><para>
+<!-- 1999 -->

 Code: And Other Laws of Cyberspace
 Code: And Other Laws of Cyberspace

-</para>
+</para></listitem>
+</itemizedlist>

 </dedication>
 <!-- PAGE BREAK 4 -->
 <!-- PAGE BREAK 5 -->
 <!-- PAGE BREAK 6 -->
 </dedication>
 <!-- PAGE BREAK 4 -->
 <!-- PAGE BREAK 5 -->
 <!-- PAGE BREAK 6 -->

-<colophon>
-<para>
-THE PENGUIN PRESS, a member of Penguin Group (USA) Inc.  375 Hudson Street New
-York, New York
-</para>
-<para>
-Copyright &copy; Lawrence Lessig.  All rights reserved.
-</para>
-<para>
-Excerpt from an editorial titled <quote>The Coming of Copyright Perpetuity,</quote>
-<citetitle>The New York Times</citetitle>, January 16, 2003. Copyright
-&copy; 2003 by The New York Times Co.  Reprinted with permission.
-</para>
-<para>
-Cartoon in <xref linkend="fig-1711-vcr-handgun-cartoonfig"/> by Paul Conrad, copyright Tribune
-Media Services, Inc.  All rights reserved. Reprinted with permission.
-</para>
-<para>
-Diagram in <xref linkend="fig-1761-pattern-modern-media-ownership"/> courtesy of the office of FCC
-Commissioner, Michael J. Copps.
-</para>
-<para>
-Library of Congress Cataloging-in-Publication Data
-</para>
-<para>
-Lessig, Lawrence.
-Free culture : how big media uses technology and the law to lock down 
-culture and control creativity / Lawrence Lessig.
-</para>
-<para>
-p. cm.
-</para>
-<para>
-Includes index.
-</para>
-<para>
-ISBN 1-59420-006-8 (hardcover)
-</para>
-
-<para>
-1. Intellectual property&mdash;United States. 2. Mass media&mdash;United States.
-</para>
-<para>
-3. Technological innovations&mdash;United States. 4. Art&mdash;United States. I. Title.
-</para>
-<para>
-KF2979.L47
-</para>
-<para>
-343.7309'9&mdash;dc22
-</para>
-<para>
-This book is printed on acid-free paper.
-</para>
-<para>
-Printed in the United States of America
-</para>
-<para>
-1 3 5 7 9 10 8 6 4
-</para>
-<para>
-Designed by Marysarah Quinn
-</para>
-
-<para>
-&translationblock;
-</para>
-
-<para>
-Without limiting the rights under copyright reserved above, no part of
-this publication may be reproduced, stored in or introduced into a
-retrieval system, or transmitted, in any form or by any means
-(electronic, mechanical, photocopying, recording or otherwise),
-without the prior written permission of both the copyright owner and
-the above publisher of this book.
-</para>
-<para>
-The scanning, uploading, and distribution of this book via the
-Internet or via any other means without the permission of the
-publisher is illegal and punishable by law.  Please purchase only
-authorized electronic editions and do not participate in or encourage
-electronic piracy of copyrighted materials. Your support of the
-author's rights is appreciated.
-</para>
-</colophon>
-

 <!-- PAGE BREAK 7 -->
 <dedication><title></title>
 <!-- PAGE BREAK 7 -->
 <dedication><title></title>

+<!-- FIXME figure out how to do this better in dblatex and docbook-xsl -->
+<?latex {\Huge \centering ?>

 <para>
 <para>

-To Eric Eldred&mdash;whose work first drew me to this cause, and for whom
+To Eric Eldred &mdash; whose work first drew me to this cause, and for whom

 it continues still.
 </para>
 it continues still.
 </para>

+<?latex } ?>

 </dedication>
 
 <toc id="toc"></toc>
 </dedication>
 
 <toc id="toc"></toc>


@@ -1000,9 +938,9 @@ independent. We have built a kind of cultural nobility; those within
 the noble class live easily; those outside it don't. But it is
 nobility of any form that is alien to our tradition.
 </para>
 the noble class live easily; those outside it don't. But it is
 nobility of any form that is alien to our tradition.
 </para>

-<!-- PAGE BREAK 26. FIXME: Should "Is it" be "It is" ? -->
+<!-- PAGE BREAK 26. FIXME: Ask author if "Is it" should be "It is" ? -->

 <para>
 <para>

-The story that follows is about this war. Is it not about the
+The story that follows is about this war. It is not about the

 <quote>centrality of technology</quote> to ordinary life. I don't believe in gods,
 digital or otherwise. Nor is it an effort to demonize any individual
 or group, for neither do I believe in a devil, corporate or
 <quote>centrality of technology</quote> to ordinary life. I don't believe in gods,
 digital or otherwise. Nor is it an effort to demonize any individual
 or group, for neither do I believe in a devil, corporate or


@@ -1315,7 +1253,7 @@ context the current battles about behavior labeled <quote>piracy.</quote>
 
 <!-- PAGE BREAK 34 -->
 <chapter label="1" id="creators">
 
 <!-- PAGE BREAK 34 -->
 <chapter label="1" id="creators">

-<title>CHAPTER ONE: Creators</title>
+<title>Creators</title>

 <indexterm id='idxanimatedcartoons' class='startofrange'><primary>animated cartoons</primary></indexterm>
 <indexterm id='idxcartoonfilms' class='startofrange'><primary>cartoon films</primary></indexterm>
 <indexterm id='idxfilmsanimated' class='startofrange'><primary>films</primary><secondary>animated</secondary></indexterm>
 <indexterm id='idxanimatedcartoons' class='startofrange'><primary>animated cartoons</primary></indexterm>
 <indexterm id='idxcartoonfilms' class='startofrange'><primary>cartoon films</primary></indexterm>
 <indexterm id='idxfilmsanimated' class='startofrange'><primary>films</primary><secondary>animated</secondary></indexterm>


@@ -1636,7 +1574,7 @@ flourish. As American graphic novelist Judd Winick said to me, <quote>The
 early days of comics in America are very much like what's going on
 in Japan now. &hellip; American  comics were born out of copying each
 <!-- PAGE BREAK 40 -->
 early days of comics in America are very much like what's going on
 in Japan now. &hellip; American  comics were born out of copying each
 <!-- PAGE BREAK 40 -->

-other. &hellip; That's how [the artists] learn to draw&mdash;by going into comic
+other. &hellip; That's how [the artists] learn to draw &mdash; by going into comic

 books and not tracing them, but looking at them and copying them</quote>
 and building from them.<footnote><para>
 <!-- f5 -->
 books and not tracing them, but looking at them and copying them</quote>
 and building from them.<footnote><para>
 <!-- f5 -->


@@ -1732,8 +1670,8 @@ The term <citetitle>intellectual property</citetitle> is of relatively recent or
 Siva Vaidhyanathan, <citetitle>Copyrights and Copywrongs</citetitle>, 11 (New York: New York
 University Press, 2001). See also Lawrence Lessig, <citetitle>The Future of Ideas</citetitle>
 (New York: Random House, 2001), 293 n. 26. The term accurately
 Siva Vaidhyanathan, <citetitle>Copyrights and Copywrongs</citetitle>, 11 (New York: New York
 University Press, 2001). See also Lawrence Lessig, <citetitle>The Future of Ideas</citetitle>
 (New York: Random House, 2001), 293 n. 26. The term accurately

-describes a set of <quote>property</quote> rights&mdash;copyright, patents,
-trademark, and trade-secret&mdash;but the nature of those rights is
+describes a set of <quote>property</quote> rights &mdash; copyright, patents,
+trademark, and trade-secret &mdash; but the nature of those rights is

 very different.
 </para></footnote>
 A large, diverse society cannot survive without property; a large,
 very different.
 </para></footnote>
 A large, diverse society cannot survive without property; a large,


@@ -1844,7 +1782,7 @@ free culture. It is becoming much less so.
 <!-- PAGE BREAK 44 -->
 </chapter>
 <chapter label="2" id="mere-copyists">
 <!-- PAGE BREAK 44 -->
 </chapter>
 <chapter label="2" id="mere-copyists">

-<title>CHAPTER TWO: <quote>Mere Copyists</quote></title>
+<title><quote>Mere Copyists</quote></title>

 <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>
 <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>


@@ -2078,6 +2016,8 @@ realized.
 <indexterm startref='idxeastmangeorge' class='endofrange'/>
 <indexterm startref='idxpermissionsphotographyexemptedfrom' class='endofrange'/>
 <indexterm startref='idximagesownershipof' class='endofrange'/>
 <indexterm startref='idxeastmangeorge' class='endofrange'/>
 <indexterm startref='idxpermissionsphotographyexemptedfrom' class='endofrange'/>
 <indexterm startref='idximagesownershipof' class='endofrange'/>

+<indexterm><primary>digital cameras</primary></indexterm>
+<indexterm id='idxjustthink' class='startofrange'><primary>Just Think!</primary></indexterm>

 <para>
 <emphasis role='strong'>If you drive</emphasis> through San
 Francisco's Presidio, you might see two gaudy yellow school buses
 <para>
 <emphasis role='strong'>If you drive</emphasis> through San
 Francisco's Presidio, you might see two gaudy yellow school buses


@@ -2094,6 +2034,9 @@ 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>
 something about media by doing something with media.  By doing, they
 think. By tinkering, they learn.
 </para>

+<indexterm id='idxeducationinmedialiteracy' class='startofrange'><primary>education</primary><secondary>in media literacy</secondary></indexterm>
+<indexterm id='idxmedialiteracy' class='startofrange'><primary>media literacy</primary></indexterm>
+<indexterm id='idxexpressiontechnologiesofmedialiteracyand' class='startofrange'><primary>expression, technologies of</primary><secondary>media literacy and</secondary></indexterm>

 <para>
 These buses are not cheap, but the technology they carry is
 increasingly so. The cost of a high-quality digital video system has
 <para>
 These buses are not cheap, but the technology they carry is
 increasingly so. The cost of a high-quality digital video system has


@@ -2120,6 +2063,7 @@ deconstruct media images. Its aim is to make [kids] literate about the
 way media works, the way it's constructed, the way it's delivered, and
 the way people access it.</quote>
 </para>
 way media works, the way it's constructed, the way it's delivered, and
 the way people access it.</quote>
 </para>

+<indexterm startref='idxjustthink' class='endofrange'/>

 <para>
 This may seem like an odd way to think about <quote>literacy.</quote> For most
 people, literacy is about reading and writing. Faulkner and Hemingway
 <para>
 This may seem like an odd way to think about <quote>literacy.</quote> For most
 people, literacy is about reading and writing. Faulkner and Hemingway


@@ -2163,8 +2107,8 @@ from reading a book about it. One learns to write by writing and then
 reflecting upon what one has written. One learns to write with images
 by making them and then reflecting upon what one has created.
 </para>
 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>
 <indexterm id='idxdaleyelizabeth' class='startofrange'><primary>Daley, Elizabeth</primary></indexterm>

+<indexterm><primary>Crichton, Michael</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
 <para>
 This grammar has changed as media has changed. When it was just film,
 as Elizabeth Daley, executive director of the University of Southern


@@ -2285,6 +2229,7 @@ can do well. Yet neither is text a form in which
 this message depended upon its connection to this form of expression.
 </para>
 <indexterm startref='idxbarishstephanie' class='endofrange'/>
 this message depended upon its connection to this form of expression.
 </para>
 <indexterm startref='idxbarishstephanie' class='endofrange'/>

+<indexterm id='idxdaleyelizabeth2' class='startofrange'><primary>Daley, Elizabeth</primary></indexterm>

 <para>
 
 <!-- PAGE BREAK 52 -->
 <para>
 
 <!-- PAGE BREAK 52 -->


@@ -2317,6 +2262,7 @@ make a little movie.</quote> But instead, really help you take these elements
 that you understand, that are your language, and construct meaning
 about the topic.&hellip;
 </para>
 that you understand, that are your language, and construct meaning
 about the topic.&hellip;
 </para>

+<indexterm><primary>Barish, Stephanie</primary></indexterm>

 <para>
 That empowers enormously. And then what happens, of
 course, is eventually, as it has happened in all these classes, they
 <para>
 That empowers enormously. And then what happens, of
 course, is eventually, as it has happened in all these classes, they


@@ -2335,6 +2281,10 @@ 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>
 <!-- FIXME removed a " from the end of the previous paragraph that did
      not match with any start quote. -->
 </blockquote>

+<indexterm startref='idxeducationinmedialiteracy' class='endofrange'/>
+<indexterm startref='idxmedialiteracy' class='endofrange'/>
+<indexterm startref='idxexpressiontechnologiesofmedialiteracyand' class='endofrange'/>
+<indexterm startref='idxdaleyelizabeth2' class='endofrange'/>

 <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>
 <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>


@@ -2795,7 +2745,7 @@ quipped to me in a rare moment of despondence.
 <!-- PAGE BREAK 61 -->
 </chapter>
 <chapter label="3" id="catalogs">
 <!-- PAGE BREAK 61 -->
 </chapter>
 <chapter label="3" id="catalogs">

-<title>CHAPTER THREE: Catalogs</title>
+<title>Catalogs</title>

 <indexterm><primary>Jordan, Jesse</primary></indexterm>
 <indexterm><primary>RPI</primary><see>Rensselaer Polytechnic Institute (RPI)</see></indexterm>
 <indexterm id='idxrensselaer' class='startofrange'><primary>Rensselaer Polytechnic Institute (RPI)</primary></indexterm>
 <indexterm><primary>Jordan, Jesse</primary></indexterm>
 <indexterm><primary>RPI</primary><see>Rensselaer Polytechnic Institute (RPI)</see></indexterm>
 <indexterm id='idxrensselaer' class='startofrange'><primary>Rensselaer Polytechnic Institute (RPI)</primary></indexterm>


@@ -2839,7 +2789,6 @@ 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>
 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>
 <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>


@@ -3054,7 +3003,7 @@ wrong message. And he wants to correct the record.</quote>
 <!-- PAGE BREAK 66 -->
 </chapter>
 <chapter label="4" id="pirates">
 <!-- PAGE BREAK 66 -->
 </chapter>
 <chapter label="4" id="pirates">

-<title>CHAPTER FOUR: <quote>Pirates</quote></title>
+<title><quote>Pirates</quote></title>

 <indexterm id='idxpiracyindevelopmentofcontentindustry' class='startofrange'><primary>piracy</primary><secondary>in development of content industry</secondary></indexterm>
 <indexterm><primary><quote>if value, then right</quote> theory</primary></indexterm>
 <para>
 <indexterm id='idxpiracyindevelopmentofcontentindustry' class='startofrange'><primary>piracy</primary><secondary>in development of content industry</secondary></indexterm>
 <indexterm><primary><quote>if value, then right</quote> theory</primary></indexterm>
 <para>


@@ -3214,7 +3163,7 @@ composer and publisher without any regard for [their]
 rights.<footnote><para>
 <!-- f4 -->
 To Amend and Consolidate the Acts Respecting Copyright: Hearings on
 rights.<footnote><para>
 <!-- f4 -->
 To Amend and Consolidate the Acts Respecting Copyright: Hearings on

-S. 6330 and H.R. 19853 Before the ( Joint) Committees on Patents, 59th
+S. 6330 and H.R. 19853 Before the (Joint) Committees on Patents, 59th

 Cong. 59, 1st sess. (1906) (statement of Senator Alfred B. Kittredge,
 of South Dakota, chairman), reprinted in <citetitle>Legislative History of the
 Copyright Act</citetitle>, E. Fulton Brylawski and Abe Goldman, eds. (South
 Cong. 59, 1st sess. (1906) (statement of Senator Alfred B. Kittredge,
 of South Dakota, chairman), reprinted in <citetitle>Legislative History of the
 Copyright Act</citetitle>, E. Fulton Brylawski and Abe Goldman, eds. (South


@@ -3249,6 +3198,10 @@ To Amend and Consolidate the Acts Respecting Copyright, 23
 <indexterm><primary>American Graphophone Company</primary></indexterm>
 <indexterm><primary>player pianos</primary></indexterm>
 <indexterm><primary>sheet music</primary></indexterm>
 <indexterm><primary>American Graphophone Company</primary></indexterm>
 <indexterm><primary>player pianos</primary></indexterm>
 <indexterm><primary>sheet music</primary></indexterm>

+<indexterm id='idxcongressusoncopyrightlaws' class='startofrange'><primary>Congress, U.S.</primary><secondary>on copyright laws</secondary></indexterm>
+<indexterm id='idxcongressusonrecordingindustry' class='startofrange'><primary>Congress, U.S.</primary><secondary>on recording industry</secondary></indexterm>
+<indexterm id='idxcopyrightlawstatutorylicensesin' class='startofrange'><primary>copyright law</primary><secondary>statutory licenses in</secondary></indexterm>
+<indexterm id='idxrecordingindustrystatutorylicensesystemin' class='startofrange'><primary>recording industry</primary><secondary>statutory license system in</secondary></indexterm>

 <para>
 These arguments have familiar echoes in the wars of our day. So, too,
 do the arguments on the other side. The innovators who developed the
 <para>
 These arguments have familiar echoes in the wars of our day. So, too,
 do the arguments on the other side. The innovators who developed the


@@ -3274,6 +3227,7 @@ memorandum of Philip Mauro, general patent counsel of the American
 Graphophone Company Association).
 </para></footnote>
 </para>
 Graphophone Company Association).
 </para></footnote>
 </para>

+<indexterm><primary>cover songs</primary></indexterm>

 <para>
 The law soon resolved this battle in favor of the composer
 <emphasis>and</emphasis> the recording artist. Congress amended the
 <para>
 The law soon resolved this battle in favor of the composer
 <emphasis>and</emphasis> the recording artist. Congress amended the


@@ -3289,6 +3243,8 @@ copyright law that makes cover songs possible. Once a composer
 authorizes a recording of his song, others are free to record the same
 song, so long as they pay the original composer a fee set by the law.
 </para>
 authorizes a recording of his song, others are free to record the same
 song, so long as they pay the original composer a fee set by the law.
 </para>

+<indexterm id='idxcompulsorylicense' class='startofrange'><primary>compulsory license</primary></indexterm>
+<indexterm id='idxstatutorylicenses' class='startofrange'><primary>statutory licenses</primary></indexterm>

 <para>
 American law ordinarily calls this a <quote>compulsory license,</quote> but I will
 refer to it as a <quote>statutory license.</quote> A statutory license is a license
 <para>
 American law ordinarily calls this a <quote>compulsory license,</quote> but I will
 refer to it as a <quote>statutory license.</quote> A statutory license is a license


@@ -3297,7 +3253,7 @@ 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>
 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>
+<indexterm id='idxgrishamjohn' class='startofrange'><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
 <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


@@ -3308,6 +3264,7 @@ have no permission to use Grisham's work except with permission of
 Grisham.
 </para>
 <indexterm startref='idxcopyrightlawonmusicrecordings' class='endofrange'/>
 Grisham.
 </para>
 <indexterm startref='idxcopyrightlawonmusicrecordings' class='endofrange'/>

+<indexterm><primary>Beatles</primary></indexterm>

 <para>
 But the law governing recordings gives recording artists less. And
 thus, in effect, the law <emphasis>subsidizes</emphasis> the recording
 <para>
 But the law governing recordings gives recording artists less. And
 thus, in effect, the law <emphasis>subsidizes</emphasis> the recording


@@ -3324,13 +3281,15 @@ creativity.<footnote><para>
 
 <!-- f10 -->
 Copyright Law Revision: Hearings on S. 2499, S. 2900, H.R. 243, and
 
 <!-- f10 -->
 Copyright Law Revision: Hearings on S. 2499, S. 2900, H.R. 243, and

-H.R. 11794 Before the ( Joint) Committee on Patents, 60th Cong., 1st
+H.R. 11794 Before the (Joint) Committee on Patents, 60th Cong., 1st

 sess., 217 (1908) (statement of Senator Reed Smoot, chairman), reprinted
 in <citetitle>Legislative History of the 1909 Copyright Act</citetitle>, E. Fulton Brylawski and
 Abe Goldman, eds. (South Hackensack, N.J.: Rothman Reprints, 1976).
 </para></footnote>
 sess., 217 (1908) (statement of Senator Reed Smoot, chairman), reprinted
 in <citetitle>Legislative History of the 1909 Copyright Act</citetitle>, E. Fulton Brylawski and
 Abe Goldman, eds. (South Hackensack, N.J.: Rothman Reprints, 1976).
 </para></footnote>

-<indexterm><primary>Beatles</primary></indexterm>

 </para>
 </para>

+<indexterm startref='idxcongressusoncopyrightlaws' class='endofrange'/>
+<indexterm startref='idxcongressusonrecordingindustry' class='endofrange'/>
+<indexterm startref='idxgrishamjohn' class='endofrange'/>

 <para>
 While the recording industry has been quite coy about this recently,
 historically it has been quite a supporter of the statutory license for
 <para>
 While the recording industry has been quite coy about this recently,
 historically it has been quite a supporter of the statutory license for


@@ -3360,6 +3319,10 @@ March 1967). I am grateful to Glenn Brown for drawing my attention to
 this report.</para></footnote>
 </para>
 </blockquote>
 this report.</para></footnote>
 </para>
 </blockquote>

+<indexterm startref='idxcopyrightlawstatutorylicensesin' class='endofrange'/>
+<indexterm startref='idxrecordingindustrystatutorylicensesystemin' class='endofrange'/>
+<indexterm startref='idxcompulsorylicense' class='endofrange'/>
+<indexterm startref='idxstatutorylicenses' class='endofrange'/>

 <para>
 By limiting the rights musicians have, by partially pirating their
 creative work, the record producers, and the public, benefit.
 <para>
 By limiting the rights musicians have, by partially pirating their
 creative work, the record producers, and the public, benefit.


@@ -3367,7 +3330,8 @@ creative work, the record producers, and the public, benefit.
 </section>
 <section id="radio">
 <title>Radio</title>
 </section>
 <section id="radio">
 <title>Radio</title>

-<indexterm id='idxartistspayments1' class='startofrange'><primary>artists</primary><secondary>recording industry payments to</secondary></indexterm>
+<indexterm id='idxrecordingindustryradiobroadcastand' class='startofrange'><primary>recording industry</primary><secondary>radio broadcast and</secondary></indexterm>
+<indexterm id='idxartistsrecordingindustrypaymentsto' class='startofrange'><primary>artists</primary><secondary>recording industry payments to</secondary></indexterm>

 <para>
 Radio was also born of piracy.
 </para>
 <para>
 Radio was also born of piracy.
 </para>


@@ -3431,6 +3395,7 @@ the sale of her CDs. The public performance of her recording is not a
 <emphasis>pirate</emphasis> the value of Madonna's work without paying
 her anything.
 </para>
 <emphasis>pirate</emphasis> the value of Madonna's work without paying
 her anything.
 </para>

+<indexterm startref='idxartistsrecordingindustrypaymentsto' class='endofrange'/>

 <indexterm startref='idxmadonna' class='endofrange'/>
 <para>
 No doubt, one might argue that, on balance, the recording artists
 <indexterm startref='idxmadonna' class='endofrange'/>
 <para>
 No doubt, one might argue that, on balance, the recording artists


@@ -3440,7 +3405,7 @@ ordinarily gives the creator the right to make this choice. By making
 the choice for him or her, the law gives the radio station the right
 to take something for nothing.
 </para>
 the choice for him or her, the law gives the radio station the right
 to take something for nothing.
 </para>

-<indexterm startref='idxartistspayments1' class='endofrange'/>
+<indexterm startref='idxrecordingindustryradiobroadcastand' class='endofrange'/>

 </section>
 <section id="cabletv">
 <title>Cable TV</title>
 </section>
 <section id="cabletv">
 <title>Cable TV</title>


@@ -3586,7 +3551,7 @@ last. Every generation&mdash;until now.
 </section>
 </chapter>
 <chapter label="5" id="piracy">
 </section>
 </chapter>
 <chapter label="5" id="piracy">

-<title>CHAPTER FIVE: <quote>Piracy</quote></title>
+<title><quote>Piracy</quote></title>

 <para>
 <emphasis role='strong'>There is piracy</emphasis> of copyrighted
 material. Lots of it. This piracy comes in many forms. The most
 <para>
 <emphasis role='strong'>There is piracy</emphasis> of copyrighted
 material. Lots of it. This piracy comes in many forms. The most


@@ -3837,9 +3802,10 @@ and how much p2p sharing harms before we know how strongly the
 law should seek to either prevent it or find an alternative to assure the
 author of his profit.
 </para>
 law should seek to either prevent it or find an alternative to assure the
 author of his profit.
 </para>

-<indexterm><primary>innovation</primary></indexterm>
-<indexterm><primary>Fanning, Shawn</primary></indexterm>

 <para>
 <para>

+<indexterm><primary>Fanning, Shawn</primary></indexterm>
+<indexterm><primary>innovation</primary></indexterm>
+<indexterm id='idxnapster' class='startofrange'><primary>Napster</primary></indexterm>

 Peer-to-peer sharing was made famous by Napster. But the inventors of
 the Napster technology had not made any major technological
 innovations.  Like every great advance in innovation on the Internet
 Peer-to-peer sharing was made famous by Napster. But the inventors of
 the Napster technology had not made any major technological
 innovations.  Like every great advance in innovation on the Internet


@@ -3860,6 +3826,9 @@ Christensen's ideas, see Lawrence Lessig, <citetitle>Future</citetitle>, 89&ndas
 put together components that had been developed independently.
 </para>
 <para>
 put together components that had been developed independently.
 </para>
 <para>

+<indexterm><primary>Kazaa</primary></indexterm>
+<indexterm><primary>Napster</primary><secondary>number of registrations on</secondary></indexterm>
+<indexterm><primary>Napster</primary><secondary>replacement of</secondary></indexterm>

 The result was spontaneous combustion. Launched in July 1999,
 Napster amassed over 10 million users within nine months. After
 eighteen months, there were close to 80 million registered users of the
 The result was spontaneous combustion. Launched in July 1999,
 Napster amassed over 10 million users within nine months. After
 eighteen months, there were close to 80 million registered users of the


@@ -3880,6 +3849,7 @@ users to make content available to any number of other users. With a
 p2p system, you can share your favorite songs with your best friend&mdash;
 or your 20,000 best friends.
 </para>
 p2p system, you can share your favorite songs with your best friend&mdash;
 or your 20,000 best friends.
 </para>

+<indexterm startref='idxnapster' class='endofrange'/>

 <para>
 According to a number of estimates, a huge proportion of Americans
 have tasted file-sharing technology. A study by Ipsos-Insight in
 <para>
 According to a number of estimates, a huge proportion of Americans
 have tasted file-sharing technology. A study by Ipsos-Insight in


@@ -4186,8 +4156,9 @@ money from the content they sell; but as with cable companies before
 statutory licensing, they don't have to pay the copyright owner for
 the content they sell.
 </para>
 statutory licensing, they don't have to pay the copyright owner for
 the content they sell.
 </para>

-<indexterm><primary>Bernstein, Leonard</primary></indexterm>

 <indexterm><primary>books</primary><secondary>out of print</secondary></indexterm>
 <indexterm><primary>books</primary><secondary>out of print</secondary></indexterm>

+<indexterm><primary>Bernstein, Leonard</primary></indexterm>
+<indexterm id='idxinternetbookson' class='startofrange'><primary>Internet</primary><secondary>books on</secondary></indexterm>

 <para>
 Type C sharing, then, is very much like used book stores or used
 record stores. It is different, of course, because the person making
 <para>
 Type C sharing, then, is very much like used book stores or used
 record stores. It is different, of course, because the person making


@@ -4210,6 +4181,8 @@ stopped, do you think that libraries and used book stores should be
 shut as well?
 </para>
 <indexterm id='idxbooksfreeonline1' class='startofrange'><primary>books</primary><secondary>free on-line releases of</secondary></indexterm>
 shut as well?
 </para>
 <indexterm id='idxbooksfreeonline1' class='startofrange'><primary>books</primary><secondary>free on-line releases of</secondary></indexterm>

+<indexterm><primary>Doctorow, Cory</primary></indexterm>
+<indexterm><primary>Down and Out in the Magic Kingdom (Doctorow)</primary></indexterm>

 <para>
 Finally, and perhaps most importantly, file-sharing networks enable
 type D sharing to occur&mdash;the sharing of content that copyright owners
 <para>
 Finally, and perhaps most importantly, file-sharing networks enable
 type D sharing to occur&mdash;the sharing of content that copyright owners


@@ -4241,6 +4214,7 @@ understandably says, <quote>This is how much we've lost,</quote> we must also as
 efficiencies?  What is the content that otherwise would be
 unavailable?</quote>
 </para>
 efficiencies?  What is the content that otherwise would be
 unavailable?</quote>
 </para>

+<indexterm startref='idxinternetbookson' class='endofrange'/>

 <para>
 For unlike the piracy I described in the first section of this
 chapter, much of the <quote>piracy</quote> that file sharing enables is plainly
 <para>
 For unlike the piracy I described in the first section of this
 chapter, much of the <quote>piracy</quote> that file sharing enables is plainly


@@ -4260,14 +4234,13 @@ found only with time.
 just what you call type A sharing?</quote>
 </para>
 <para>
 just what you call type A sharing?</quote>
 </para>
 <para>

-You would think. And we should hope. But so far, it is not. The 
-               effect
+You would think. And we should hope. But so far, it is not. The effect

 of the war purportedly on type A sharing alone has been felt far
 of the war purportedly on type A sharing alone has been felt far

-beyond that one class of sharing. That much is obvious from the 
-               Napster
-case itself. When Napster told the district court that it had 
-               developed
-a technology to block the transfer of 99.4 percent of identified
+beyond that one class of sharing. That much is obvious from the
+Napster case itself. When Napster told the district court that it had
+developed a technology to block the transfer of 99.4 percent of
+identified
+

 <!-- PAGE BREAK 87 -->
 infringing material, the district court told counsel for Napster 99.4
 percent was not good enough. Napster had to push the infringements
 <!-- PAGE BREAK 87 -->
 infringing material, the district court told counsel for Napster 99.4
 percent was not good enough. Napster had to push the infringements


@@ -4358,7 +4331,7 @@ Congress chose a path that would assure
 <indexterm startref='idxcopyrightlawonmusicrecordings2' class='endofrange'/>
 <indexterm startref='idxcopyrightlawstatutorylicensesin2' class='endofrange'/>
 <indexterm startref='idxcabletv2' class='endofrange'/>
 <indexterm startref='idxcopyrightlawonmusicrecordings2' class='endofrange'/>
 <indexterm startref='idxcopyrightlawstatutorylicensesin2' class='endofrange'/>
 <indexterm startref='idxcabletv2' class='endofrange'/>

-<indexterm><primary>Betamax</primary></indexterm>
+<indexterm id='idxbetamax' class='startofrange'><primary>Betamax</primary></indexterm>

 <indexterm id='idxcassettevcrs1' class='startofrange'><primary>cassette recording</primary><secondary>VCRs</secondary></indexterm>
 <para>
 In the same year that Congress struck this balance, two major
 <indexterm id='idxcassettevcrs1' class='startofrange'><primary>cassette recording</primary><secondary>VCRs</secondary></indexterm>
 <para>
 In the same year that Congress struck this balance, two major


@@ -4431,6 +4404,7 @@ Copyright Infringements (Audio and Video Recorders), 485 (testimony
 of Jack Valenti).
 </para></footnote>
 </para>
 of Jack Valenti).
 </para></footnote>
 </para>

+<indexterm startref='idxbetamax' class='endofrange'/>

 <para>
 It took eight years for this case to be resolved by the Supreme
 Court. In the interim, the Ninth Circuit Court of Appeals, which
 <para>
 It took eight years for this case to be resolved by the Supreme
 Court. In the interim, the Ninth Circuit Court of Appeals, which


@@ -4716,8 +4690,12 @@ from the implications that the copyright warriors would have us draw.
 
 <!-- PAGE BREAK 96 -->
 <chapter label="6" id="founders">
 
 <!-- PAGE BREAK 96 -->
 <chapter label="6" id="founders">

-<title>CHAPTER SIX: Founders</title>
+<title>Founders</title>

 <indexterm id='idxbooksenglishcopyrightlawdevelopedfor' class='startofrange'><primary>books</primary><secondary>English copyright law developed for</secondary></indexterm>
 <indexterm id='idxbooksenglishcopyrightlawdevelopedfor' class='startofrange'><primary>books</primary><secondary>English copyright law developed for</secondary></indexterm>

+<indexterm id='idxcopyrightlawdevelopmentof' class='startofrange'><primary>copyright law</primary><secondary>development of</secondary></indexterm>
+<indexterm id='idxcopyrightlawenglish' class='startofrange'><primary>copyright law</primary><secondary>English</secondary></indexterm>
+<indexterm id='idxenglandcopyrightlawsdevelopedin' class='startofrange'><primary>England, copyright laws developed in</primary></indexterm>
+<indexterm id='idxunitedkingdomhistoryofcopyrightlawin' class='startofrange'><primary>United Kingdom</primary><secondary>history of copyright law in</secondary></indexterm>

 <indexterm><primary>Branagh, Kenneth</primary></indexterm>
 <indexterm><primary>Henry V</primary></indexterm>
 <indexterm><primary>Shakespeare, William</primary></indexterm>
 <indexterm><primary>Branagh, Kenneth</primary></indexterm>
 <indexterm><primary>Henry V</primary></indexterm>
 <indexterm><primary>Shakespeare, William</primary></indexterm>


@@ -4766,7 +4744,9 @@ one else could publish copies of a book to which they held the
 copyright.  Prices of the classics were thus kept high; competition to
 produce better or cheaper editions was eliminated.
 </para>
 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>British Parliament</primary></indexterm>
+<indexterm id='idxcopyrightdurationof2' class='startofrange'><primary>copyright</primary><secondary>duration of</secondary></indexterm>
+<indexterm><primary>copyright</primary><secondary>renewability of</secondary></indexterm>

 <indexterm><primary>Statute of Anne (1710)</primary></indexterm>
 <para>
 Now, there's something puzzling about the year 1774 to anyone who
 <indexterm><primary>Statute of Anne (1710)</primary></indexterm>
 <para>
 Now, there's something puzzling about the year 1774 to anyone who


@@ -4787,6 +4767,8 @@ Tonson's control in 1774?
 </para>
 <indexterm startref='idxromeoandjulietshakespeare' class='endofrange'/>
 <indexterm startref='idxtonsonjacob' class='endofrange'/>
 </para>
 <indexterm startref='idxromeoandjulietshakespeare' class='endofrange'/>
 <indexterm startref='idxtonsonjacob' class='endofrange'/>

+<indexterm id='idxlawcommonvspositive' class='startofrange'><primary>law</primary><secondary>common vs. positive</secondary></indexterm>
+<indexterm><primary>positive law</primary></indexterm>

 <indexterm><primary>Licensing Act (1662)</primary></indexterm>
 <para>
 The reason is that the English hadn't yet agreed on what a <quote>copyright</quote>
 <indexterm><primary>Licensing Act (1662)</primary></indexterm>
 <para>
 The reason is that the English hadn't yet agreed on what a <quote>copyright</quote>


@@ -4799,6 +4781,8 @@ published.  But after it expired, there was no positive law that said
 that the publishers, or <quote>Stationers,</quote> had an exclusive right to print
 books.
 </para>
 that the publishers, or <quote>Stationers,</quote> had an exclusive right to print
 books.
 </para>

+<indexterm startref='idxcopyrightdurationof2' class='endofrange'/>
+<indexterm><primary>common law</primary></indexterm>

 <para>
 There was no <emphasis>positive</emphasis> law, but that didn't mean
 that there was no law. The Anglo-American legal tradition looks to
 <para>
 There was no <emphasis>positive</emphasis> law, but that didn't mean
 that there was no law. The Anglo-American legal tradition looks to


@@ -4811,6 +4795,11 @@ background only if it passes a law to displace it. And so the real
 question after the licensing statutes had expired was whether the
 common law protected a copyright, independent of any positive law.
 </para>
 question after the licensing statutes had expired was whether the
 common law protected a copyright, independent of any positive law.
 </para>

+<indexterm startref='idxlawcommonvspositive' class='endofrange'/>
+<indexterm><primary>Conger</primary></indexterm>
+<indexterm id='idxbritishparliament' class='startofrange'><primary>British Parliament</primary></indexterm>
+<indexterm><primary>Scottish publishers</primary></indexterm>
+<indexterm id='idxstatuteofanne' class='startofrange'><primary>Statute of Anne (1710)</primary></indexterm>

 <para>
 This question was important to the publishers, or <quote>booksellers,</quote> as
 they were called, because there was growing competition from foreign
 <para>
 This question was important to the publishers, or <quote>booksellers,</quote> as
 they were called, because there was growing competition from foreign


@@ -4823,6 +4812,7 @@ to again give them exclusive control over publishing. That demand
                ultimately
 resulted in the Statute of Anne.
 </para>
                ultimately
 resulted in the Statute of Anne.
 </para>

+<indexterm id='idxcopyrightasnarrowmonopolyright' class='startofrange'><primary>copyright</primary><secondary>as narrow monopoly right</secondary></indexterm>

 <para>
 The Statute of Anne granted the author or <quote>proprietor</quote> of a book an
 exclusive right to print that book. In an important limitation,
 <para>
 The Statute of Anne granted the author or <quote>proprietor</quote> of a book an
 exclusive right to print that book. In an important limitation,


@@ -4832,12 +4822,16 @@ copyright <quote>expired,</quote> and the work would then be free and could be
 published by anyone. Or so the legislature is thought to have
 believed.
 </para>
 published by anyone. Or so the legislature is thought to have
 believed.
 </para>

+<indexterm startref='idxstatuteofanne' class='endofrange'/>

 <para>
 Now, the thing to puzzle about for a moment is this: Why would
 Parliament limit the exclusive right? Not why would they limit it to
 the particular limit they set, but why would they limit the right
 <emphasis>at all?</emphasis>
 </para>
 <para>
 Now, the thing to puzzle about for a moment is this: Why would
 Parliament limit the exclusive right? Not why would they limit it to
 the particular limit they set, but why would they limit the right
 <emphasis>at all?</emphasis>
 </para>

+<indexterm startref='idxbritishparliament' class='endofrange'/>
+<indexterm><primary>Shakespeare, William</primary></indexterm>
+<indexterm><primary>Romeo and Juliet (Shakespeare)</primary></indexterm>

 <para>
 For the booksellers, and the authors whom they represented, had a very
 strong claim. Take <citetitle>Romeo and Juliet</citetitle> as an example: That play
 <para>
 For the booksellers, and the authors whom they represented, had a very
 strong claim. Take <citetitle>Romeo and Juliet</citetitle> as an example: That play


@@ -4856,6 +4850,7 @@ about the notion of <quote>copyright</quote> that existed at the time of the
 Statute of Anne. Second, we have to see something important about
 <quote>booksellers.</quote>
 </para>
 Statute of Anne. Second, we have to see something important about
 <quote>booksellers.</quote>
 </para>

+<indexterm><primary>copyright</primary><secondary>usage restrictions attached to</secondary></indexterm>

 <para>
 First, about copyright. In the last three hundred years, we have come
 to apply the concept of <quote>copyright</quote> ever more broadly. But in 1710, it
 <para>
 First, about copyright. In the last three hundred years, we have come
 to apply the concept of <quote>copyright</quote> ever more broadly. But in 1710, it


@@ -4872,6 +4867,7 @@ the author the exclusive right to copy, the exclusive right to
 distribute, the exclusive right to perform, and so on.
 </para>
 <indexterm><primary>Branagh, Kenneth</primary></indexterm>
 distribute, the exclusive right to perform, and so on.
 </para>
 <indexterm><primary>Branagh, Kenneth</primary></indexterm>

+<indexterm><primary>Shakespeare, William</primary></indexterm>

 <para>
 So, for example, even if the copyright to Shakespeare's works were
 perpetual, all that would have meant under the original meaning of the
 <para>
 So, for example, even if the copyright to Shakespeare's works were
 perpetual, all that would have meant under the original meaning of the


@@ -4883,6 +4879,7 @@ allowed to make his films. The <quote>copy-right</quote> was only an exclusive
 right to print&mdash;no less, of course, but also no more.
 </para>
 <indexterm><primary>Henry VIII, King of England</primary></indexterm>
 right to print&mdash;no less, of course, but also no more.
 </para>
 <indexterm><primary>Henry VIII, King of England</primary></indexterm>

+<indexterm id='idxmonopolycopyrightas' class='startofrange'><primary>monopoly, copyright as</primary></indexterm>

 <indexterm><primary>Statute of Monopolies (1656)</primary></indexterm>
 <para>
 Even that limited right was viewed with skepticism by the British.
 <indexterm><primary>Statute of Monopolies (1656)</primary></indexterm>
 <para>
 Even that limited right was viewed with skepticism by the British.


@@ -4906,7 +4903,10 @@ have it forever.</quote>) The state would protect the exclusive right, but
 only so long as it benefited society. The British saw the harms from
 specialinterest favors; they passed a law to stop them.
 </para>
 only so long as it benefited society. The British saw the harms from
 specialinterest favors; they passed a law to stop them.
 </para>

-<indexterm id='idxbooksellers' class='startofrange'><primary>booksellers, English</primary></indexterm>
+<indexterm><primary>Milton, John</primary></indexterm>
+<indexterm id='idxbooksellersenglish' class='startofrange'><primary>booksellers, English</primary></indexterm>
+<indexterm><primary>Conger</primary></indexterm>
+<indexterm id='idxcopyrightdurationof3' class='startofrange'><primary>copyright</primary><secondary>duration of</secondary></indexterm>

 <para>
 Second, about booksellers. It wasn't just that the copyright was a
 monopoly. It was also that it was a monopoly held by the booksellers.
 <para>
 Second, about booksellers. It wasn't just that the copyright was a
 monopoly. It was also that it was a monopoly held by the booksellers.


@@ -4927,6 +4927,8 @@ Philip Wittenberg, <citetitle>The Protection and Marketing of Literary
 Property</citetitle> (New York: J. Messner, Inc., 1937), 31.
 </para></footnote>
 </para>
 Property</citetitle> (New York: J. Messner, Inc., 1937), 31.
 </para></footnote>
 </para>

+<indexterm><primary>Enlightenment</primary></indexterm>
+<indexterm><primary>knowledge, freedom of</primary></indexterm>

 <para>
 Many believed the power the booksellers exercised over the spread of
 knowledge was harming that spread, just at the time the Enlightenment
 <para>
 Many believed the power the booksellers exercised over the spread of
 knowledge was harming that spread, just at the time the Enlightenment


@@ -4935,6 +4937,7 @@ generally. The idea that knowledge should be free was a hallmark of
 the time, and these powerful commercial interests were interfering
 with that idea.
 </para>
 the time, and these powerful commercial interests were interfering
 with that idea.
 </para>

+<indexterm id='idxbritishparliament2' class='startofrange'><primary>British Parliament</primary></indexterm>

 <para>
 To balance this power, Parliament decided to increase competition
 among booksellers, and the simplest way to do that was to spread the
 <para>
 To balance this power, Parliament decided to increase competition
 among booksellers, and the simplest way to do that was to spread the


@@ -4947,6 +4950,9 @@ to fight the power of the booksellers. The limitation on terms was
 an indirect way to assure competition among publishers, and thus the
 construction and spread of culture.
 </para>
 an indirect way to assure competition among publishers, and thus the
 construction and spread of culture.
 </para>

+<indexterm id='idxstatuteofanne2' class='startofrange'><primary>Statute of Anne (1710)
+</primary></indexterm>
+<indexterm id='idxcopyrightinperpetuity' class='startofrange'><primary>copyright</primary><secondary>in perpetuity</secondary></indexterm>

 <para>
 When 1731 (1710 + 21) came along, however, the booksellers were
 getting anxious. They saw the consequences of more competition, and
 <para>
 When 1731 (1710 + 21) came along, however, the booksellers were
 getting anxious. They saw the consequences of more competition, and


@@ -4982,6 +4988,11 @@ al., 8, <citetitle>Eldred</citetitle> v. <citetitle>Ashcroft</citetitle>, 537 U.
 </para></footnote>
 </para>
 </blockquote>
 </para></footnote>
 </para>
 </blockquote>

+<indexterm startref='idxstatuteofanne2' class='endofrange'/>
+<indexterm startref='idxcopyrightinperpetuity' class='endofrange'/>
+<indexterm><primary>common law</primary></indexterm>
+<indexterm><primary>law</primary><secondary>common vs. positive</secondary></indexterm>
+<indexterm><primary>positive law</primary></indexterm>

 <para>
 Having failed in Parliament, the publishers turned to the courts in a
 series of cases. Their argument was simple and direct: The Statute of
 <para>
 Having failed in Parliament, the publishers turned to the courts in a
 series of cases. Their argument was simple and direct: The Statute of


@@ -4997,7 +5008,7 @@ they had the right to ban the publication of a book, even if its
 Statute of Anne copyright had expired. This, they argued, was the only
 way to protect authors.
 </para>
 Statute of Anne copyright had expired. This, they argued, was the only
 way to protect authors.
 </para>

-<indexterm><primary>Patterson, Raymond</primary></indexterm>
+<indexterm startref='idxbritishparliament2' class='endofrange'/>

 <para>
 This was a clever argument, and one that had the support of some of
 the leading jurists of the day. It also displayed extraordinary
 <para>
 This was a clever argument, and one that had the support of some of
 the leading jurists of the day. It also displayed extraordinary


@@ -5014,6 +5025,9 @@ Vaidhyanathan, 37&ndash;48.
 The bookseller didn't care squat for the rights of the author.  His
 concern was the monopoly profit that the author's work gave.
 </para>
 The bookseller didn't care squat for the rights of the author.  His
 concern was the monopoly profit that the author's work gave.
 </para>

+<indexterm id='idxdonaldsonalexander' class='startofrange'><primary>Donaldson, Alexander</primary></indexterm>
+<indexterm><primary>Patterson, Raymond</primary></indexterm>
+<indexterm id='idxscottishpublishers' class='startofrange'><primary>Scottish publishers</primary></indexterm>

 <para>
 The booksellers' argument was not accepted without a fight.
 The hero of this fight was a Scottish bookseller named Alexander
 <para>
 The booksellers' argument was not accepted without a fight.
 The hero of this fight was a Scottish bookseller named Alexander


@@ -5023,6 +5037,8 @@ For a compelling account, see David Saunders, <citetitle>Authorship and Copyrigh
 (London: Routledge, 1992), 62&ndash;69.
 </para></footnote>
 </para>
 (London: Routledge, 1992), 62&ndash;69.
 </para></footnote>
 </para>

+<indexterm id='idxstatuteofanne3' class='startofrange'><primary>Statute of Anne (1710)</primary></indexterm>
+<indexterm id='idxconger' class='startofrange'><primary>Conger</primary></indexterm>

 <indexterm><primary>Boswell, James</primary></indexterm>
 <indexterm><primary>Erskine, Andrew</primary></indexterm>
 <para>
 <indexterm><primary>Boswell, James</primary></indexterm>
 <indexterm><primary>Erskine, Andrew</primary></indexterm>
 <para>


@@ -5045,6 +5061,7 @@ of contemporary Scottish poems with Donaldson.</quote><footnote><para>
 Ibid., 93.
 </para></footnote>
 </para>
 Ibid., 93.
 </para></footnote>
 </para>

+<indexterm id='idxcommonlaw' class='startofrange'><primary>common law</primary></indexterm>

 <para>
 When the London booksellers tried to shut down Donaldson's shop in
 Scotland, he responded by moving his shop to London, where he sold
 <para>
 When the London booksellers tried to shut down Donaldson's shop in
 Scotland, he responded by moving his shop to London, where he sold


@@ -5060,11 +5077,17 @@ His books undercut the Conger prices by 30 to 50 percent, and he
 rested his right to compete upon the ground that, under the Statute of
 Anne, the works he was selling had passed out of protection.
 </para>
 rested his right to compete upon the ground that, under the Statute of
 Anne, the works he was selling had passed out of protection.
 </para>

+<indexterm startref='idxconger' class='endofrange'/>
+<indexterm id='idxmillarvtaylor' class='startofrange'><primary>Millar v. Taylor</primary></indexterm>

 <para>
 The London booksellers quickly brought suit to block <quote>piracy</quote> like
 Donaldson's. A number of actions were successful against the <quote>pirates,</quote>
 the most important early victory being <citetitle>Millar</citetitle> v. <citetitle>Taylor</citetitle>.
 </para>
 <para>
 The London booksellers quickly brought suit to block <quote>piracy</quote> like
 Donaldson's. A number of actions were successful against the <quote>pirates,</quote>
 the most important early victory being <citetitle>Millar</citetitle> v. <citetitle>Taylor</citetitle>.
 </para>

+<indexterm startref='idxdonaldsonalexander' class='endofrange'/>
+<indexterm startref='idxscottishpublishers' class='endofrange'/>
+<indexterm id='idxthomsonjames' class='startofrange'><primary>Thomson, James</primary></indexterm>
+<indexterm id='idxcopyrightinperpetuity2' class='startofrange'><primary>copyright</primary><secondary>in perpetuity</secondary></indexterm>

 <indexterm><primary>Seasons, The (Thomson)</primary></indexterm>
 <indexterm><primary>Taylor, Robert</primary></indexterm>
 <para>
 <indexterm><primary>Seasons, The (Thomson)</primary></indexterm>
 <indexterm><primary>Taylor, Robert</primary></indexterm>
 <para>


@@ -5092,6 +5115,10 @@ reprinting Thomson's poem without Millar's permission. That common law
 rule thus effectively gave the booksellers a perpetual right to
 control the publication of any book assigned to them.
 </para>
 rule thus effectively gave the booksellers a perpetual right to
 control the publication of any book assigned to them.
 </para>

+<indexterm startref='idxcommonlaw' class='endofrange'/>
+<indexterm startref='idxthomsonjames' class='endofrange'/>
+<indexterm startref='idxcopyrightinperpetuity2' class='endofrange'/>
+<indexterm id='idxbritishparliament3' class='startofrange'><primary>British Parliament</primary></indexterm>

 <para>
 Considered as a matter of abstract justice&mdash;reasoning as if
 justice were just a matter of logical deduction from first
 <para>
 Considered as a matter of abstract justice&mdash;reasoning as if
 justice were just a matter of logical deduction from first


@@ -5107,11 +5134,16 @@ believed, Britain would mature from the controlled culture that the
 Crown coveted to the free culture that we inherited.
 </para>
 <indexterm startref='idxmansfieldwilliammurraylord2' class='endofrange'/>
 Crown coveted to the free culture that we inherited.
 </para>
 <indexterm startref='idxmansfieldwilliammurraylord2' class='endofrange'/>

+<indexterm id='idxdonaldsonalexander2' class='startofrange'><primary>Donaldson, Alexander</primary></indexterm>
+<indexterm id='idxscottishpublishers2' class='startofrange'><primary>Scottish publishers</primary></indexterm>

 <para>
 The fight to defend the limits of the Statute of Anne was not to end
 there, however, and it is here that Donaldson enters the mix.
 </para>
 <para>
 The fight to defend the limits of the Statute of Anne was not to end
 there, however, and it is here that Donaldson enters the mix.
 </para>

+<indexterm><primary>Thomson, James</primary></indexterm>

 <indexterm><primary>Beckett, Thomas</primary></indexterm>
 <indexterm><primary>Beckett, Thomas</primary></indexterm>

+<indexterm id='idxhouseoflords' class='startofrange'><primary>House of Lords</primary></indexterm>
+<indexterm id='idxsupremecourtushouseoflordsvs' class='startofrange'><primary>Supreme Court, U.S.</primary><secondary>House of Lords vs.</secondary></indexterm>

 <para>
 Millar died soon after his victory, so his case was not appealed. His
 estate sold Thomson's poems to a syndicate of printers that included
 <para>
 Millar died soon after his victory, so his case was not appealed. His
 estate sold Thomson's poems to a syndicate of printers that included


@@ -5126,6 +5158,10 @@ the House of Lords, which functioned much like our own Supreme
 Court. In February of 1774, that body had the chance to interpret the
 meaning of Parliament's limits from sixty years before.
 </para>
 Court. In February of 1774, that body had the chance to interpret the
 meaning of Parliament's limits from sixty years before.
 </para>

+<indexterm startref='idxmillarvtaylor' class='endofrange'/>
+<indexterm startref='idxbritishparliament3' class='endofrange'/>
+<indexterm id='idxdonaldsonvbeckett' class='startofrange'><primary>Donaldson v. Beckett</primary></indexterm>
+<indexterm id='idxcommonlaw2' class='startofrange'><primary>common law</primary></indexterm>

 <para>
 As few legal cases ever do, <citetitle>Donaldson</citetitle> v. <citetitle>Beckett</citetitle> drew an
 enormous amount of attention throughout Britain. Donaldson's lawyers
 <para>
 As few legal cases ever do, <citetitle>Donaldson</citetitle> v. <citetitle>Beckett</citetitle> drew an
 enormous amount of attention throughout Britain. Donaldson's lawyers


@@ -5136,6 +5172,7 @@ publication came from that statute. Thus, they argued, after the term
 specified in the Statute of Anne expired, works that had been
 protected by the statute were no longer protected.
 </para>
 specified in the Statute of Anne expired, works that had been
 protected by the statute were no longer protected.
 </para>

+<indexterm startref='idxstatuteofanne3' class='endofrange'/>

 <para>
 The House of Lords was an odd institution. Legal questions were
 presented to the House and voted upon first by the <quote>law lords,</quote>
 <para>
 The House of Lords was an odd institution. Legal questions were
 presented to the House and voted upon first by the <quote>law lords,</quote>


@@ -5143,6 +5180,9 @@ members of special legal distinction who functioned much like the
 Justices in our Supreme Court. Then, after the law lords voted, the
 House of Lords generally voted.
 </para>
 Justices in our Supreme Court. Then, after the law lords voted, the
 House of Lords generally voted.
 </para>

+<indexterm startref='idxsupremecourtushouseoflordsvs' class='endofrange'/>
+<indexterm id='idxcopyrightinperpetuity3' class='startofrange'><primary>copyright</primary><secondary>in perpetuity</secondary></indexterm>
+<indexterm id='idxpublicdomainenglishlegalestablishmentof' class='startofrange'><primary>public domain</primary><secondary>English legal establishment of</secondary></indexterm>

 <para>
 The reports about the law lords' votes are mixed. On some counts,
 it looks as if perpetual copyright prevailed. But there is no ambiguity
 <para>
 The reports about the law lords' votes are mixed. On some counts,
 it looks as if perpetual copyright prevailed. But there is no ambiguity


@@ -5153,6 +5193,11 @@ Whatever one's understanding of the common law, now a copyright was
 fixed for a limited time, after which the work protected by copyright
 passed into the public domain.
 </para>
 fixed for a limited time, after which the work protected by copyright
 passed into the public domain.
 </para>

+<indexterm><primary>Bacon, Francis</primary></indexterm>
+<indexterm><primary>Bunyan, John</primary></indexterm>
+<indexterm><primary>Johnson, Samuel</primary></indexterm>
+<indexterm><primary>Milton, John</primary></indexterm>
+<indexterm><primary>Shakespeare, William</primary></indexterm>

 <para>
 <quote>The public domain.</quote> Before the case of <citetitle>Donaldson</citetitle>
 v. <citetitle>Beckett</citetitle>, there was no clear idea of a public domain in
 <para>
 <quote>The public domain.</quote> Before the case of <citetitle>Donaldson</citetitle>
 v. <citetitle>Beckett</citetitle>, there was no clear idea of a public domain in


@@ -5162,12 +5207,13 @@ born. For the first time in Anglo-American history, the legal control
 over creative works expired, and the greatest works in English
 history&mdash;including those of Shakespeare, Bacon, Milton, Johnson,
 and Bunyan&mdash;were free of legal restraint.
 over creative works expired, and the greatest works in English
 history&mdash;including those of Shakespeare, Bacon, Milton, Johnson,
 and Bunyan&mdash;were free of legal restraint.

-<indexterm><primary>Bacon, Francis</primary></indexterm>
-<indexterm><primary>Bunyan, John</primary></indexterm>
-<indexterm><primary>Johnson, Samuel</primary></indexterm>
-<indexterm><primary>Milton, John</primary></indexterm>
-<indexterm><primary>Shakespeare, William</primary></indexterm>

 </para>
 </para>

+<indexterm startref='idxdonaldsonalexander2' class='endofrange'/>
+<indexterm startref='idxscottishpublishers2' class='endofrange'/>
+<indexterm startref='idxcommonlaw2' class='endofrange'/>
+<indexterm startref='idxcopyrightinperpetuity3' class='endofrange'/>
+<indexterm startref='idxpublicdomainenglishlegalestablishmentof' class='endofrange'/>
+<indexterm><primary>Scottish publishers</primary></indexterm>

 <para>
 It is hard for us to imagine, but this decision by the House of Lords
 fueled an extraordinarily popular and political reaction. In Scotland,
 <para>
 It is hard for us to imagine, but this decision by the House of Lords
 fueled an extraordinarily popular and political reaction. In Scotland,


@@ -5182,6 +5228,7 @@ and illuminations.</quote><footnote><para>
 Rose, 97.
 </para></footnote>
 </para>
 Rose, 97.
 </para></footnote>
 </para>

+<indexterm startref='idxhouseoflords' class='endofrange'/>

 <para>
 In London, however, at least among publishers, the reaction was
 equally strong in the opposite direction. The <citetitle>Morning Chronicle</citetitle>
 <para>
 In London, however, at least among publishers, the reaction was
 equally strong in the opposite direction. The <citetitle>Morning Chronicle</citetitle>


@@ -5202,6 +5249,8 @@ Ibid.
 </para></footnote>
 </para>
 </blockquote>
 </para></footnote>
 </para>
 </blockquote>

+<indexterm><primary>House of Lords</primary></indexterm>
+<indexterm><primary>free culture</primary><secondary>English legal establishment of</secondary></indexterm>

 <para>
 <!-- PAGE BREAK 105 -->
 <quote>Ruined</quote> is a bit of an exaggeration. But it is not an exaggeration to
 <para>
 <!-- PAGE BREAK 105 -->
 <quote>Ruined</quote> is a bit of an exaggeration. But it is not an exaggeration to


@@ -5224,19 +5273,32 @@ context</emphasis>, not a context in which the choices about what
 culture is available to people and how they get access to it are made
 by the few despite the wishes of the many.
 </para>
 culture is available to people and how they get access to it are made
 by the few despite the wishes of the many.
 </para>

-<indexterm startref='idxbooksellers' class='endofrange'/>
+<indexterm startref='idxbooksellersenglish' class='endofrange'/>
+<indexterm><primary>British Parliament</primary></indexterm>

 <para>
 At least, this was the rule in a world where the Parliament is
 antimonopoly, resistant to the protectionist pleas of publishers. In a
 world where the Parliament is more pliant, free culture would be less
 protected.
 </para>
 <para>
 At least, this was the rule in a world where the Parliament is
 antimonopoly, resistant to the protectionist pleas of publishers. In a
 world where the Parliament is more pliant, free culture would be less
 protected.
 </para>

-<indexterm startref='idxbritishparliament' class='endofrange'/>

 <indexterm startref='idxbooksenglishcopyrightlawdevelopedfor' class='endofrange'/>
 <indexterm startref='idxbooksenglishcopyrightlawdevelopedfor' class='endofrange'/>

+<indexterm startref='idxcopyrightlawdevelopmentof' class='endofrange'/>
+<indexterm startref='idxcopyrightlawenglish' class='endofrange'/>
+<indexterm startref='idxenglandcopyrightlawsdevelopedin' class='endofrange'/>
+<indexterm startref='idxunitedkingdomhistoryofcopyrightlawin' class='endofrange'/>
+<indexterm startref='idxcopyrightasnarrowmonopolyright' class='endofrange'/>
+<indexterm startref='idxmonopolycopyrightas' class='endofrange'/>
+<indexterm startref='idxcopyrightdurationof3' class='endofrange'/>
+<indexterm startref='idxdonaldsonvbeckett' class='endofrange'/>

 <!-- PAGE BREAK 106 -->
 </chapter>
 <chapter label="7" id="recorders">
 <!-- PAGE BREAK 106 -->
 </chapter>
 <chapter label="7" id="recorders">

-<title>CHAPTER SEVEN: Recorders</title>
+<title>Recorders</title>
+<indexterm id='idxcopyrightlawfairuseand' class='startofrange'><primary>copyright law</primary><secondary>fair use and</secondary></indexterm>
+<indexterm id='idxdocumentaryfilm' class='startofrange'><primary>documentary film</primary></indexterm>
+<indexterm id='idxelsejon' class='startofrange'><primary>Else, Jon</primary></indexterm>
+<indexterm id='idxfairuseindocumentaryfilm' class='startofrange'><primary>fair use</primary><secondary>in documentary film</secondary></indexterm>
+<indexterm id='idxfilmsfairuseofcopyrightedmaterialin' class='startofrange'><primary>films</primary><secondary>fair use of copyrighted material in</secondary></indexterm>

 <para>
 <emphasis role='strong'>Jon Else</emphasis> is a filmmaker. He is best
 known for his documentaries and has been very successful in spreading
 <para>
 <emphasis role='strong'>Jon Else</emphasis> is a filmmaker. He is best
 known for his documentaries and has been very successful in spreading


@@ -5249,6 +5311,8 @@ Else worked on a documentary that I was involved in. At a break,
 he told me a story about the freedom to create with film in America
 today.
 </para>
 he told me a story about the freedom to create with film in America
 today.
 </para>

+<indexterm id='idxwagnerrichard' class='startofrange'><primary>Wagner, Richard</primary></indexterm>
+<indexterm><primary>San Francisco Opera</primary></indexterm>

 <para>
 In 1990, Else was working on a documentary about Wagner's Ring
 Cycle. The focus was stagehands at the San Francisco Opera.
 <para>
 In 1990, Else was working on a documentary about Wagner's Ring
 Cycle. The focus was stagehands at the San Francisco Opera.


@@ -5256,8 +5320,8 @@ Stagehands are a particularly funny and colorful element of an opera.
 During a show, they hang out below the stage in the grips' lounge and
 in the lighting loft. They make a perfect contrast to the art on the
 stage.
 During a show, they hang out below the stage in the grips' lounge and
 in the lighting loft. They make a perfect contrast to the art on the
 stage.

-<indexterm><primary>San Francisco Opera</primary></indexterm>

 </para>
 </para>

+<indexterm id='idxsimpsonsthe' class='startofrange'><primary>Simpsons, The</primary></indexterm>

 <para>
 During one of the performances, Else was shooting some stagehands
 playing checkers. In one corner of the room was a television set.
 <para>
 During one of the performances, Else was shooting some stagehands
 playing checkers. In one corner of the room was a television set.


@@ -5267,6 +5331,8 @@ and the opera company played Wagner, was <citetitle>The Simpsons</citetitle>. As
 it, this touch of cartoon helped capture the flavor of what was special
 about the scene.
 </para>
 it, this touch of cartoon helped capture the flavor of what was special
 about the scene.
 </para>

+<indexterm startref='idxwagnerrichard' class='endofrange'/>
+<indexterm><primary>films</primary><secondary>multiple copyrights associated with</secondary></indexterm>

 <para>
 Years later, when he finally got funding to complete the film, Else
 attempted to clear the rights for those few seconds of <citetitle>The Simpsons</citetitle>.
 <para>
 Years later, when he finally got funding to complete the film, Else
 attempted to clear the rights for those few seconds of <citetitle>The Simpsons</citetitle>.


@@ -5274,7 +5340,8 @@ For of course, those few seconds are copyrighted; and of course, to use
 copyrighted material you need the permission of the copyright owner,
 unless <quote>fair use</quote> or some other privilege applies.
 </para>
 copyrighted material you need the permission of the copyright owner,
 unless <quote>fair use</quote> or some other privilege applies.
 </para>

-<indexterm><primary>Gracie Films</primary></indexterm>
+<indexterm id='idxgraciefilms' class='startofrange'><primary>Gracie Films</primary></indexterm>
+<indexterm id='idxgroeningmatt' class='startofrange'><primary>Groening, Matt</primary></indexterm>

 <para>
 Else called <citetitle>Simpsons</citetitle> creator Matt Groening's office to get permission.
 Groening approved the shot. The shot was a four-and-a-halfsecond image
 <para>
 Else called <citetitle>Simpsons</citetitle> creator Matt Groening's office to get permission.
 Groening approved the shot. The shot was a four-and-a-halfsecond image


@@ -5282,7 +5349,7 @@ on a tiny television set in the corner of the room. How could it hurt?
 Groening was happy to have it in the film, but he told Else to contact
 Gracie Films, the company that produces the program.
 </para>
 Groening was happy to have it in the film, but he told Else to contact
 Gracie Films, the company that produces the program.
 </para>

-<indexterm><primary>Gracie Films</primary></indexterm>
+<indexterm id='idxfoxfilmcompany' class='startofrange'><primary>Fox (film company)</primary></indexterm>

 <para>
 Gracie Films was okay with it, too, but they, like Groening, wanted
 to be careful. So they told Else to contact Fox, Gracie's parent company.
 <para>
 Gracie Films was okay with it, too, but they, like Groening, wanted
 to be careful. So they told Else to contact Fox, Gracie's parent company.


@@ -5290,6 +5357,7 @@ Else called Fox and told them about the clip in the corner of the one
 room shot of the film. Matt Groening had already given permission,
 Else said. He was just confirming the permission with Fox.
 </para>
 room shot of the film. Matt Groening had already given permission,
 Else said. He was just confirming the permission with Fox.
 </para>

+<indexterm startref='idxgraciefilms' class='endofrange'/>

 <para>
 Then, as Else told me, <quote>two things happened. First we discovered
 &hellip; that Matt Groening doesn't own his own creation&mdash;or at
 <para>
 Then, as Else told me, <quote>two things happened. First we discovered
 &hellip; that Matt Groening doesn't own his own creation&mdash;or at


@@ -5298,7 +5366,9 @@ And second, Fox <quote>wanted ten thousand dollars as a licensing fee for us
 to use this four-point-five seconds of &hellip; entirely unsolicited
 <citetitle>Simpsons</citetitle> which was in the corner of the shot.</quote>
 </para>
 to use this four-point-five seconds of &hellip; entirely unsolicited
 <citetitle>Simpsons</citetitle> which was in the corner of the shot.</quote>
 </para>

-<indexterm><primary>Herrera, Rebecca</primary></indexterm>
+<indexterm startref='idxgroeningmatt' class='endofrange'/>
+<indexterm startref='idxfoxfilmcompany' class='endofrange'/>
+<indexterm id='idxherrerarebecca' class='startofrange'><primary>Herrera, Rebecca</primary></indexterm>

 <para>
 Else was certain there was a mistake. He worked his way up to someone
 he thought was a vice president for licensing, Rebecca Herrera.  He
 <para>
 Else was certain there was a mistake. He worked his way up to someone
 he thought was a vice president for licensing, Rebecca Herrera.  He


@@ -5307,6 +5377,7 @@ asking for your educational rate on this.</quote> That was the educational
 rate, Herrera told Else. A day or so later, Else called again to
 confirm what he had been told.
 </para>
 rate, Herrera told Else. A day or so later, Else called again to
 confirm what he had been told.
 </para>

+<indexterm><primary>Wagner, Richard</primary></indexterm>

 <para>
 <quote>I wanted to make sure I had my facts straight,</quote> he told me. <quote>Yes, you
 have your facts straight,</quote> she said. It would cost $10,000 to use the
 <para>
 <quote>I wanted to make sure I had my facts straight,</quote> he told me. <quote>Yes, you
 have your facts straight,</quote> she said. It would cost $10,000 to use the


@@ -5319,6 +5390,7 @@ if you quote me, I'll turn you over to our attorneys.</quote> As an assistant
 to Herrera told Else later on, <quote>They don't give a shit. They just want
 the money.</quote>
 </para>
 to Herrera told Else later on, <quote>They don't give a shit. They just want
 the money.</quote>
 </para>

+<indexterm startref='idxherrerarebecca' class='endofrange'/>

 <indexterm><primary>San Francisco Opera</primary></indexterm>
 <indexterm><primary>Day After Trinity, The</primary></indexterm>
 <para>
 <indexterm><primary>San Francisco Opera</primary></indexterm>
 <indexterm><primary>Day After Trinity, The</primary></indexterm>
 <para>


@@ -5329,6 +5401,8 @@ very last minute before the film was to be released, Else digitally
 replaced the shot with a clip from another film that he had worked on,
 <citetitle>The Day After Trinity</citetitle>, from ten years before.
 </para>
 replaced the shot with a clip from another film that he had worked on,
 <citetitle>The Day After Trinity</citetitle>, from ten years before.
 </para>

+<indexterm id='idxfoxfilmcompany2' class='startofrange'><primary>Fox (film company)</primary></indexterm>
+<indexterm id='idxgroeningmatt2' class='startofrange'><primary>Groening, Matt</primary></indexterm>

 <para>
 There's no doubt that someone, whether Matt Groening or Fox, owns the
 copyright to <citetitle>The Simpsons</citetitle>. That copyright is their property.  To use
 <para>
 There's no doubt that someone, whether Matt Groening or Fox, owns the
 copyright to <citetitle>The Simpsons</citetitle>. That copyright is their property.  To use


@@ -5363,11 +5437,14 @@ Else's use of just 4.5 seconds of an indirect shot of a <citetitle>Simpsons</cit
 episode is clearly a fair use of <citetitle>The Simpsons</citetitle>&mdash;and fair use does
 not require the permission of anyone.
 </para>
 episode is clearly a fair use of <citetitle>The Simpsons</citetitle>&mdash;and fair use does
 not require the permission of anyone.
 </para>

+<indexterm startref='idxfoxfilmcompany2' class='endofrange'/>
+<indexterm startref='idxgroeningmatt2' class='endofrange'/>

 <para>
 <!-- PAGE BREAK 109 -->
 So I asked Else why he didn't just rely upon <quote>fair use.</quote> Here's his reply:
 </para>
 <blockquote>
 <para>
 <!-- PAGE BREAK 109 -->
 So I asked Else why he didn't just rely upon <quote>fair use.</quote> Here's his reply:
 </para>
 <blockquote>

+<indexterm id='idxfairuselegalintimidationtacticsagainst' class='startofrange'><primary>fair use</primary><secondary>legal intimidation tactics against</secondary></indexterm>

 <para>
 The <citetitle>Simpsons</citetitle> fiasco was for me a great lesson in the gulf between what
 lawyers find irrelevant in some abstract sense, and what is crushingly
 <para>
 The <citetitle>Simpsons</citetitle> fiasco was for me a great lesson in the gulf between what
 lawyers find irrelevant in some abstract sense, and what is crushingly


@@ -5377,7 +5454,9 @@ fair use</quote> in an absolute legal sense. But I couldn't rely on the
 concept in any concrete way. Here's why:
 </para>
 <orderedlist numeration="arabic">
 concept in any concrete way. Here's why:
 </para>
 <orderedlist numeration="arabic">

-<listitem><para>
+<listitem>
+<indexterm><primary>Errors and Omissions insurance</primary></indexterm>
+<para>

 <!-- 1. -->
 Before our films can be broadcast, the network requires that we buy
 Errors and Omissions insurance. The carriers require a detailed
 <!-- 1. -->
 Before our films can be broadcast, the network requires that we buy
 Errors and Omissions insurance. The carriers require a detailed


@@ -5386,8 +5465,10 @@ shot in the film. They take a dim view of <quote>fair use,</quote> and a claim o
 <quote>fair use</quote> can grind the application process to a halt.
 </para></listitem>
 <listitem>
 <quote>fair use</quote> can grind the application process to a halt.
 </para></listitem>
 <listitem>

-<indexterm><primary><citetitle>Star Wars</citetitle></primary></indexterm>
+<indexterm id='idxfoxfilmcompany3' class='startofrange'><primary>Fox (film company)</primary></indexterm>
+<indexterm><primary>Groening, Matt</primary></indexterm>

 <indexterm><primary>Lucas, George</primary></indexterm>
 <indexterm><primary>Lucas, George</primary></indexterm>

+<indexterm><primary><citetitle>Star Wars</citetitle></primary></indexterm>

 <para>
 <!-- 2. -->
 I probably never should have asked Matt Groening in the first
 <para>
 <!-- 2. -->
 I probably never should have asked Matt Groening in the first


@@ -5409,7 +5490,9 @@ life,</quote> regardless of the merits of my claim. He made clear that it
 would boil down to who had the bigger legal department and the deeper
 pockets, me or them.
 <!-- PAGE BREAK 110 -->
 would boil down to who had the bigger legal department and the deeper
 pockets, me or them.
 <!-- PAGE BREAK 110 -->

-</para></listitem>
+</para>
+<indexterm startref='idxfoxfilmcompany3' class='endofrange'/>
+</listitem>

 <listitem><para>
 <!-- 4. -->
 The question of fair use usually comes up at the end of the
 <listitem><para>
 <!-- 4. -->
 The question of fair use usually comes up at the end of the


@@ -5418,6 +5501,7 @@ money.
 </para></listitem>
 </orderedlist>
 </blockquote>
 </para></listitem>
 </orderedlist>
 </blockquote>

+<indexterm startref='idxsimpsonsthe' class='endofrange'/>

 <para>
 In theory, fair use means you need no permission. The theory therefore
 supports free culture and insulates against a permission culture.  But
 <para>
 In theory, fair use means you need no permission. The theory therefore
 supports free culture and insulates against a permission culture.  But


@@ -5433,10 +5517,16 @@ publishers' profits against the unfair competition of a pirate. It has
 matured into a sword that interferes with any use, transformative or
 not.
 </para>
 matured into a sword that interferes with any use, transformative or
 not.
 </para>

+<indexterm startref='idxcopyrightlawfairuseand' class='endofrange'/>
+<indexterm startref='idxdocumentaryfilm' class='endofrange'/>
+<indexterm startref='idxelsejon' class='endofrange'/>
+<indexterm startref='idxfairuseindocumentaryfilm' class='endofrange'/>
+<indexterm startref='idxfilmsfairuseofcopyrightedmaterialin' class='endofrange'/>
+<indexterm startref='idxfairuselegalintimidationtacticsagainst' class='endofrange'/>

 <!-- PAGE BREAK 111 -->
 </chapter>
 <chapter label="8" id="transformers">
 <!-- PAGE BREAK 111 -->
 </chapter>
 <chapter label="8" id="transformers">

-<title>CHAPTER EIGHT: Transformers</title>
+<title>Transformers</title>

 <indexterm><primary>Allen, Paul</primary></indexterm>
 <indexterm id='idxalbenalex1' class='startofrange'><primary>Alben, Alex</primary></indexterm>
 <indexterm><primary>Microsoft</primary></indexterm>
 <indexterm><primary>Allen, Paul</primary></indexterm>
 <indexterm id='idxalbenalex1' class='startofrange'><primary>Alben, Alex</primary></indexterm>
 <indexterm><primary>Microsoft</primary></indexterm>


@@ -5682,9 +5772,12 @@ room of over 250 well-entertained judges. Taking an ominous tone, he
 began his talk with a question: <quote>Do you know how many federal laws
 were just violated in this room?</quote>
 </para>
 began his talk with a question: <quote>Do you know how many federal laws
 were just violated in this room?</quote>
 </para>

-<indexterm><primary>Boies, David</primary></indexterm>
-<indexterm><primary>Alben, Alex</primary></indexterm>

 <para>
 <para>

+<indexterm><primary>Alben, Alex</primary></indexterm>
+<indexterm><primary>Boies, David</primary></indexterm>
+<indexterm><primary>Court of Appeals</primary><secondary>Ninth Circuit</secondary></indexterm>
+<indexterm><primary>Ninth Circuit Court of Appeals</primary></indexterm>
+<indexterm><primary>Napster</primary></indexterm>

 For of course, the two brilliantly talented creators who made this
 film hadn't done what Alben did. They hadn't spent a year clearing the
 rights to these clips; technically, what they had done violated the
 For of course, the two brilliantly talented creators who made this
 film hadn't done what Alben did. They hadn't spent a year clearing the
 rights to these clips; technically, what they had done violated the


@@ -5794,7 +5887,7 @@ curse, reserved for the few.
 <!-- PAGE BREAK 119 -->
 </chapter>
 <chapter label="9" id="collectors">
 <!-- PAGE BREAK 119 -->
 </chapter>
 <chapter label="9" id="collectors">

-<title>CHAPTER NINE: Collectors</title>
+<title>Collectors</title>

 <indexterm id='idxarchivesdigital1' class='startofrange'><primary>archives, digital</primary></indexterm>
 <indexterm><primary>bots</primary></indexterm>
 <para>
 <indexterm id='idxarchivesdigital1' class='startofrange'><primary>archives, digital</primary></indexterm>
 <indexterm><primary>bots</primary></indexterm>
 <para>


@@ -5968,7 +6061,7 @@ all&mdash;in the library archive of the film company.<footnote><para>
 Doug Herrick, <quote>Toward a National Film Collection: Motion Pictures at
 the Library of Congress,</quote> <citetitle>Film Library Quarterly</citetitle> 13 nos. 2&ndash;3
 (1980): 5; Anthony Slide, <citetitle>Nitrate Won't Wait: A History of Film
 Doug Herrick, <quote>Toward a National Film Collection: Motion Pictures at
 the Library of Congress,</quote> <citetitle>Film Library Quarterly</citetitle> 13 nos. 2&ndash;3
 (1980): 5; Anthony Slide, <citetitle>Nitrate Won't Wait: A History of Film

-Preservation in the United States</citetitle> ( Jefferson, N.C.: McFarland &amp;
+Preservation in the United States</citetitle> (Jefferson, N.C.: McFarland &amp;

 Co., 1992), 36.
 </para></footnote>
 </para>
 Co., 1992), 36.
 </para></footnote>
 </para>


@@ -6158,7 +6251,7 @@ that Kahle and others would exercise.
 <!-- PAGE BREAK 127 -->
 </chapter>
 <chapter label="10" id="property-i">
 <!-- PAGE BREAK 127 -->
 </chapter>
 <chapter label="10" id="property-i">

-<title>CHAPTER TEN: <quote>Property</quote></title>
+<title><quote>Property</quote></title>

 <indexterm><primary>Johnson, Lyndon</primary></indexterm>
 <indexterm><primary>Kennedy, John F.</primary></indexterm>
 <para>
 <indexterm><primary>Johnson, Lyndon</primary></indexterm>
 <indexterm><primary>Kennedy, John F.</primary></indexterm>
 <para>


@@ -6402,7 +6495,7 @@ weaken the right or regulation. I represented it with this diagram:
 </para>
 <figure id="fig-1331">
 <title>How four different modalities of regulation interact to support or weaken the right or regulation.</title>
 </para>
 <figure id="fig-1331">
 <title>How four different modalities of regulation interact to support or weaken the right or regulation.</title>

-<graphic fileref="images/1331.png"></graphic>
+<graphic fileref="images/1331.svg" align="center" width="50%"></graphic>

 </figure>
 <indexterm><primary>Madonna</primary></indexterm>
 <para>
 </figure>
 <indexterm><primary>Madonna</primary></indexterm>
 <para>


@@ -6531,7 +6624,8 @@ driving.
 <indexterm startref='idxspeedingconstraintson' class='endofrange'/>
 <figure id="fig-1361">
 <title>Law has a special role in affecting the three.</title>
 <indexterm startref='idxspeedingconstraintson' class='endofrange'/>
 <figure id="fig-1361">
 <title>Law has a special role in affecting the three.</title>

-<graphic fileref="images/1361.png"></graphic>
+<graphic fileref="images/1361.svg" align="center" width="50%"></graphic>
+

 </figure>
 <indexterm><primary>architecture, constraint effected through</primary></indexterm>
 <para>
 </figure>
 <indexterm><primary>architecture, constraint effected through</primary></indexterm>
 <para>


@@ -6581,6 +6675,7 @@ effective liberty that each of these groups might face.
 <indexterm startref='idxlawasconstraintmodality2' class='endofrange'/>
 <section id="hollywood">
 <title>Why Hollywood Is Right</title>
 <indexterm startref='idxlawasconstraintmodality2' class='endofrange'/>
 <section id="hollywood">
 <title>Why Hollywood Is Right</title>

+<indexterm id='idxcopyrightfourregulatorymodalitieson' class='startofrange'><primary>copyright</primary><secondary>four regulatory modalities on</secondary></indexterm>

 <para>
 The most obvious point that this model reveals is just why, or just
 how, Hollywood is right. The copyright warriors have rallied Congress
 <para>
 The most obvious point that this model reveals is just why, or just
 how, Hollywood is right. The copyright warriors have rallied Congress


@@ -6593,7 +6688,8 @@ Internet:
 </para>
 <figure id="fig-1371">
 <title>Copyright's regulation before the Internet.</title>
 </para>
 <figure id="fig-1371">
 <title>Copyright's regulation before the Internet.</title>

-<graphic fileref="images/1331.png"></graphic>
+<graphic fileref="images/1331.svg" align="center" width="50%"></graphic>
+

 </figure>
 <indexterm id='idxarchitectureconstrainteffectedthrough' class='startofrange'><primary>architecture, constraint effected through</primary></indexterm>
 <indexterm><primary>law</primary><secondary>as constraint modality</secondary></indexterm>
 </figure>
 <indexterm id='idxarchitectureconstrainteffectedthrough' class='startofrange'><primary>architecture, constraint effected through</primary></indexterm>
 <indexterm><primary>law</primary><secondary>as constraint modality</secondary></indexterm>


@@ -6638,7 +6734,8 @@ looting that results.
 </para>
 <figure id="fig-1381">
 <title>effective state of anarchy after the Internet.</title>
 </para>
 <figure id="fig-1381">
 <title>effective state of anarchy after the Internet.</title>

-<graphic fileref="images/1381.png"></graphic>
+<graphic fileref="images/1381.svg" align="center" width="50%"></graphic>
+

 </figure>
 <indexterm><primary>Commerce, U.S. Department of</primary></indexterm>
 <indexterm id='idxregulationasestablishmentprotectionism' class='startofrange'><primary>regulation</primary><secondary>as establishment protectionism</secondary></indexterm>
 </figure>
 <indexterm><primary>Commerce, U.S. Department of</primary></indexterm>
 <indexterm id='idxregulationasestablishmentprotectionism' class='startofrange'><primary>regulation</primary><secondary>as establishment protectionism</secondary></indexterm>


@@ -6656,6 +6753,7 @@ educate kids to better protect copyright.
 </para>
 <indexterm startref='idxfreeculturefourmodalitiesofconstrainton' class='endofrange'/>
 <indexterm startref='idxregulationfourmodalitiesof' class='endofrange'/>
 </para>
 <indexterm startref='idxfreeculturefourmodalitiesofconstrainton' class='endofrange'/>
 <indexterm startref='idxregulationfourmodalitiesof' class='endofrange'/>

+<indexterm><primary>farming</primary></indexterm>

 <indexterm><primary>steel industry</primary></indexterm>
 <para>
 This mixed strategy is just what copyright needed&mdash;if it was to
 <indexterm><primary>steel industry</primary></indexterm>
 <para>
 This mixed strategy is just what copyright needed&mdash;if it was to


@@ -6674,7 +6772,9 @@ to bail them out when a virus (architecture) devastates their
 crop. Unions have no hesitation appealing to the government to bail
 them out when imports (market) wipe out the U.S. steel industry.
 </para>
 crop. Unions have no hesitation appealing to the government to bail
 them out when imports (market) wipe out the U.S. steel industry.
 </para>

+<indexterm startref='idxcopyrightfourregulatorymodalitieson' class='endofrange'/>

 <indexterm startref='idxinternetcopyrightregulatorybalancelostwith' class='endofrange'/>
 <indexterm startref='idxinternetcopyrightregulatorybalancelostwith' class='endofrange'/>

+<indexterm><primary>Brown, John Seely</primary></indexterm>

 <para>
 Thus, there's nothing wrong or surprising in the content industry's
 campaign to protect itself from the harmful consequences of a
 <para>
 Thus, there's nothing wrong or surprising in the content industry's
 campaign to protect itself from the harmful consequences of a


@@ -6715,7 +6815,7 @@ railroads. Does anyone think we should ban trucks from roads
 <emphasis>for the purpose of</emphasis> protecting the railroads?
 Closer to the subject of this book, remote channel changers have
 weakened the <quote>stickiness</quote> of television advertising (if a boring
 <emphasis>for the purpose of</emphasis> protecting the railroads?
 Closer to the subject of this book, remote channel changers have
 weakened the <quote>stickiness</quote> of television advertising (if a boring

-commercial comes on the TV, the remote makes it easy to surf ), and it
+commercial comes on the TV, the remote makes it easy to surf), and it

 may well be that this change has weakened the television advertising
 market. But does anyone believe we should regulate remotes to
 reinforce commercial television?  (Maybe by limiting them to function
 may well be that this change has weakened the television advertising
 market. But does anyone believe we should regulate remotes to
 reinforce commercial television?  (Maybe by limiting them to function


@@ -6759,6 +6859,9 @@ changes they create, in response to the request of those hurt by
 changing technology, are changes that preserve the incentives and
 opportunities for innovation and change.
 </para>
 changing technology, are changes that preserve the incentives and
 opportunities for innovation and change.
 </para>

+<indexterm><primary>Constitution, U.S.</primary><secondary>First Amendment to</secondary></indexterm>
+<indexterm><primary>First Amendment</primary></indexterm>
+<indexterm><primary>speech, freedom of</primary><secondary>constitutional guarantee of</secondary></indexterm>

 <para>
 In the context of laws regulating speech&mdash;which include,
 obviously, copyright law&mdash;that duty is even stronger. When the
 <para>
 In the context of laws regulating speech&mdash;which include,
 obviously, copyright law&mdash;that duty is even stronger. When the


@@ -6787,8 +6890,10 @@ effect of the changes the content industry wants.
 <para>
 Here's the metaphor that will capture the argument to follow.
 </para>
 <para>
 Here's the metaphor that will capture the argument to follow.
 </para>

+<indexterm id='idxmllerpaulhermann' class='startofrange'><primary>Müller, Paul Hermann</primary></indexterm>

 <indexterm id='idxddt' class='startofrange'><primary>DDT</primary></indexterm>
 <indexterm id='idxddt' class='startofrange'><primary>DDT</primary></indexterm>

-<indexterm><primary>Müller, Paul Hermann</primary></indexterm>
+<indexterm id='idxinsecticideenvironmentalconsequencesof' class='startofrange'><primary>insecticide, environmental consequences of</primary></indexterm>
+<indexterm id='idxfarming' class='startofrange'><primary>farming</primary></indexterm>

 <para>
 In 1873, the chemical DDT was first synthesized. In 1948, Swiss
 chemist Paul Hermann Müller won the Nobel Prize for his work
 <para>
 In 1873, the chemical DDT was first synthesized. In 1948, Swiss
 chemist Paul Hermann Müller won the Nobel Prize for his work


@@ -6802,7 +6907,8 @@ production is a good thing. No one doubts that the work of Müller was
 important and valuable and probably saved lives, possibly millions.
 </para>
 <indexterm><primary>Carson, Rachel</primary></indexterm>
 important and valuable and probably saved lives, possibly millions.
 </para>
 <indexterm><primary>Carson, Rachel</primary></indexterm>

-<indexterm><primary>Silent Sprint (Carson)</primary></indexterm>
+<indexterm><primary>Silent Spring (Carson)</primary></indexterm>
+<indexterm id='idxenvironmentalism' class='startofrange'><primary>environmentalism</primary></indexterm>

 <para>
 But in 1962, Rachel Carson published <citetitle>Silent Spring</citetitle>, which argued that
 DDT, whatever its primary benefits, was also having unintended
 <para>
 But in 1962, Rachel Carson published <citetitle>Silent Spring</citetitle>, which argued that
 DDT, whatever its primary benefits, was also having unintended


@@ -6818,7 +6924,9 @@ problems DDT caused were worse than the problems it solved, at least
 when considering the other, more environmentally friendly ways to
 solve the problems that DDT was meant to solve.
 </para>
 when considering the other, more environmentally friendly ways to
 solve the problems that DDT was meant to solve.
 </para>

+<indexterm startref='idxmllerpaulhermann' class='endofrange'/>

 <indexterm><primary>Boyle, James</primary></indexterm>
 <indexterm><primary>Boyle, James</primary></indexterm>

+<indexterm id='idxcopyrightlawinnovativefreedombalancedwithfaircompensationin2' class='startofrange'><primary>copyright law</primary><secondary>innovative freedom balanced with fair compensation in</secondary></indexterm>

 <para>
 It is to this image precisely that Duke University law professor James
 Boyle appeals when he argues that we need an <quote>environmentalism</quote> for
 <para>
 It is to this image precisely that Duke University law professor James
 Boyle appeals when he argues that we need an <quote>environmentalism</quote> for


@@ -6840,6 +6948,7 @@ protecting copyright not an endorsement of anarchy or an attack on
 authors.  It is an environment of creativity that we seek, and we
 should be aware of our actions' effects on the environment.
 </para>
 authors.  It is an environment of creativity that we seek, and we
 should be aware of our actions' effects on the environment.
 </para>

+<indexterm startref='idxfarming' class='endofrange'/>

 <para>
 My argument, in the balance of this chapter, tries to map exactly
 this effect. No doubt the technology of the Internet has had a dramatic
 <para>
 My argument, in the balance of this chapter, tries to map exactly
 this effect. No doubt the technology of the Internet has had a dramatic


@@ -6851,21 +6960,33 @@ not be only that copyrighted work is effectively protected. Also, and
 generally missed, the net effect of this massive increase in protection
 will be devastating to the environment for creativity.
 </para>
 generally missed, the net effect of this massive increase in protection
 will be devastating to the environment for creativity.
 </para>

+<indexterm startref='idxcopyrightlawinnovativefreedombalancedwithfaircompensationin2' class='endofrange'/>

 <para>
 In a line: To kill a gnat, we are spraying DDT with consequences
 for free culture that will be far more devastating than that this gnat will
 be lost.
 </para>
 <indexterm startref='idxddt' class='endofrange'/>
 <para>
 In a line: To kill a gnat, we are spraying DDT with consequences
 for free culture that will be far more devastating than that this gnat will
 be lost.
 </para>
 <indexterm startref='idxddt' class='endofrange'/>

+<indexterm startref='idxinsecticideenvironmentalconsequencesof' class='endofrange'/>
+<indexterm startref='idxenvironmentalism' class='endofrange'/>

 </section>
 <section id="beginnings">
 <title>Beginnings</title>
 </section>
 <section id="beginnings">
 <title>Beginnings</title>

+<indexterm><primary>Constitution, U.S.</primary><secondary>on creative property</secondary></indexterm>
+<indexterm id='idxconstitutionuscopyrightpurposeestablishedin' class='startofrange'><primary>Constitution, U.S.</primary><secondary>copyright purpose established in</secondary></indexterm>
+<indexterm id='idxconstitutionusprogressclauseof' class='startofrange'><primary>Constitution, U.S.</primary><secondary>Progress Clause of</secondary></indexterm>
+<indexterm><primary>copyright</primary><secondary>constitutional purpose of</secondary></indexterm>
+<indexterm><primary>copyright</primary><secondary>duration of</secondary></indexterm>
+<indexterm id='idxcreativepropertyconstitutionaltraditionon2' class='startofrange'><primary>creative property</primary><secondary>constitutional tradition on</secondary></indexterm>
+<indexterm id='idxprogressclause' class='startofrange'><primary>Progress Clause</primary></indexterm>
+<indexterm><primary>copyright</primary><secondary>duration of</secondary></indexterm>

 <para>
 America copied English copyright law. Actually, we copied and improved
 English copyright law. Our Constitution makes the purpose of <quote>creative
 property</quote> rights clear; its express limitations reinforce the English
 aim to avoid overly powerful publishers.
 </para>
 <para>
 America copied English copyright law. Actually, we copied and improved
 English copyright law. Our Constitution makes the purpose of <quote>creative
 property</quote> rights clear; its express limitations reinforce the English
 aim to avoid overly powerful publishers.
 </para>

+<indexterm id='idxcongressusinconstitutionalprogressclause' class='startofrange'><primary>Congress, U.S.</primary><secondary>in constitutional Progress Clause</secondary></indexterm>

 <para>
 The power to establish <quote>creative property</quote> rights is granted to
 Congress in a way that, for our Constitution, at least, is very
 <para>
 The power to establish <quote>creative property</quote> rights is granted to
 Congress in a way that, for our Constitution, at least, is very


@@ -6884,6 +7005,9 @@ does not say. It does not say Congress has the power to grant
 purpose, and its purpose is a public one, not the purpose of enriching
 publishers, nor even primarily the purpose of rewarding authors.
 </para>
 purpose, and its purpose is a public one, not the purpose of enriching
 publishers, nor even primarily the purpose of rewarding authors.
 </para>

+<indexterm startref='idxcongressusinconstitutionalprogressclause' class='endofrange'/>
+<indexterm id='idxcopyrightlawasprotectionofcreators' class='startofrange'><primary>copyright law</primary><secondary>as protection of creators</secondary></indexterm>
+<indexterm id='idxcopyrightlawhistoryofamerican' class='startofrange'><primary>copyright law</primary><secondary>history of American</secondary></indexterm>

 <para>
 The Progress Clause expressly limits the term of copyrights. As we saw
 in chapter <xref xrefstyle="select: labelnumber" linkend="founders"/>,
 <para>
 The Progress Clause expressly limits the term of copyrights. As we saw
 in chapter <xref xrefstyle="select: labelnumber" linkend="founders"/>,


@@ -6894,6 +7018,9 @@ followed the English for a similar purpose. Indeed, unlike the
 English, the framers reinforced that objective, by requiring that
 copyrights extend <quote>to Authors</quote> only.
 </para>
 English, the framers reinforced that objective, by requiring that
 copyrights extend <quote>to Authors</quote> only.
 </para>

+<indexterm><primary>Senate, U.S.</primary></indexterm>
+<indexterm><primary>Constitution, U.S.</primary><secondary>structural checks and balances of</secondary></indexterm>
+<indexterm><primary>electoral college</primary></indexterm>

 <para>
 The design of the Progress Clause reflects something about the
 Constitution's design in general. To avoid a problem, the framers
 <para>
 The design of the Progress Clause reflects something about the
 Constitution's design in general. To avoid a problem, the framers


@@ -6909,6 +7036,8 @@ case, a <emphasis>structure</emphasis> built checks and balances into
 the constitutional frame, structured to prevent otherwise inevitable
 concentrations of power.
 </para>
 the constitutional frame, structured to prevent otherwise inevitable
 concentrations of power.
 </para>

+<indexterm startref='idxconstitutionusprogressclauseof' class='endofrange'/>
+<indexterm startref='idxprogressclause' class='endofrange'/>

 <para>
 I doubt the framers would recognize the regulation we call <quote>copyright</quote>
 today. The scope of that regulation is far beyond anything they ever
 <para>
 I doubt the framers would recognize the regulation we call <quote>copyright</quote>
 today. The scope of that regulation is far beyond anything they ever


@@ -6916,6 +7045,10 @@ considered. To begin to understand what they did, we need to put our
 <quote>copyright</quote> in context: We need to see how it has changed in the 210
 years since they first struck its design.
 </para>
 <quote>copyright</quote> in context: We need to see how it has changed in the 210
 years since they first struck its design.
 </para>

+<indexterm startref='idxconstitutionuscopyrightpurposeestablishedin' class='endofrange'/>
+<indexterm startref='idxcreativepropertyconstitutionaltraditionon2' class='endofrange'/>
+<indexterm startref='idxcopyrightlawasprotectionofcreators' class='endofrange'/>
+<indexterm><primary>copyright</primary><secondary>four regulatory modalities on</secondary></indexterm>

 <para>
 Some of these changes come from the law: some in light of changes
 in technology, and some in light of changes in technology given a
 <para>
 Some of these changes come from the law: some in light of changes
 in technology, and some in light of changes in technology given a


@@ -6925,14 +7058,14 @@ started here:
 </para>
 <figure id="fig-1441">
 <title>Copyright's regulation before the Internet.</title>
 </para>
 <figure id="fig-1441">
 <title>Copyright's regulation before the Internet.</title>

-<graphic fileref="images/1331.png"></graphic>
+<graphic fileref="images/1331.svg" align="center" width="50%"></graphic>

 </figure>
 <para>
 We will end here:
 </para>
 <figure id="fig-1442">
 <title><quote>Copyright</quote> today.</title>
 </figure>
 <para>
 We will end here:
 </para>
 <figure id="fig-1442">
 <title><quote>Copyright</quote> today.</title>

-<graphic fileref="images/1442.png"></graphic>
+<graphic fileref="images/1442.svg" align="center" width="50%"></graphic>

 </figure>
 <para>
 Let me explain how.
 </figure>
 <para>
 Let me explain how.


@@ -6941,6 +7074,11 @@ Let me explain how.
 </section>
 <section id="lawduration">
 <title>Law: Duration</title>
 </section>
 <section id="lawduration">
 <title>Law: Duration</title>

+<indexterm id='idxcopyrightdurationof4' class='startofrange'><primary>copyright</primary><secondary>duration of</secondary></indexterm>
+<indexterm id='idxcongressusoncopyrightlaws5' class='startofrange'><primary>Congress, U.S.</primary><secondary>on copyright laws</secondary></indexterm>
+<indexterm id='idxcopyrightact' class='startofrange'><primary>Copyright Act (1790)</primary></indexterm>
+<indexterm><primary>creative property</primary><secondary>common law protections of</secondary></indexterm>
+<indexterm id='idxpublicdomainbalanceofuscontentin' class='startofrange'><primary>public domain</primary><secondary>balance of U.S. content in</secondary></indexterm>

 <para>
 When the first Congress enacted laws to protect creative property, it
 faced the same uncertainty about the status of creative property that
 <para>
 When the first Congress enacted laws to protect creative property, it
 faced the same uncertainty about the status of creative property that


@@ -6966,6 +7104,7 @@ 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>
 domain to reprint and distribute works.
 </para>
 <indexterm><primary>Statute of Anne (1710)</primary></indexterm>

+<indexterm id='idxlawfederalvsstate' class='startofrange'><primary>law</primary><secondary>federal vs. state</secondary></indexterm>

 <para>
 That uncertainty ended after Congress passed legislation granting
 copyrights. Because federal law overrides any contrary state law,
 <para>
 That uncertainty ended after Congress passed legislation granting
 copyrights. Because federal law overrides any contrary state law,


@@ -6974,6 +7113,7 @@ protections.  Just as in England the Statute of Anne eventually meant
 that the copyrights for all English works expired, a federal statute
 meant that any state copyrights expired as well.
 </para>
 that the copyrights for all English works expired, a federal statute
 meant that any state copyrights expired as well.
 </para>

+<indexterm id='idxcopyrightrenewabilityof' class='startofrange'><primary>copyright</primary><secondary>renewability of</secondary></indexterm>

 <para>
 In 1790, Congress enacted the first copyright law. It created a
 federal copyright and secured that copyright for fourteen years. If
 <para>
 In 1790, Congress enacted the first copyright law. It created a
 federal copyright and secured that copyright for fourteen years. If


@@ -6981,6 +7121,7 @@ the author was alive at the end of that fourteen years, then he could
 opt to renew the copyright for another fourteen years. If he did not
 renew the copyright, his work passed into the public domain.
 </para>
 opt to renew the copyright for another fourteen years. If he did not
 renew the copyright, his work passed into the public domain.
 </para>

+<indexterm startref='idxcongressusoncopyrightlaws5' class='endofrange'/>

 <para>
 While there were many works created in the United States in the first
 ten years of the Republic, only 5 percent of the works were actually
 <para>
 While there were many works created in the United States in the first
 ten years of the Republic, only 5 percent of the works were actually


@@ -7005,6 +7146,8 @@ copyright was short. The initial term of copyright was fourteen years,
 with the option of renewal for an additional fourteen years. Copyright
 Act of May 31, 1790, §1, 1 stat. 124.  </para></footnote>
 </para>
 with the option of renewal for an additional fourteen years. Copyright
 Act of May 31, 1790, §1, 1 stat. 124.  </para></footnote>
 </para>

+<indexterm startref='idxcopyrightact' class='endofrange'/>
+<indexterm startref='idxlawfederalvsstate' class='endofrange'/>

 <para>
 This system of renewal was a crucial part of the American system
 of copyright. It assured that the maximum terms of copyright would be
 <para>
 This system of renewal was a crucial part of the American system
 of copyright. It assured that the maximum terms of copyright would be


@@ -7031,8 +7174,9 @@ M. Landes and Richard A.  Posner, <quote>Indefinitely Renewable Copyright,</quot
 <citetitle>University of Chicago Law Review</citetitle> 70 (2003): 471, 498&ndash;501, and
 accompanying figures.  </para></footnote>
 </para>
 <citetitle>University of Chicago Law Review</citetitle> 70 (2003): 471, 498&ndash;501, and
 accompanying figures.  </para></footnote>
 </para>

-<indexterm><primary>books</primary><secondary>out of print</secondary></indexterm>
+<indexterm startref='idxpublicdomainbalanceofuscontentin' class='endofrange'/>

 <indexterm><primary>books</primary><secondary>resales of</secondary></indexterm>
 <indexterm><primary>books</primary><secondary>resales of</secondary></indexterm>

+<indexterm><primary>books</primary><secondary>out of print</secondary></indexterm>

 <para>
 Even today, this structure would make sense. Most creative work
 has an actual commercial life of just a couple of years. Most books fall
 <para>
 Even today, this structure would make sense. Most creative work
 has an actual commercial life of just a couple of years. Most books fall


@@ -7045,6 +7189,9 @@ copyright. The only practical commercial use of the books at that time
 is to sell the books as used books; that use&mdash;because it does not
 involve publication&mdash;is effectively free.
 </para>
 is to sell the books as used books; that use&mdash;because it does not
 involve publication&mdash;is effectively free.
 </para>

+<indexterm id='idxcongressusoncopyrightlaws6' class='startofrange'><primary>Congress, U.S.</primary><secondary>on copyright laws</secondary></indexterm>
+<indexterm id='idxcongressuscopyrighttermsextendedby' class='startofrange'><primary>Congress, U.S.</primary><secondary>copyright terms extended by</secondary></indexterm>
+<indexterm id='idxcopyrightlawtermextensionsin' class='startofrange'><primary>copyright law</primary><secondary>term extensions in</secondary></indexterm>

 <para>
 In the first hundred years of the Republic, the term of copyright was
 changed once. In 1831, the term was increased from a maximum of 28
 <para>
 In the first hundred years of the Republic, the term of copyright was
 changed once. In 1831, the term was increased from a maximum of 28


@@ -7053,6 +7200,8 @@ from 14 years to 28 years. In the next fifty years of the Republic,
 the term increased once again. In 1909, Congress extended the renewal
 term of 14 years to 28 years, setting a maximum term of 56 years.
 </para>
 the term increased once again. In 1909, Congress extended the renewal
 term of 14 years to 28 years, setting a maximum term of 56 years.
 </para>

+<indexterm id='idxsonnybonocopyrighttermextensionactctea' class='startofrange'><primary>Sonny Bono Copyright Term Extension Act (CTEA) (1998)</primary></indexterm>
+<indexterm id='idxpublicdomainfuturepatentsvsfuturecopyrightsin' class='startofrange'><primary>public domain</primary><secondary>future patents vs. future copyrights in</secondary></indexterm>

 <para>
 Then, beginning in 1962, Congress started a practice that has defined
 copyright law since. Eleven times in the last forty years, Congress
 <para>
 Then, beginning in 1962, Congress started a practice that has defined
 copyright law since. Eleven times in the last forty years, Congress


@@ -7063,6 +7212,7 @@ In 1976, Congress extended all existing copyrights by nineteen years.
 And in 1998, in the Sonny Bono Copyright Term Extension Act, Congress
 extended the term of existing and future copyrights by twenty years.
 </para>
 And in 1998, in the Sonny Bono Copyright Term Extension Act, Congress
 extended the term of existing and future copyrights by twenty years.
 </para>

+<indexterm><primary>patents</primary><secondary>in public domain</secondary></indexterm>

 <para>
 The effect of these extensions is simply to toll, or delay, the passing
 of works into the public domain. This latest extension means that the
 <para>
 The effect of these extensions is simply to toll, or delay, the passing
 of works into the public domain. This latest extension means that the


@@ -7074,6 +7224,7 @@ after the Sonny Bono Act, while one million patents will pass into the
 public domain, zero copyrights will pass into the public domain by virtue
 of the expiration of a copyright term.
 </para>
 public domain, zero copyrights will pass into the public domain by virtue
 of the expiration of a copyright term.
 </para>

+<indexterm startref='idxsonnybonocopyrighttermextensionactctea' class='endofrange'/>

 <para>
 The effect of these extensions has been exacerbated by another,
 little-noticed change in the copyright law. Remember I said that the
 <para>
 The effect of these extensions has been exacerbated by another,
 little-noticed change in the copyright law. Remember I said that the


@@ -7084,6 +7235,9 @@ would pass more quickly into the public domain. The works remaining
 under protection would be those that had some continuing commercial
 value.
 </para>
 under protection would be those that had some continuing commercial
 value.
 </para>

+<indexterm><primary>Sonny Bono Copyright Term Extension Act (CTEA) (1998)</primary></indexterm>
+<indexterm><primary>copyright</primary><secondary>of natural authors vs. corporations</secondary></indexterm>
+<indexterm><primary>corporations</primary><secondary>copyright terms for</secondary></indexterm>

 <para>
 The United States abandoned this sensible system in 1976. For
 all works created after 1978, there was only one copyright term&mdash;the
 <para>
 The United States abandoned this sensible system in 1976. For
 all works created after 1978, there was only one copyright term&mdash;the


@@ -7103,6 +7257,8 @@ is orphaned by these changes in copyright law. Despite the requirement
 that terms be <quote>limited,</quote> we have no evidence that anything will limit
 them.
 </para>
 that terms be <quote>limited,</quote> we have no evidence that anything will limit
 them.
 </para>

+<indexterm startref='idxcopyrightlawhistoryofamerican' class='endofrange'/>
+<indexterm startref='idxpublicdomainfuturepatentsvsfuturecopyrightsin' class='endofrange'/>

 <para>
 The effect of these changes on the average duration of copyright is
 dramatic. In 1973, more than 85 percent of copyright owners failed to
 <para>
 The effect of these changes on the average duration of copyright is
 dramatic. In 1973, more than 85 percent of copyright owners failed to


@@ -7118,16 +7274,24 @@ more than thirty-two years, and averaged thirty years. See Landes and
 Posner, <quote>Indefinitely Renewable Copyright,</quote> loc. cit.
 </para></footnote>
 </para>
 Posner, <quote>Indefinitely Renewable Copyright,</quote> loc. cit.
 </para></footnote>
 </para>

+<indexterm startref='idxcopyrightdurationof4' class='endofrange'/>
+<indexterm startref='idxcopyrightrenewabilityof' class='endofrange'/>
+<indexterm startref='idxcongressusoncopyrightlaws6' class='endofrange'/>
+<indexterm startref='idxcongressuscopyrighttermsextendedby' class='endofrange'/>
+<indexterm startref='idxcopyrightlawtermextensionsin' class='endofrange'/>

 <!-- PAGE BREAK 147 -->
 </section>
 <section id="lawscope">
 <title>Law: Scope</title>
 <!-- PAGE BREAK 147 -->
 </section>
 <section id="lawscope">
 <title>Law: Scope</title>

+<indexterm id='idxcopyrightscopeof' class='startofrange'><primary>copyright</primary><secondary>scope of</secondary></indexterm>

 <para>
 The <quote>scope</quote> of a copyright is the range of rights granted by the law.
 The scope of American copyright has changed dramatically. Those
 changes are not necessarily bad. But we should understand the extent
 of the changes if we're to keep this debate in context.
 </para>
 <para>
 The <quote>scope</quote> of a copyright is the range of rights granted by the law.
 The scope of American copyright has changed dramatically. Those
 changes are not necessarily bad. But we should understand the extent
 of the changes if we're to keep this debate in context.
 </para>

+<indexterm><primary>copyright law</primary><secondary>on republishing vs. transformation of original work</secondary></indexterm>
+<indexterm id='idxderivativeworkshistoricalshiftincopyrightcoverageof' class='startofrange'><primary>derivative works</primary><secondary>historical shift in copyright coverage of</secondary></indexterm>

 <para>
 In 1790, that scope was very narrow. Copyright covered only <quote>maps,
 charts, and books.</quote> That means it didn't cover, for example, music or
 <para>
 In 1790, that scope was very narrow. Copyright covered only <quote>maps,
 charts, and books.</quote> That means it didn't cover, for example, music or


@@ -7156,6 +7320,9 @@ way, the right covers more creative work, protects the creative work
 more broadly, and protects works that are based in a significant way
 on the initial creative work.
 </para>
 more broadly, and protects works that are based in a significant way
 on the initial creative work.
 </para>

+<indexterm id='idxcopyrightmarkingof' class='startofrange'><primary>copyright</primary><secondary>marking of</secondary></indexterm>
+<indexterm id='idxformalities' class='startofrange'><primary>formalities</primary></indexterm>
+<indexterm id='idxcopyrightlawregistrationrequirementof' class='startofrange'><primary>copyright law</primary><secondary>registration requirement of</secondary></indexterm>

 <para>
 At the same time that the scope of copyright has expanded, procedural
 limitations on the right have been relaxed. I've already described the
 <para>
 At the same time that the scope of copyright has expanded, procedural
 limitations on the right have been relaxed. I've already described the


@@ -7170,6 +7337,7 @@ of the history of American copyright law, there was a requirement that
 works be deposited with the government before a copyright could be
 secured.
 </para>
 works be deposited with the government before a copyright could be
 secured.
 </para>

+<indexterm startref='idxderivativeworkshistoricalshiftincopyrightcoverageof' class='endofrange'/>

 <para>
 The reason for the registration requirement was the sensible
 understanding that for most works, no copyright was required. Again,
 <para>
 The reason for the registration requirement was the sensible
 understanding that for most works, no copyright was required. Again,


@@ -7184,6 +7352,7 @@ that after the copyright expired, there would be a copy of the work
 somewhere so that it could be copied by others without locating the
 original author.
 </para>
 somewhere so that it could be copied by others without locating the
 original author.
 </para>

+<indexterm><primary>copyright law</primary><secondary>European</secondary></indexterm>

 <para>
 All of these <quote>formalities</quote> were abolished in the American system when
 we decided to follow European copyright law. There is no requirement
 <para>
 All of these <quote>formalities</quote> were abolished in the American system when
 we decided to follow European copyright law. There is no requirement


@@ -7192,10 +7361,14 @@ automatic; the copyright exists whether or not you mark your work with
 a &copy;; and the copyright exists whether or not you actually make a
 copy available for others to copy.
 </para>
 a &copy;; and the copyright exists whether or not you actually make a
 copy available for others to copy.
 </para>

+<indexterm startref='idxcopyrightmarkingof' class='endofrange'/>
+<indexterm startref='idxformalities' class='endofrange'/>
+<indexterm startref='idxcopyrightlawregistrationrequirementof' class='endofrange'/>

 <para>
 Consider a practical example to understand the scope of these
 differences.
 </para>
 <para>
 Consider a practical example to understand the scope of these
 differences.
 </para>

+<indexterm id='idxcopyrightact2' class='startofrange'><primary>Copyright Act (1790)</primary></indexterm>

 <para>
 If, in 1790, you wrote a book and you were one of the 5 percent who
 actually copyrighted that book, then the copyright law protected you
 <para>
 If, in 1790, you wrote a book and you were one of the 5 percent who
 actually copyrighted that book, then the copyright law protected you


@@ -7214,6 +7387,9 @@ The Copyright Act was thus a tiny
 regulation of a tiny proportion of a tiny part of the creative market in
 the United States&mdash;publishers.
 </para>
 regulation of a tiny proportion of a tiny part of the creative market in
 the United States&mdash;publishers.
 </para>

+<indexterm id='idxcopyrightlawonrepublishingvstransformationoforiginalwork2' class='startofrange'><primary>copyright law</primary><secondary>on republishing vs. transformation of original work</secondary></indexterm>
+<indexterm id='idxderivativeworkspiracyvs3' class='startofrange'><primary>derivative works</primary><secondary>piracy vs.</secondary></indexterm>
+<indexterm id='idxpiracyderivativeworkvs3' class='startofrange'><primary>piracy</primary><secondary>derivative work vs.</secondary></indexterm>

 <para>
 <!-- PAGE BREAK 149 -->
 The act left other creators totally unregulated. If I copied your poem
 <para>
 <!-- PAGE BREAK 149 -->
 The act left other creators totally unregulated. If I copied your poem


@@ -7224,6 +7400,7 @@ those activities were regulated by the original copyright act. These
 creative activities remained free, while the activities of publishers
 were restrained.
 </para>
 creative activities remained free, while the activities of publishers
 were restrained.
 </para>

+<indexterm startref='idxcopyrightact2' class='endofrange'/>

 <para>
 Today the story is very different: If you write a book, your book is
 automatically protected. Indeed, not just your book. Every e-mail,
 <para>
 Today the story is very different: If you write a book, your book is
 automatically protected. Indeed, not just your book. Every e-mail,


@@ -7252,6 +7429,7 @@ copyright holder. The copyright, in other words, is now not just an
 right to your writings, but an exclusive right to your writings
 and a large proportion of the writings inspired by them.
 </para>
 right to your writings, but an exclusive right to your writings
 and a large proportion of the writings inspired by them.
 </para>

+<indexterm startref='idxderivativeworkspiracyvs3' class='endofrange'/>

 <para>
 It is this derivative right that would seem most bizarre to our
 framers, though it has become second nature to us. Initially, this 
 <para>
 It is this derivative right that would seem most bizarre to our
 framers, though it has become second nature to us. Initially, this 


@@ -7301,6 +7479,7 @@ pp. 53&ndash;59).
 </para></footnote>
 These two different uses of my creative work are treated the same.
 </para>
 </para></footnote>
 These two different uses of my creative work are treated the same.
 </para>

+<indexterm startref='idxpiracyderivativeworkvs3' class='endofrange'/>

 <indexterm><primary>Disney, Walt</primary></indexterm>
 <indexterm><primary>Mickey Mouse</primary></indexterm>
 <para>
 <indexterm><primary>Disney, Walt</primary></indexterm>
 <indexterm><primary>Mickey Mouse</primary></indexterm>
 <para>


@@ -7317,9 +7496,13 @@ derivative right is unjustified. My aim just now is much narrower:
 simply to make clear that this expansion is a significant change from
 the rights originally granted.
 </para>
 simply to make clear that this expansion is a significant change from
 the rights originally granted.
 </para>

+<indexterm startref='idxcopyrightscopeof' class='endofrange'/>
+<indexterm startref='idxcopyrightlawonrepublishingvstransformationoforiginalwork2' class='endofrange'/>

 </section>
 <section id="lawreach">
 <title>Law and Architecture: Reach</title>
 </section>
 <section id="lawreach">
 <title>Law and Architecture: Reach</title>

+<indexterm id='idxcopyrightlawcopiesascoreissueof' class='startofrange'><primary>copyright law</primary><secondary>copies as core issue of</secondary></indexterm>
+<indexterm id='idxcopyrightlawscopeof' class='startofrange'><primary>copyright law</primary><secondary>scope of</secondary></indexterm>

 <para>
 Whereas originally the law regulated only publishers, the change in
 copyright's scope means that the law today regulates publishers, users,
 <para>
 Whereas originally the law regulated only publishers, the change in
 copyright's scope means that the law today regulates publishers, users,


@@ -7336,6 +7519,8 @@ existing law (which regulates <quote>copies;</quote> 17 <citetitle>United States
 102) is that if there is a copy, there is a right.
 </para></footnote>
 </para>
 102) is that if there is a copy, there is a right.
 </para></footnote>
 </para>

+<indexterm><primary>Valenti, Jack</primary><secondary>on creative property rights</secondary></indexterm>
+<indexterm id='idxcreativepropertyotherpropertyrightsvs2' class='startofrange'><primary>creative property</primary><secondary>other property rights vs.</secondary></indexterm>

 <para>
 <!-- PAGE BREAK 151 -->
 <quote>Copies.</quote> That certainly sounds like the obvious thing for
 <para>
 <!-- PAGE BREAK 151 -->
 <quote>Copies.</quote> That certainly sounds like the obvious thing for


@@ -7350,6 +7535,7 @@ copies should <emphasis>not</emphasis> be the trigger for copyright
 law. More precisely, they should not <emphasis>always</emphasis> be
 the trigger for copyright law.
 </para>
 law. More precisely, they should not <emphasis>always</emphasis> be
 the trigger for copyright law.
 </para>

+<indexterm startref='idxcopyrightlawcopiesascoreissueof' class='endofrange'/>

 <para>
 This is perhaps the central claim of this book, so let me take this
 very slowly so that the point is not easily missed. My claim is that the
 <para>
 This is perhaps the central claim of this book, so let me take this
 very slowly so that the point is not easily missed. My claim is that the


@@ -7366,13 +7552,15 @@ because it is clear that the
 current reach of copyright was never contemplated, much less chosen,
 by the legislators who enacted copyright law.
 </para>
 current reach of copyright was never contemplated, much less chosen,
 by the legislators who enacted copyright law.
 </para>

+<indexterm startref='idxcopyrightlawscopeof' class='endofrange'/>
+<indexterm startref='idxcreativepropertyotherpropertyrightsvs2' class='endofrange'/>

 <para>
 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>
 <para>
 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>
+<graphic fileref="images/1521.svg" align="center" width="50%"></graphic>

 </figure>
 <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>
 </figure>
 <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>


@@ -7396,18 +7584,20 @@ acts do not make a copy.
 </para>
 <figure id="fig-1531">
 <title>Examples of unregulated uses of a book.</title>
 </para>
 <figure id="fig-1531">
 <title>Examples of unregulated uses of a book.</title>

-<graphic fileref="images/1531.png"></graphic>
+<graphic fileref="images/1531.png" align="center" width="50%"></graphic>

 </figure>
 <para>
 Obviously, however, some uses of a copyrighted book are regulated
 by copyright law. Republishing the book, for example, makes a copy. It
 is therefore regulated by copyright law. Indeed, this particular use stands
 at the core of this circle of possible uses of a copyrighted work. It is the
 </figure>
 <para>
 Obviously, however, some uses of a copyrighted book are regulated
 by copyright law. Republishing the book, for example, makes a copy. It
 is therefore regulated by copyright law. Indeed, this particular use stands
 at the core of this circle of possible uses of a copyrighted work. It is the

-paradigmatic use properly regulated by copyright regulation (see first
-diagram on next page).
+paradigmatic use properly regulated by copyright regulation (see  
+diagram in <xref linkend="fig-1541"/>).

 </para>
 <indexterm startref='idxderivativeworkspiracyvs4' class='endofrange'/>
 <indexterm startref='idxpiracyderivativeworkvs4' class='endofrange'/>
 </para>
 <indexterm startref='idxderivativeworkspiracyvs4' class='endofrange'/>
 <indexterm startref='idxpiracyderivativeworkvs4' class='endofrange'/>

+<indexterm id='idxfairuse' class='startofrange'><primary>fair use</primary></indexterm>
+<indexterm id='idxcopyrightlawfairuseand2' class='startofrange'><primary>copyright law</primary><secondary>fair use and</secondary></indexterm>

 <para>
 Finally, there is a tiny sliver of otherwise regulated copying uses
 that remain unregulated because the law considers these <quote>fair uses.</quote>
 <para>
 Finally, there is a tiny sliver of otherwise regulated copying uses
 that remain unregulated because the law considers these <quote>fair uses.</quote>


@@ -7415,8 +7605,10 @@ that remain unregulated because the law considers these <quote>fair uses.</quote
 <!-- PAGE BREAK 153 -->
 <figure id="fig-1541">
 <title>Republishing stands at the core of this circle of possible uses of a copyrighted work.</title>
 <!-- PAGE BREAK 153 -->
 <figure id="fig-1541">
 <title>Republishing stands at the core of this circle of possible uses of a copyrighted work.</title>

-<graphic fileref="images/1541.png"></graphic>
+<graphic fileref="images/1541.svg" align="center" width="50%"></graphic>

 </figure>
 </figure>

+<indexterm><primary>Constitution, U.S.</primary><secondary>First Amendment to</secondary></indexterm>
+<indexterm><primary>First Amendment</primary></indexterm>

 <para>
 These are uses that themselves involve copying, but which the law
 treats as unregulated because public policy demands that they remain
 <para>
 These are uses that themselves involve copying, but which the law
 treats as unregulated because public policy demands that they remain


@@ -7429,13 +7621,14 @@ for public policy (and possibly First Amendment) reasons.
 </para>
 <figure id="fig-1542">
 <title>Unregulated copying considered <quote>fair uses.</quote></title>
 </para>
 <figure id="fig-1542">
 <title>Unregulated copying considered <quote>fair uses.</quote></title>

-<graphic fileref="images/1542.png"></graphic>
+<graphic fileref="images/1542.png" align="center" width="50%"></graphic>

 </figure>
 <para> </para>
 <figure id="fig-1551">
 <title>Uses that before were presumptively unregulated are now presumptively regulated.</title>
 </figure>
 <para> </para>
 <figure id="fig-1551">
 <title>Uses that before were presumptively unregulated are now presumptively regulated.</title>

-<graphic fileref="images/1551.png"></graphic>
+<graphic fileref="images/1551.png" align="center" width="50%"></graphic>

 </figure>
 </figure>

+<indexterm id='idxcopyrightusagerestrictionsattachedto' class='startofrange'><primary>copyright</primary><secondary>usage restrictions attached to</secondary></indexterm>

 <para>
 <!-- PAGE BREAK 154 -->
 In real space, then, the possible uses of a book are divided into three
 <para>
 <!-- PAGE BREAK 154 -->
 In real space, then, the possible uses of a book are divided into three


@@ -7443,7 +7636,9 @@ 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='idxbooksthreetypesofusesof' class='endofrange'/>
 are nonetheless deemed <quote>fair</quote> regardless of the copyright owner's views.
 </para>
 <indexterm startref='idxbooksthreetypesofusesof' class='endofrange'/>

-<indexterm><primary>books</primary><secondary>on Internet</secondary></indexterm>
+<indexterm id='idxbooksoninternet' class='startofrange'><primary>books</primary><secondary>on Internet</secondary></indexterm>
+<indexterm id='idxinternetbookson2' class='startofrange'><primary>Internet</primary><secondary>books on</secondary></indexterm>
+<indexterm><primary>fair use</primary><secondary>Internet burdens on</secondary></indexterm>

 <para>
 Enter the Internet&mdash;a distributed, digital network where every use
 of a copyrighted work produces a copy.<footnote><para>
 <para>
 Enter the Internet&mdash;a distributed, digital network where every use
 of a copyrighted work produces a copy.<footnote><para>


@@ -7465,6 +7660,8 @@ would defend the unregulated uses of copyrighted work must look
 exclusively to category 3, fair uses, to bear the burden of this
 shift.
 </para>
 exclusively to category 3, fair uses, to bear the burden of this
 shift.
 </para>

+<indexterm startref='idxfairuse' class='endofrange'/>
+<indexterm startref='idxcopyrightlawfairuseand2' class='endofrange'/>

 <para>
 So let's be very specific to make this general point clear. Before the
 Internet, if you purchased a book and read it ten times, there would
 <para>
 So let's be very specific to make this general point clear. Before the
 Internet, if you purchased a book and read it ten times, there would


@@ -7477,7 +7674,7 @@ night before you went to bed. None of those instances of
 use&mdash;reading&mdash; could be regulated by copyright law because
 none of those uses produced a copy.
 </para>
 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='idxebooks' class='startofrange'><primary>e-books</primary></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
 <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


@@ -7518,6 +7715,9 @@ troubling the expansion with respect to copying a particular work, it
 is extraordinarily troubling with respect to transformative uses of
 creative work.
 </para>
 is extraordinarily troubling with respect to transformative uses of
 creative work.
 </para>

+<indexterm id='idxfairuseinternetburdenson' class='startofrange'><primary>fair use</primary><secondary>Internet burdens on</secondary></indexterm>
+<indexterm id='idxcopyrightlawfairuseand3' class='startofrange'><primary>copyright law</primary><secondary>fair use and</secondary></indexterm>
+<indexterm id='idxderivativeworksfairusevs' class='startofrange'><primary>derivative works</primary><secondary>fair use vs.</secondary></indexterm>

 <para>
 Third, this shift from category 1 to category 2 puts an extraordinary
 
 <para>
 Third, this shift from category 1 to category 2 puts an extraordinary
 


@@ -7547,7 +7747,16 @@ grounded in fair use makes sense when the vast majority of uses are
 presumptively regulated, then the protections of fair use are not
 enough.
 </para>
 presumptively regulated, then the protections of fair use are not
 enough.
 </para>

-<indexterm id='idxadvertising2' class='startofrange'><primary>advertising</primary></indexterm>
+<indexterm startref='idxcopyrightusagerestrictionsattachedto' class='endofrange'/>
+<indexterm startref='idxbooksoninternet' class='endofrange'/>
+<indexterm startref='idxinternetbookson2' class='endofrange'/>
+<indexterm startref='idxebooks' class='endofrange'/>
+<indexterm startref='idxfairuseinternetburdenson' class='endofrange'/>
+<indexterm startref='idxcopyrightlawfairuseand3' class='endofrange'/>
+<indexterm startref='idxderivativeworksfairusevs' class='endofrange'/>
+<indexterm id='idxvideopipeline' class='startofrange'><primary>Video Pipeline</primary></indexterm>
+<indexterm id='idxadvertising' class='startofrange'><primary>advertising</primary></indexterm>
+<indexterm id='idxfilmindustrytraileradvertisementsof' class='startofrange'><primary>film industry</primary><secondary>trailer advertisements of</secondary></indexterm>

 <para>
 The case of Video Pipeline is a good example. Video Pipeline was
 in the business of making <quote>trailer</quote> advertisements for movies available
 <para>
 The case of Video Pipeline is a good example. Video Pipeline was
 in the business of making <quote>trailer</quote> advertisements for movies available


@@ -7565,6 +7774,10 @@ technique by giving on-line stores the same ability to enable
 before you buy the book, so, too, you would be able to sample a bit
 from the movie on-line before you bought it.
 </para>
 before you buy the book, so, too, you would be able to sample a bit
 from the movie on-line before you bought it.
 </para>

+<indexterm id='idxdisneyinc2' class='startofrange'><primary>Disney, Inc.</primary></indexterm>
+<indexterm><primary>copyright law</primary><secondary>fair use and</secondary></indexterm>
+<indexterm id='idxcopyrightlawcopiesascoreissueof3' class='startofrange'><primary>copyright law</primary><secondary>copies as core issue of</secondary></indexterm>
+<indexterm id='idxfairuselegalintimidationtacticsagainst2' class='startofrange'><primary>fair use</primary><secondary>legal intimidation tactics against</secondary></indexterm>

 <para>
 In 1998, Video Pipeline informed Disney and other film distributors
 that it intended to distribute the trailers through the Internet
 <para>
 In 1998, Video Pipeline informed Disney and other film distributors
 that it intended to distribute the trailers through the Internet


@@ -7580,6 +7793,11 @@ distribution immediately.  Video Pipeline thought it was within their
 lawsuit to ask the court to declare that these rights were in fact
 their rights.
 </para>
 lawsuit to ask the court to declare that these rights were in fact
 their rights.
 </para>

+<indexterm startref='idxadvertising' class='endofrange'/>
+<indexterm startref='idxfilmindustrytraileradvertisementsof' class='endofrange'/>
+<indexterm id='idxcopyrightusagerestrictionsattachedto2' class='startofrange'><primary>copyright</primary><secondary>usage restrictions attached to</secondary></indexterm>
+<indexterm id='idxcopyrightinfringementlawsuitswillfulinfringementfindingsin' class='startofrange'><primary>copyright infringement lawsuits</primary><secondary>willful infringement findings in</secondary></indexterm>
+<indexterm><primary>willful infringement</primary></indexterm>

 <para>
 Disney countersued&mdash;for $100 million in damages. Those damages
 were predicated upon a claim that Video Pipeline had <quote>willfully
 <para>
 Disney countersued&mdash;for $100 million in damages. Those damages
 were predicated upon a claim that Video Pipeline had <quote>willfully


@@ -7599,7 +7817,7 @@ permitted to list the titles of the films they were selling, but they were
 not allowed to show clips of the films as a way of selling them without
 Disney's permission.
 </para>
 not allowed to show clips of the films as a way of selling them without
 Disney's permission.
 </para>

-<indexterm startref='idxadvertising2' class='endofrange'/>
+<indexterm><primary>first-sale doctrine</primary></indexterm>

 <para>
 Now, you might think this is a close case, and I think the courts
 would consider it a close case. My point here is to map the change
 <para>
 Now, you might think this is a close case, and I think the courts
 would consider it a close case. My point here is to map the change


@@ -7614,8 +7832,15 @@ copy, use on the Internet becomes subject to the copyright owner's
 control. The technology expands the scope of effective control,
 because the technology builds a copy into every transaction.
 </para>
 control. The technology expands the scope of effective control,
 because the technology builds a copy into every transaction.
 </para>

+<indexterm startref='idxvideopipeline' class='endofrange'/>
+<indexterm startref='idxdisneyinc2' class='endofrange'/>
+<indexterm startref='idxcopyrightlawcopiesascoreissueof3' class='endofrange'/>
+<indexterm startref='idxfairuselegalintimidationtacticsagainst2' class='endofrange'/>
+<indexterm startref='idxcopyrightusagerestrictionsattachedto2' class='endofrange'/>
+<indexterm startref='idxcopyrightinfringementlawsuitswillfulinfringementfindingsin' class='endofrange'/>

 <indexterm><primary>Barnes &amp; Noble</primary></indexterm>
 <indexterm><primary>browsing</primary></indexterm>
 <indexterm><primary>Barnes &amp; Noble</primary></indexterm>
 <indexterm><primary>browsing</primary></indexterm>

+<indexterm><primary>market competition</primary></indexterm>

 <para>
 <!-- PAGE BREAK 158 -->
 No doubt, a potential is not yet an abuse, and so the potential for
 <para>
 <!-- PAGE BREAK 158 -->
 No doubt, a potential is not yet an abuse, and so the potential for


@@ -7649,6 +7874,8 @@ second important change brought about by the Internet magnifies its
 significance. This second change does not affect the reach of copyright
 regulation; it affects how such regulation is enforced.
 </para>
 significance. This second change does not affect the reach of copyright
 regulation; it affects how such regulation is enforced.
 </para>

+<indexterm><primary>copyright law</primary><secondary>technology as automatic enforcer of</secondary></indexterm>
+<indexterm><primary>technology</primary><secondary>copyright enforcement controlled by</secondary></indexterm>

 <para>
 In the world before digital technology, it was generally the law that
 controlled whether and how someone was regulated by copyright law.
 <para>
 In the world before digital technology, it was generally the law that
 controlled whether and how someone was regulated by copyright law.


@@ -7693,7 +7920,7 @@ like the Marx Brothers, knew that no court would ever enforce such a
 silly claim. This extremism was irrelevant to the real freedoms anyone
 (including Warner Brothers) enjoyed.
 </para>
 silly claim. This extremism was irrelevant to the real freedoms anyone
 (including Warner Brothers) enjoyed.
 </para>

-<indexterm id='idxbooksoninternet' class='startofrange'><primary>books</primary><secondary>on Internet</secondary></indexterm>
+<indexterm id='idxbooksoninternet2' class='startofrange'><primary>books</primary><secondary>on Internet</secondary></indexterm>

 <para>
 On the Internet, however, there is no check on silly rules, because on
 the Internet, increasingly, rules are enforced not by a human but by a
 <para>
 On the Internet, however, there is no check on silly rules, because on
 the Internet, increasingly, rules are enforced not by a human but by a


@@ -7719,8 +7946,8 @@ technology, and the publisher delivers the content by using the
 technology.
 </para>
 <para>
 technology.
 </para>
 <para>

-On the next page is a picture of an old version of my Adobe eBook
-Reader.
+In <xref linkend="fig-example-adobe-ebook-reader"/> is a picture of an old version of my
+Adobe eBook Reader.

 </para>
 <para>
 As you can see, I have a small collection of e-books within this
 </para>
 <para>
 As you can see, I have a small collection of e-books within this


@@ -7735,9 +7962,9 @@ copy of
 <citetitle>Middlemarch</citetitle>, you'll see a fancy cover, and then
 a button at the bottom called Permissions.
 </para>
 <citetitle>Middlemarch</citetitle>, you'll see a fancy cover, and then
 a button at the bottom called Permissions.
 </para>

-<figure id="fig-1611">
+<figure id="fig-example-adobe-ebook-reader">

 <title>Picture of an old version of Adobe eBook Reader</title>
 <title>Picture of an old version of Adobe eBook Reader</title>

-<graphic fileref="images/1611.png"></graphic>
+<graphic fileref="images/example-adobe-ebook-reader.png" align="center" width="50%"></graphic>

 </figure>
 <para>
 If you click on the Permissions button, you'll see a list of the
 </figure>
 <para>
 If you click on the Permissions button, you'll see a list of the


@@ -7745,7 +7972,7 @@ permissions that the publisher purports to grant with this book.
 </para>
 <figure id="fig-1612">
 <title>List of the permissions that the publisher purports to grant.</title>
 </para>
 <figure id="fig-1612">
 <title>List of the permissions that the publisher purports to grant.</title>

-<graphic fileref="images/1612.png"></graphic>
+<graphic fileref="images/1612.png" align="center" width="50%"></graphic>

 </figure>
 <para>
 <!-- PAGE BREAK 161 -->
 </figure>
 <para>
 <!-- PAGE BREAK 161 -->


@@ -7763,8 +7990,8 @@ Here's the e-book for another work in the public domain (including the
 translation): Aristotle's <citetitle>Politics</citetitle>.
 </para>
 <figure id="fig-1621">
 translation): Aristotle's <citetitle>Politics</citetitle>.
 </para>
 <figure id="fig-1621">

-<title>E-book of Aristotle;s <quote>Politics</quote></title>
-<graphic fileref="images/1621.png"></graphic>
+<title>E-book of Aristotle's <quote>Politics</quote></title>
+<graphic fileref="images/1621.png" align="center" width="50%"></graphic>

 </figure>
 <para>
 According to its permissions, no printing or copying is permitted
 </figure>
 <para>
 According to its permissions, no printing or copying is permitted


@@ -7772,8 +7999,8 @@ at all. But fortunately, you can use the Read Aloud button to hear
 the book.
 </para>
 <figure id="fig-1622">
 the book.
 </para>
 <figure id="fig-1622">

-<title>List of the permissions for Aristotle;s <quote>Politics</quote>.</title>
-<graphic fileref="images/1622.png"></graphic>
+<title>List of the permissions for Aristotle's <quote>Politics</quote>.</title>
+<graphic fileref="images/1622.png" align="center" width="50%"></graphic>

 </figure>
 <indexterm><primary>Future of Ideas, The (Lessig)</primary></indexterm>
 <indexterm><primary>Lessig, Lawrence</primary></indexterm>
 </figure>
 <indexterm><primary>Future of Ideas, The (Lessig)</primary></indexterm>
 <indexterm><primary>Lessig, Lawrence</primary></indexterm>


@@ -7785,7 +8012,7 @@ Ideas</citetitle>:
 <!-- PAGE BREAK 162 -->
 <figure id="fig-1631">
 <title>List of the permissions for <quote>The Future of Ideas</quote>.</title>
 <!-- PAGE BREAK 162 -->
 <figure id="fig-1631">
 <title>List of the permissions for <quote>The Future of Ideas</quote>.</title>

-<graphic fileref="images/1631.png"></graphic>
+<graphic fileref="images/1631.png" align="center" width="50%"></graphic>

 </figure>
 <para>
 No copying, no printing, and don't you dare try to listen to this book!
 </figure>
 <para>
 No copying, no printing, and don't you dare try to listen to this book!


@@ -7871,9 +8098,9 @@ following report:
 <figure id="fig-1641">
 <title>List of the permissions for <quote>Alice's Adventures in
 Wonderland</quote>.</title>
 <figure id="fig-1641">
 <title>List of the permissions for <quote>Alice's Adventures in
 Wonderland</quote>.</title>

-<graphic fileref="images/1641.png"></graphic>
+<graphic fileref="images/1641.png" align="center" width="50%"></graphic>

 </figure>
 </figure>

-<beginpage pagenum="164"/>
+<!-- PAGE BREAK 164-->

 <para>
 Here was a public domain children's book that you were not allowed to
 copy, not allowed to lend, not allowed to give, and, as the
 <para>
 Here was a public domain children's book that you were not allowed to
 copy, not allowed to lend, not allowed to give, and, as the


@@ -7911,7 +8138,7 @@ control.  That incentive is understandable, yet what it creates is
 often crazy.
 </para>
 <indexterm startref='idxadobeebookreader' class='endofrange'/>
 often crazy.
 </para>
 <indexterm startref='idxadobeebookreader' class='endofrange'/>

-<indexterm startref='idxbooksoninternet' class='endofrange'/>
+<indexterm startref='idxbooksoninternet2' class='endofrange'/>

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


@@ -8220,7 +8447,7 @@ and bad uses.
 </para>
 <figure id="fig-1711-vcr-handgun-cartoonfig">
 <title>VCR/handgun cartoon.</title>
 </para>
 <figure id="fig-1711-vcr-handgun-cartoonfig">
 <title>VCR/handgun cartoon.</title>

-<graphic fileref="images/1711.png"></graphic>
+<graphic fileref="images/1711.png" align="center" width="70%"></graphic>

 </figure>
 <indexterm><primary>Conrad, Paul</primary></indexterm>
 <para>
 </figure>
 <indexterm><primary>Conrad, Paul</primary></indexterm>
 <para>


@@ -8343,7 +8570,7 @@ media.  Before this change happened, the different forms of media were
 owned by separate media companies. Now, the media is increasingly
 owned by only a few companies. Indeed, after the changes that the FCC
 announced in June 2003, most expect that within a few years, we will
 owned by separate media companies. Now, the media is increasingly
 owned by only a few companies. Indeed, after the changes that the FCC
 announced in June 2003, most expect that within a few years, we will

-live in a world where just three companies control more than percent
+live in a world where just three companies control more than 85 percent

 of the media.
 </para>
 <para>
 of the media.
 </para>
 <para>


@@ -8401,11 +8628,11 @@ of all cable revenue. This is a market far from the free press the
 framers sought to protect. Indeed, it is a market that is quite well
 protected&mdash; by the market.
 </para>
 framers sought to protect. Indeed, it is a market that is quite well
 protected&mdash; by the market.
 </para>

+<indexterm><primary>Fallows, James</primary></indexterm>

 <para>
 Concentration in size alone is one thing. The more invidious
 change is in the nature of that concentration. As author James Fallows
 put it in a recent article about Rupert Murdoch,
 <para>
 Concentration in size alone is one thing. The more invidious
 change is in the nature of that concentration. As author James Fallows
 put it in a recent article about Rupert Murdoch,

-<indexterm><primary>Fallows, James</primary></indexterm>

 </para>
 <blockquote>
 <para>
 </para>
 <blockquote>
 <para>


@@ -8434,7 +8661,7 @@ pattern better than a thousand words could do:
 </para>
 <figure id="fig-1761-pattern-modern-media-ownership">
 <title>Pattern of modern media ownership.</title>
 </para>
 <figure id="fig-1761-pattern-modern-media-ownership">
 <title>Pattern of modern media ownership.</title>

-<graphic fileref="images/1761.png"></graphic>
+<graphic fileref="images/pattern-modern-media-ownership.png" align="center" width="90%"></graphic>

 </figure>
 <para>
 <!-- PAGE BREAK 175 -->
 </figure>
 <para>
 <!-- PAGE BREAK 175 -->


@@ -8626,6 +8853,9 @@ depend fundamentally upon the press to help inform Americans about
 these issues.
 </para>
 <indexterm id='idxadvertising3' class='startofrange'><primary>advertising</primary></indexterm>
 these issues.
 </para>
 <indexterm id='idxadvertising3' class='startofrange'><primary>advertising</primary></indexterm>

+<indexterm id='idxcommercials' class='startofrange'><primary>commercials</primary></indexterm>
+<indexterm id='idxtelevisionadvertisingon' class='startofrange'><primary>television</primary><secondary>advertising on</secondary></indexterm>
+<indexterm><primary>Nick and Norm anti-drug campaign</primary></indexterm>

 <para>
 Beginning in 1998, the Office of National Drug Control Policy launched
 a media campaign as part of the <quote>war on drugs.</quote> The campaign produced
 <para>
 Beginning in 1998, the Office of National Drug Control Policy launched
 a media campaign as part of the <quote>war on drugs.</quote> The campaign produced


@@ -8655,6 +8885,10 @@ money. Assume a group of concerned citizens donates all the money in
 the world to help you get your message out. Can you be sure your
 message will be heard then?
 </para>
 the world to help you get your message out. Can you be sure your
 message will be heard then?
 </para>

+<indexterm><primary>Constitution, U.S.</primary><secondary>First Amendment to</secondary></indexterm>
+<indexterm><primary>First Amendment</primary></indexterm>
+<indexterm><primary>Supreme Court, U.S.</primary><secondary>on television advertising bans</secondary></indexterm>
+<indexterm><primary>television</primary><secondary>controversy avoided by</secondary></indexterm>

 <para>
 No. You cannot. Television stations have a general policy of avoiding
 <quote>controversial</quote> ads. Ads sponsored by the government are deemed
 <para>
 No. You cannot. Television stations have a general policy of avoiding
 <quote>controversial</quote> ads. Ads sponsored by the government are deemed


@@ -8666,6 +8900,13 @@ commercial media will refuse one side of a crucial debate the
 opportunity to present its case.  And the courts will defend the
 rights of the stations to be this biased.<footnote><para>
 <!-- f34 -->
 opportunity to present its case.  And the courts will defend the
 rights of the stations to be this biased.<footnote><para>
 <!-- f34 -->

+<indexterm><primary>ABC</primary></indexterm>
+<indexterm><primary>Comcast</primary></indexterm>
+<indexterm><primary>Marijuana Policy Project</primary></indexterm>
+<indexterm><primary>NBC</primary></indexterm>
+<indexterm><primary>WJOA</primary></indexterm>
+<indexterm><primary>WRC</primary></indexterm>
+<indexterm><primary>advertising</primary></indexterm>

 The Marijuana Policy Project, in February 2003, sought to place ads
 that directly responded to the Nick and Norm series on stations within
 the Washington, D.C., area. Comcast rejected the ads as <quote>against
 The Marijuana Policy Project, in February 2003, sought to place ads
 that directly responded to the Nick and Norm series on stations within
 the Washington, D.C., area. Comcast rejected the ads as <quote>against


@@ -8674,31 +8915,29 @@ without reviewing them. The local ABC affiliate, WJOA, originally
 agreed to run the ads and accepted payment to do so, but later decided
 not to run the ads and returned the collected fees. Interview with
 Neal Levine, 15 October 2003.  These restrictions are, of course, not
 agreed to run the ads and accepted payment to do so, but later decided
 not to run the ads and returned the collected fees. Interview with
 Neal Levine, 15 October 2003.  These restrictions are, of course, not

-limited to drug policy. See, for example, Nat Ives, <quote>On the Issue of
-an Iraq War, Advocacy Ads Meet with Rejection from TV Networks,</quote> <citetitle>New
-York Times</citetitle>, 13 March 2003, C4.  Outside of election-related air time
-there is very little that the FCC or the courts are willing to do to
-even the playing field. For a general overview, see Rhonda Brown, <quote>Ad
-Hoc Access: The Regulation of Editorial Advertising on Television and
-Radio,</quote> <citetitle>Yale Law and Policy Review</citetitle> 6 (1988): 449&ndash;79, and for a
-more recent summary of the stance of the FCC and the courts, see
-<citetitle>Radio-Television News Directors Association</citetitle> v. <citetitle>FCC</citetitle>, 184 F. 3d 872
+limited to drug policy. See, for example, Nat Ives, <quote>On the
+Issue of an Iraq War, Advocacy Ads Meet with Rejection from TV
+Networks,</quote> <citetitle>New York Times</citetitle>, 13 March
+2003, C4.  Outside of election-related air time there is very little
+that the FCC or the courts are willing to do to even the playing
+field. For a general overview, see Rhonda Brown, <quote>Ad Hoc Access:
+The Regulation of Editorial Advertising on Television and
+Radio,</quote> <citetitle>Yale Law and Policy Review</citetitle> 6
+(1988): 449&ndash;79, and for a more recent summary of the stance of
+the FCC and the courts, see <citetitle>Radio-Television News Directors
+Association</citetitle> v. <citetitle>FCC</citetitle>, 184 F. 3d 872

 (D.C. Cir. 1999). Municipal authorities exercise the same authority as
 the networks. In a recent example from San Francisco, the San
 Francisco transit authority rejected an ad that criticized its Muni
 (D.C. Cir. 1999). Municipal authorities exercise the same authority as
 the networks. In a recent example from San Francisco, the San
 Francisco transit authority rejected an ad that criticized its Muni

-diesel buses. Phillip Matier and Andrew Ross, <quote>Antidiesel Group Fuming
-After Muni Rejects Ad,</quote> SFGate.com, 16 June 2003, available at
-<ulink url="http://free-culture.cc/notes/">link #32</ulink>. The ground
-was that the criticism was <quote>too controversial.</quote>
-<indexterm><primary>ABC</primary></indexterm>
-<indexterm><primary>Comcast</primary></indexterm>
-<indexterm><primary>Marijuana Policy Project</primary></indexterm>
-<indexterm><primary>NBC</primary></indexterm>
-<indexterm><primary>WJOA</primary></indexterm>
-<indexterm><primary>WRC</primary></indexterm>
-<indexterm><primary>advertising</primary></indexterm>
+diesel buses. Phillip Matier and Andrew Ross, <quote>Antidiesel Group
+Fuming After Muni Rejects Ad,</quote> SFGate.com, 16 June 2003,
+available at <ulink url="http://free-culture.cc/notes/">link
+#32</ulink>. The ground was that the criticism was <quote>too
+controversial.</quote>

 </para></footnote>
 </para>
 </para></footnote>
 </para>

+<indexterm startref='idxcommercials' class='endofrange'/>
+<indexterm startref='idxtelevisionadvertisingon' class='endofrange'/>

 <para>
 I'd be happy to defend the networks' rights, as well&mdash;if we lived
 in a media market that was truly diverse. But concentration in the
 <para>
 I'd be happy to defend the networks' rights, as well&mdash;if we lived
 in a media market that was truly diverse. But concentration in the


@@ -8900,7 +9139,7 @@ we could say the law began to look like this:
  </row>
  <row>
  <entry>Noncommercial</entry>
  </row>
  <row>
  <entry>Noncommercial</entry>

- <entry>&copy;/Free</entry>
+ <entry>&copy; / Free</entry>

  <entry>Free</entry>
  </row>
 </tbody>
  <entry>Free</entry>
  </row>
 </tbody>


@@ -8972,13 +9211,13 @@ property, the state ought to protect it. But first impressions
 notwithstanding, historically, this property right (as with all
 property rights<footnote><para>
 <!-- f36 -->
 notwithstanding, historically, this property right (as with all
 property rights<footnote><para>
 <!-- f36 -->

+<indexterm><primary>legal realist movement</primary></indexterm>

 It was the single most important contribution of the legal realist
 movement to demonstrate that all property rights are always crafted to
 balance public and private interests. See Thomas C. Grey, <quote>The
 Disintegration of Property,</quote> in <citetitle>Nomos XXII: Property</citetitle>, J. Roland
 Pennock and John W.  Chapman, eds. (New York: New York University
 Press, 1980).
 It was the single most important contribution of the legal realist
 movement to demonstrate that all property rights are always crafted to
 balance public and private interests. See Thomas C. Grey, <quote>The
 Disintegration of Property,</quote> in <citetitle>Nomos XXII: Property</citetitle>, J. Roland
 Pennock and John W.  Chapman, eds. (New York: New York University
 Press, 1980).

-<indexterm><primary>legal realist movement</primary></indexterm>

 </para></footnote>)
 has been crafted to balance the important need to give authors and
 artists incentives with the equally important need to assure access to
 </para></footnote>)
 has been crafted to balance the important need to give authors and
 artists incentives with the equally important need to assure access to


@@ -8995,19 +9234,23 @@ We achieved that free culture because our law respected important
 limits on the scope of the interests protected by <quote>property.</quote> The very
 birth of <quote>copyright</quote> as a statutory right recognized those limits, by
 granting copyright owners protection for a limited time only (the
 limits on the scope of the interests protected by <quote>property.</quote> The very
 birth of <quote>copyright</quote> as a statutory right recognized those limits, by
 granting copyright owners protection for a limited time only (the

-story of chapter 6). The tradition of <quote>fair use</quote> is animated by a
-similar concern that is increasingly under strain as the costs of
-exercising any fair use right become unavoidably high (the story of
-chapter 7). Adding
+story of chapter <xref xrefstyle="select: labelnumber"
+linkend="founders"/>). The tradition of <quote>fair use</quote> is
+animated by a similar concern that is increasingly under strain as the
+costs of exercising any fair use right become unavoidably high (the
+story of chapter <xref xrefstyle="select: labelnumber"
+linkend="recorders"/>). Adding

 <!-- PAGE BREAK 184 -->
 statutory rights where markets might stifle innovation is another
 <!-- PAGE BREAK 184 -->
 statutory rights where markets might stifle innovation is another

-familiar limit on the property right that copyright is (chapter
-8). And granting archives and libraries a broad freedom to collect,
-claims of property notwithstanding, is a crucial part of guaranteeing
-the soul of a culture (chapter 9). Free cultures, like free markets,
-are built with property. But the nature of the property that builds a
-free culture is very different from the extremist vision that
-dominates the debate today.
+familiar limit on the property right that copyright is (chapter <xref
+xrefstyle="select: labelnumber" linkend="transformers"/>). And
+granting archives and libraries a broad freedom to collect, claims of
+property notwithstanding, is a crucial part of guaranteeing the soul
+of a culture (chapter <xref xrefstyle="select: labelnumber"
+linkend="collectors"/>). Free cultures, like free markets, are built
+with property. But the nature of the property that builds a free
+culture is very different from the extremist vision that dominates the
+debate today.

 </para>
 <para>
 Free culture is increasingly the casualty in this war on piracy. In
 </para>
 <para>
 Free culture is increasingly the casualty in this war on piracy. In


@@ -9031,7 +9274,7 @@ lawyer.
 
 <!-- PAGE BREAK 186 -->
 <chapter label="11" id="chimera">
 
 <!-- PAGE BREAK 186 -->
 <chapter label="11" id="chimera">

-<title>CHAPTER ELEVEN: Chimera</title>
+<title>Chimera</title>

 <indexterm id='idxchimera' class='startofrange'><primary>chimeras</primary></indexterm>
 <indexterm id='idxwells' class='startofrange'><primary>Wells, H. G.</primary></indexterm>
 <indexterm id='idxtcotb' class='startofrange'><primary><quote>Country of the Blind, The</quote> (Wells)</primary></indexterm>
 <indexterm id='idxchimera' class='startofrange'><primary>chimeras</primary></indexterm>
 <indexterm id='idxwells' class='startofrange'><primary>Wells, H. G.</primary></indexterm>
 <indexterm id='idxtcotb' class='startofrange'><primary><quote>Country of the Blind, The</quote> (Wells)</primary></indexterm>


@@ -9310,7 +9553,7 @@ and will kill opportunities that could be extraordinarily valuable.
 <!-- PAGE BREAK 192 -->
 </chapter>
 <chapter label="12" id="harms">
 <!-- PAGE BREAK 192 -->
 </chapter>
 <chapter label="12" id="harms">

-<title>CHAPTER TWELVE: Harms</title>
+<title>Harms</title>

 <para>
 <emphasis role='strong'>To fight</emphasis> <quote>piracy,</quote> to
 protect <quote>property,</quote> the content industry has launched a
 <para>
 <emphasis role='strong'>To fight</emphasis> <quote>piracy,</quote> to
 protect <quote>property,</quote> the content industry has launched a


@@ -9397,7 +9640,7 @@ on remote topics of science or culture. There is a vast amount of creative
 work spread across the Internet. But as the law is currently crafted, this
 work is presumptively illegal.
 </para>
 work spread across the Internet. But as the law is currently crafted, this
 work is presumptively illegal.
 </para>

-<indexterm><primary>Worldcom</primary></indexterm>
+<indexterm><primary>WorldCom</primary></indexterm>

 <indexterm><primary>copyright infringement lawsuits</primary><secondary>exaggerated claims of</secondary></indexterm>
 <indexterm><primary>copyright infringement lawsuits</primary><secondary>in recording industry</secondary></indexterm>
 <indexterm><primary>doctors malpractice claims against</primary></indexterm>
 <indexterm><primary>copyright infringement lawsuits</primary><secondary>exaggerated claims of</secondary></indexterm>
 <indexterm><primary>copyright infringement lawsuits</primary><secondary>in recording industry</secondary></indexterm>
 <indexterm><primary>doctors malpractice claims against</primary></indexterm>


@@ -9408,11 +9651,12 @@ examples of extreme penalties for vague infringements continue to
 proliferate. It is impossible to get a clear sense of what's allowed
 and what's not, and at the same time, the penalties for crossing the
 line are astonishingly harsh.  The four students who were threatened
 proliferate. It is impossible to get a clear sense of what's allowed
 and what's not, and at the same time, the penalties for crossing the
 line are astonishingly harsh.  The four students who were threatened

-by the RIAA ( Jesse Jordan of chapter 3 was just one) were threatened
-with a $98 billion lawsuit for building search engines that permitted
-songs to be copied. Yet World-Com&mdash;which defrauded investors of
-$11 billion, resulting in a loss to investors in market capitalization
-of over $200 billion&mdash;received a fine of a mere $750
+by the RIAA (Jesse Jordan of chapter <xref xrefstyle="select:
+labelnumber" linkend="catalogs"/> was just one) were threatened with a
+$98 billion lawsuit for building search engines that permitted songs
+to be copied. Yet World-Com&mdash;which defrauded investors of $11
+billion, resulting in a loss to investors in market capitalization of
+over $200 billion&mdash;received a fine of a mere $750

 million.<footnote><para>
 <!-- f1. -->
 See Lynne W. Jeter, <citetitle>Disconnected: Deceit and Betrayal at WorldCom</citetitle>
 million.<footnote><para>
 <!-- f1. -->
 See Lynne W. Jeter, <citetitle>Disconnected: Deceit and Betrayal at WorldCom</citetitle>


@@ -9420,7 +9664,7 @@ See Lynne W. Jeter, <citetitle>Disconnected: Deceit and Betrayal at WorldCom</ci
 the settlement, see MCI press release, <quote>MCI Wins U.S. District Court
 Approval for SEC Settlement</quote> (7 July 2003), available at
 <ulink url="http://free-culture.cc/notes/">link #37</ulink>.
 the settlement, see MCI press release, <quote>MCI Wins U.S. District Court
 Approval for SEC Settlement</quote> (7 July 2003), available at
 <ulink url="http://free-culture.cc/notes/">link #37</ulink>.

-<indexterm><primary>Worldcom</primary></indexterm>
+<indexterm><primary>WorldCom</primary></indexterm>

 </para></footnote>
 And under legislation being pushed in Congress right now, a doctor who
 negligently removes the wrong leg in an operation would be liable for
 </para></footnote>
 And under legislation being pushed in Congress right now, a doctor who
 negligently removes the wrong leg in an operation would be liable for


@@ -9575,10 +9819,12 @@ think there's little in this story to worry you.
 But there's an aspect of this story that is not lefty in any sense.
 Indeed, it is an aspect that could be written by the most extreme
 promarket ideologue. And if you're one of these sorts (and a special
 But there's an aspect of this story that is not lefty in any sense.
 Indeed, it is an aspect that could be written by the most extreme
 promarket ideologue. And if you're one of these sorts (and a special

-one at that, 188 pages into a book like this), then you can see this
-other aspect by substituting <quote>free market</quote> every place I've spoken of
-<quote>free culture.</quote>  The point is the same, even if the interests
-affecting culture are more fundamental.
+one at that, <xref xrefstyle="select: pagenumber"
+linkend="innovators"/> pages into a book like this), then you
+can see this other aspect by substituting <quote>free market</quote>
+every place I've spoken of <quote>free culture.</quote> The point is
+the same, even if the interests affecting culture are more
+fundamental.

 </para>
 <para>
 The charge I've been making about the regulation of culture is the
 </para>
 <para>
 The charge I've been making about the regulation of culture is the


@@ -9732,7 +9978,7 @@ such a view of the law will cost you and your firm dearly.
 This strategy is not just limited to the lawyers. In April 2003,
 Universal and EMI brought a lawsuit against Hummer Winblad, the
 venture capital firm (VC) that had funded Napster at a certain stage of
 This strategy is not just limited to the lawyers. In April 2003,
 Universal and EMI brought a lawsuit against Hummer Winblad, the
 venture capital firm (VC) that had funded Napster at a certain stage of

-its development, its cofounder ( John Hummer), and general partner
+its development, its cofounder (John Hummer), and general partner

 (Hank Barry).<footnote><para>
 <!-- f4. -->
 See Joseph Menn, <quote>Universal, EMI Sue Napster Investor,</quote> <citetitle>Los Angeles
 (Hank Barry).<footnote><para>
 <!-- f4. -->
 See Joseph Menn, <quote>Universal, EMI Sue Napster Investor,</quote> <citetitle>Los Angeles


@@ -9813,7 +10059,7 @@ creativity generally. Free market and free culture depend upon vibrant
 competition.  Yet the effect of the law today is to stifle just this
 kind of competition.  The effect is to produce an overregulated
 culture, just as the effect of too much control in the market is to
 competition.  Yet the effect of the law today is to stifle just this
 kind of competition.  The effect is to produce an overregulated
 culture, just as the effect of too much control in the market is to

-produce an overregulatedregulated market.
+produce an overregulated-regulated market.

 </para>
 <para>
 The building of a permission culture, rather than a free culture, is
 </para>
 <para>
 The building of a permission culture, rather than a free culture, is


@@ -9923,7 +10169,8 @@ N.Y.: Prometheus Books, 2001).
 <indexterm><primary>Digital Copyright (Litman)</primary></indexterm>
 <indexterm><primary>Litman, Jessica</primary></indexterm>
 </para></footnote>
 <indexterm><primary>Digital Copyright (Litman)</primary></indexterm>
 <indexterm><primary>Litman, Jessica</primary></indexterm>
 </para></footnote>

-overall this history of copyright is not bad. As chapter 10 details,
+overall this history of copyright is not bad. As chapter
+<xref xrefstyle="select: labelnumber" linkend="property-i"/> details,

 when new technologies have come along, Congress has struck a balance
 to assure that the new is protected from the old. Compulsory, or
 statutory, licenses have been one part of that strategy. Free use (as
 when new technologies have come along, Congress has struck a balance
 to assure that the new is protected from the old. Compulsory, or
 statutory, licenses have been one part of that strategy. Free use (as


@@ -9961,6 +10208,9 @@ implemented by Congress. I won't catalog all of those responses
 here.<footnote><para>
 <!-- f11. -->
 <indexterm><primary>Tauzin, Billy</primary></indexterm>
 here.<footnote><para>
 <!-- f11. -->
 <indexterm><primary>Tauzin, Billy</primary></indexterm>

+<indexterm><primary>Berman, Howard L.</primary></indexterm>
+<indexterm><primary>Hollings, Fritz</primary></indexterm>
+<indexterm><primary>broadcast flag</primary></indexterm>

 For example, in July 2002, Representative Howard Berman introduced the
 Peer-to-Peer Piracy Prevention Act (H.R. 5211), which would immunize
 copyright holders from liability for damage done to computers when the
 For example, in July 2002, Representative Howard Berman introduced the
 Peer-to-Peer Piracy Prevention Act (H.R. 5211), which would immunize
 copyright holders from liability for damage done to computers when the


@@ -9975,9 +10225,6 @@ technology in all digital media devices. See GartnerG2, <quote>Copyright and
 Digital Media in a Post-Napster World,</quote> 27 June 2003, 33&ndash;34,
 available at
 <ulink url="http://free-culture.cc/notes/">link #44</ulink>.
 Digital Media in a Post-Napster World,</quote> 27 June 2003, 33&ndash;34,
 available at
 <ulink url="http://free-culture.cc/notes/">link #44</ulink>.

-<indexterm><primary>Berman, Howard L.</primary></indexterm>
-<indexterm><primary>Hollings, Fritz</primary></indexterm>
-<indexterm><primary>broadcast flag</primary></indexterm>

 </para></footnote>
 But there is one example that captures the flavor of them all. This is
 the story of the demise of Internet radio.
 </para></footnote>
 But there is one example that captures the flavor of them all. This is
 the story of the demise of Internet radio.


@@ -10783,7 +11030,8 @@ success will require.
 
 <!-- PAGE BREAK 220 -->
 <chapter label="13" id="eldred">
 
 <!-- PAGE BREAK 220 -->
 <chapter label="13" id="eldred">

-<title>CHAPTER THIRTEEN: Eldred</title>
+<title>Eldred</title>
+<indexterm id='idxeldrederic' class='startofrange'><primary>Eldred, Eric</primary></indexterm>

 <indexterm id='idxhawthornenathaniel' class='startofrange'><primary>Hawthorne, Nathaniel</primary></indexterm>
 <para>
 <emphasis role='strong'>In 1995</emphasis>, a father was frustrated
 <indexterm id='idxhawthornenathaniel' class='startofrange'><primary>Hawthorne, Nathaniel</primary></indexterm>
 <para>
 <emphasis role='strong'>In 1995</emphasis>, a father was frustrated


@@ -10794,6 +11042,8 @@ Hampshire, decided to put Hawthorne on the Web. An electronic version,
 Eldred thought, with links to pictures and explanatory text, would
 make this nineteenth-century author's work come alive.
 </para>
 Eldred thought, with links to pictures and explanatory text, would
 make this nineteenth-century author's work come alive.
 </para>

+<indexterm id='idxlibrariesofpublicdomainliterature' class='startofrange'><primary>libraries</primary><secondary>of public-domain literature</secondary></indexterm>
+<indexterm id='idxpublicdomainlibraryofworksderivedfrom' class='startofrange'><primary>public domain</primary><secondary>library of works derived from</secondary></indexterm>

 <para>
 It didn't work&mdash;at least for his daughters. They didn't find
 Hawthorne any more interesting than before. But Eldred's experiment
 <para>
 It didn't work&mdash;at least for his daughters. They didn't find
 Hawthorne any more interesting than before. But Eldred's experiment


@@ -10814,6 +11064,7 @@ accessible to the twentieth century, Eldred transformed Hawthorne, and
 many others, into a form more accessible&mdash;technically
 accessible&mdash;today.
 </para>
 many others, into a form more accessible&mdash;technically
 accessible&mdash;today.
 </para>

+<indexterm><primary>Scarlet Letter, The (Hawthorne)</primary></indexterm>

 <para>
 Eldred's freedom to do this with Hawthorne's work grew from the same
 source as Disney's. Hawthorne's <citetitle>Scarlet Letter</citetitle> had passed into the
 <para>
 Eldred's freedom to do this with Hawthorne's work grew from the same
 source as Disney's. Hawthorne's <citetitle>Scarlet Letter</citetitle> had passed into the


@@ -10857,6 +11108,13 @@ world before the Internet were extremely few. Yet one would think it
 at least as important to protect the Eldreds of the world as to
 protect noncommercial pornographers.</para></footnote>
 </para>
 at least as important to protect the Eldreds of the world as to
 protect noncommercial pornographers.</para></footnote>
 </para>

+<indexterm id='idxcongressuscopyrighttermsextendedby2' class='startofrange'><primary>Congress, U.S.</primary><secondary>copyright terms extended by</secondary></indexterm>
+<indexterm id='idxcopyrightdurationof6' class='startofrange'><primary>copyright</primary><secondary>duration of</secondary></indexterm>
+<indexterm id='idxcopyrightlawtermextensionsin2' class='startofrange'><primary>copyright law</primary><secondary>term extensions in</secondary></indexterm>
+<indexterm><primary>Frost, Robert</primary></indexterm>
+<indexterm><primary>New Hampshire (Frost)</primary></indexterm>
+<indexterm><primary>patents</primary><secondary>in public domain</secondary></indexterm>
+<indexterm id='idxpatentsfuturepatentsvsfuturecopyrightsin' class='startofrange'><primary>patents</primary><secondary>future patents vs. future copyrights in</secondary></indexterm>

 <para>
 As I said, Eldred lives in New Hampshire. In 1998, Robert Frost's
 collection of poems <citetitle>New Hampshire</citetitle> was slated to
 <para>
 As I said, Eldred lives in New Hampshire. In 1998, Robert Frost's
 collection of poems <citetitle>New Hampshire</citetitle> was slated to


@@ -10871,8 +11129,12 @@ would pass into the public domain until that year (and not even then,
 if Congress extends the term again). By contrast, in the same period,
 more than 1 million patents will pass into the public domain.
 </para>
 if Congress extends the term again). By contrast, in the same period,
 more than 1 million patents will pass into the public domain.
 </para>

+<indexterm startref='idxlibrariesofpublicdomainliterature' class='endofrange'/>
+<indexterm startref='idxpublicdomainlibraryofworksderivedfrom' class='endofrange'/>

 <indexterm><primary>Bono, Mary</primary></indexterm>
 <indexterm><primary>Bono, Sonny</primary></indexterm>
 <indexterm><primary>Bono, Mary</primary></indexterm>
 <indexterm><primary>Bono, Sonny</primary></indexterm>

+<indexterm id='idxcopyrightinperpetuity4' class='startofrange'><primary>copyright</primary><secondary>in perpetuity</secondary></indexterm>
+<indexterm id='idxsonnybonocopyrighttermextensionactctea2' class='startofrange'><primary>Sonny Bono Copyright Term Extension Act (CTEA) (1998)</primary></indexterm>

 <para>
 
 <!-- PAGE BREAK 222 -->
 <para>
 
 <!-- PAGE BREAK 222 -->


@@ -10891,8 +11153,12 @@ you know, there is also Jack Valenti's proposal for a term to last
 forever less one day. Perhaps the Committee may look at that next
 Congress,</quote> 144 Cong. Rec. H9946, 9951-2 (October 7, 1998).
 </para></footnote>
 forever less one day. Perhaps the Committee may look at that next
 Congress,</quote> 144 Cong. Rec. H9946, 9951-2 (October 7, 1998).
 </para></footnote>

-

 </para>
 </para>

+<indexterm startref='idxpatentsfuturepatentsvsfuturecopyrightsin' class='endofrange'/>
+<indexterm><primary>copyright law</primary><secondary>felony punishment for infringement of</secondary></indexterm>
+<indexterm><primary>NET (No Electronic Theft) Act (1998)</primary></indexterm>
+<indexterm><primary>No Electronic Theft (NET) Act (1998)</primary></indexterm>
+<indexterm><primary>peer-to-peer (p2p) file sharing</primary><secondary>felony punishments for</secondary></indexterm>

 <para>
 Eldred decided to fight this law. He first resolved to fight it through
 civil disobedience. In a series of interviews, Eldred announced that he
 <para>
 Eldred decided to fight this law. He first resolved to fight it through
 civil disobedience. In a series of interviews, Eldred announced that he


@@ -10902,6 +11168,11 @@ of publishing would make Eldred a felon&mdash;whether or not anyone
 complained. This was a dangerous strategy for a disabled programmer
 to undertake.
 </para>
 complained. This was a dangerous strategy for a disabled programmer
 to undertake.
 </para>

+<indexterm startref='idxsonnybonocopyrighttermextensionactctea2' class='endofrange'/>
+<indexterm id='idxcongressusconstitutionalpowersof' class='startofrange'><primary>Congress, U.S.</primary><secondary>constitutional powers of</secondary></indexterm>
+<indexterm id='idxconstitutionusprogressclauseof2' class='startofrange'><primary>Constitution, U.S.</primary><secondary>Progress Clause of</secondary></indexterm>
+<indexterm id='idxprogressclause2' class='startofrange'><primary>Progress Clause</primary></indexterm>
+<indexterm id='idxlessiglawrenceeldredcaseinvolvementof' class='startofrange'><primary>Lessig, Lawrence</primary><secondary>Eldred case involvement of</secondary></indexterm>

 <para>
 It was here that I became involved in Eldred's battle. I was a 
                constitutional
 <para>
 It was here that I became involved in Eldred's battle. I was a 
                constitutional


@@ -10919,6 +11190,7 @@ by securing for limited Times to Authors &hellip; exclusive Right to
 their &hellip; Writings. &hellip;
 </para>
 </blockquote>
 their &hellip; Writings. &hellip;
 </para>
 </blockquote>

+<indexterm startref='idxeldrederic' class='endofrange'/>

 <para>
 As I've described, this clause is unique within the power-granting
 clause of Article I, section 8 of our Constitution. Every other clause
 <para>
 As I've described, this clause is unique within the power-granting
 clause of Article I, section 8 of our Constitution. Every other clause


@@ -10929,6 +11201,9 @@ specific&mdash;to <quote>promote &hellip; Progress</quote>&mdash;through means t
 are also specific&mdash; by <quote>securing</quote> <quote>exclusive Rights</quote> (i.e.,
 copyrights) <quote>for limited Times.</quote>
 </para>
 are also specific&mdash; by <quote>securing</quote> <quote>exclusive Rights</quote> (i.e.,
 copyrights) <quote>for limited Times.</quote>
 </para>

+<indexterm startref='idxconstitutionusprogressclauseof2' class='endofrange'/>
+<indexterm startref='idxprogressclause2' class='endofrange'/>
+<indexterm startref='idxlessiglawrenceeldredcaseinvolvementof' class='endofrange'/>

 <indexterm><primary>Jaszi, Peter</primary></indexterm>
 <para>
 In the past forty years, Congress has gotten into the practice of
 <indexterm><primary>Jaszi, Peter</primary></indexterm>
 <para>
 In the past forty years, Congress has gotten into the practice of


@@ -10941,6 +11216,9 @@ Congress has the power to extend its term, then Congress can achieve
 what the Constitution plainly forbids&mdash;perpetual terms <quote>on the
 installment plan,</quote> as Professor Peter Jaszi so nicely put it.
 </para>
 what the Constitution plainly forbids&mdash;perpetual terms <quote>on the
 installment plan,</quote> as Professor Peter Jaszi so nicely put it.
 </para>

+<indexterm startref='idxcopyrightinperpetuity4' class='endofrange'/>
+<indexterm startref='idxcongressusconstitutionalpowersof' class='endofrange'/>
+<indexterm><primary>Lessig, Lawrence</primary><secondary>Eldred case involvement of</secondary></indexterm>

 <para>
 As an academic, my first response was to hit the books. I remember
 sitting late at the office, scouring on-line databases for any serious
 <para>
 As an academic, my first response was to hit the books. I remember
 sitting late at the office, scouring on-line databases for any serious


@@ -11086,6 +11364,9 @@ constitutional requirement that terms be <quote>limited.</quote> If
 they could extend it once, they would extend it again and again and
 again.
 </para>
 they could extend it once, they would extend it again and again and
 again.
 </para>

+<indexterm startref='idxcongressuscopyrighttermsextendedby2' class='endofrange'/>
+<indexterm startref='idxcopyrightdurationof6' class='endofrange'/>
+<indexterm startref='idxcopyrightlawtermextensionsin2' class='endofrange'/>

 <para>
 It was also my judgment that <emphasis>this</emphasis> Supreme Court
 would not allow Congress to extend existing terms. As anyone close to
 <para>
 It was also my judgment that <emphasis>this</emphasis> Supreme Court
 would not allow Congress to extend existing terms. As anyone close to


@@ -11391,7 +11672,7 @@ For most of the history of film, the costs of restoring film were very
 high; digital technology has lowered these costs substantially. While
 it cost more than $10,000 to restore a ninety-minute black-and-white
 film in 1993, it can now cost as little as $100 to digitize one hour of
 high; digital technology has lowered these costs substantially. While
 it cost more than $10,000 to restore a ninety-minute black-and-white
 film in 1993, it can now cost as little as $100 to digitize one hour of

-mm film.<footnote><para>
+8 mm film.<footnote><para>

 <!-- f12. -->
 Brief of Hal Roach Studios and Michael Agee as Amicus Curiae
 Supporting the Petitoners, <citetitle>Eldred</citetitle> v. <citetitle>Ashcroft</citetitle>, 537
 <!-- f12. -->
 Brief of Hal Roach Studios and Michael Agee as Amicus Curiae
 Supporting the Petitoners, <citetitle>Eldred</citetitle> v. <citetitle>Ashcroft</citetitle>, 537


@@ -11577,7 +11858,7 @@ market is not doing the job, then we should allow nonmarket forces the
 <!-- PAGE BREAK 235 -->
 freedom to fill the gaps. As one researcher calculated for American
 culture, 94 percent of the films, books, and music produced between
 <!-- PAGE BREAK 235 -->
 freedom to fill the gaps. As one researcher calculated for American
 culture, 94 percent of the films, books, and music produced between

-and 1946 is not commercially available. However much you love the
+1923 and 1946 is not commercially available. However much you love the

 commercial market, if access is a value, then 6 percent is a failure
 to provide that value.<footnote><para>
 <!-- f13. -->
 commercial market, if access is a value, then 6 percent is a failure
 to provide that value.<footnote><para>
 <!-- f13. -->


@@ -11766,7 +12047,7 @@ In the Supreme Court, the briefs on our side were about as diverse as
 it gets. They included an extraordinary historical brief by the Free
 
 <!-- PAGE BREAK 239 -->
 it gets. They included an extraordinary historical brief by the Free
 
 <!-- PAGE BREAK 239 -->

-Software Foundation (home of the GNU project that made GNU/ Linux
+Software Foundation (home of the GNU project that made GNU/Linux

 possible). They included a powerful brief about the costs of
 uncertainty by Intel. There were two law professors' briefs, one by
 copyright scholars and one by First Amendment scholars. There was an
 possible). They included a powerful brief about the costs of
 uncertainty by Intel. There were two law professors' briefs, one by
 copyright scholars and one by First Amendment scholars. There was an


@@ -12463,14 +12744,14 @@ in a time of such fruitful creative ferment.
 <para>
 The best responses were in the cartoons. There was a gaggle of
 hilarious images&mdash;of Mickey in jail and the like. The best, from
 <para>
 The best responses were in the cartoons. There was a gaggle of
 hilarious images&mdash;of Mickey in jail and the like. The best, from

-my view of the case, was Ruben Bolling's, reproduced on the next page
-(<xref linkend="fig-18"/>). The <quote>powerful and wealthy</quote> line is a bit
+my view of the case, was Ruben Bolling's, reproduced in
+<xref linkend="fig-18"/>. The <quote>powerful and wealthy</quote> line is a bit

 unfair. But the punch in the face felt exactly like that.
 <indexterm><primary>Bolling, Ruben</primary></indexterm>
 </para>
 <figure id="fig-18">
 <title>Tom the Dancing Bug cartoon</title>
 unfair. But the punch in the face felt exactly like that.
 <indexterm><primary>Bolling, Ruben</primary></indexterm>
 </para>
 <figure id="fig-18">
 <title>Tom the Dancing Bug cartoon</title>

-<graphic fileref="images/18.png"></graphic>
+<graphic fileref="images/tom-the-dancing-bug.png" align="center" width="95%"></graphic>

 <indexterm><primary>Bolling, Ruben</primary></indexterm>
 </figure>
 <para>
 <indexterm><primary>Bolling, Ruben</primary></indexterm>
 </figure>
 <para>


@@ -12485,7 +12766,7 @@ better lawyer would have made them see differently.
 <!-- PAGE BREAK 254 -->
 </chapter>
 <chapter label="14" id="eldred-ii">
 <!-- PAGE BREAK 254 -->
 </chapter>
 <chapter label="14" id="eldred-ii">

-<title>CHAPTER FOURTEEN: Eldred II</title>
+<title>Eldred II</title>

 <para>
 <emphasis role='strong'>The day</emphasis>
 <citetitle>Eldred</citetitle> was decided, fate would have it that I
 <para>
 <emphasis role='strong'>The day</emphasis>
 <citetitle>Eldred</citetitle> was decided, fate would have it that I


@@ -13209,11 +13490,13 @@ intellectual property. Examples include the Internet and the World
 Wide Web, both of which were developed on the basis of protocols in
 the public domain. It included an emerging trend to support open
 academic journals, including the Public Library of Science project
 Wide Web, both of which were developed on the basis of protocols in
 the public domain. It included an emerging trend to support open
 academic journals, including the Public Library of Science project

-that I describe in the Afterword. It included a project to develop
-single nucleotide polymorphisms (SNPs), which are thought to have
-great significance in biomedical research. (That nonprofit project
-comprised a consortium of the Wellcome Trust and pharmaceutical and
-technological companies, including Amersham Biosciences, AstraZeneca,
+that I describe in chapter 
+<xref xrefstyle="select: labelnumber" linkend="c-afterword"/>.  It
+included a project to develop single nucleotide polymorphisms (SNPs),
+which are thought to have great significance in biomedical
+research. (That nonprofit project comprised a consortium of the
+Wellcome Trust and pharmaceutical and technological companies,
+including Amersham Biosciences, AstraZeneca,

 <!-- PAGE BREAK 270 -->
 Aventis, Bayer, Bristol-Myers Squibb, Hoffmann-La Roche,
 Glaxo-SmithKline, IBM, Motorola, Novartis, Pfizer, and Searle.) It
 <!-- PAGE BREAK 270 -->
 Aventis, Bayer, Bristol-Myers Squibb, Hoffmann-La Roche,
 Glaxo-SmithKline, IBM, Motorola, Novartis, Pfizer, and Searle.) It


@@ -15334,4 +15617,110 @@ grateful for her perpetual patience and love.
 
 </chapter>
 <index></index>
 
 </chapter>
 <index></index>

+<colophon>
+<?latex {\footnotesize ?>
+<para>
+Free culture: How big media uses technology and the law to lock down
+culture and control creativity / Lawrence Lessig.
+</para>
+<para>
+Copyright &copy; Lawrence Lessig.  Some rights reserved.
+</para>
+<para>
+This version of <citetitle>Free Culture</citetitle> is licensed under
+a Creative Commons license. This license permits non-commercial use of
+this work, so long as attribution is given.  For more information
+about the license visit
+<ulink url="http://creativecommons.org/licenses/by-nc/1.0/">http://creativecommons.org/licenses/by-nc/1.0/</ulink>
+</para>
+<para>
+This digital book was published by Petter Reinholdtsen in 2015.  The
+original hardcover paper book was published in 2004 by The Penguin
+Press.
+</para>
+<para>
+Excerpt from an editorial titled <quote>The Coming of Copyright
+Perpetuity,</quote> <citetitle>The New York Times</citetitle>, January
+16, 2003. Copyright &copy; 2003 by The New York Times Co.  Reprinted
+with permission.
+</para>
+<para>
+Cartoon in <xref linkend="fig-1711-vcr-handgun-cartoonfig"/> by Paul
+Conrad, copyright Tribune Media Services, Inc.  All rights
+reserved. Reprinted with permission.
+</para>
+<para>
+Diagram in <xref linkend="fig-1761-pattern-modern-media-ownership"/>
+courtesy of the office of FCC Commissioner, Michael J. Copps.
+</para>
+
+<para>
+The source of this version of the book is written using DocBook
+notation and the other formats are derived from the DocBook source.
+The DocBook source is based on a DocBook XML version created by Hans
+Schou, and extended by Petter Reinholdtsen with formatting and index
+references.  The source files for this book are available from
+<ulink url="https://github.com/petterreinholdtsen/free-culture-lessig"/>.
+</para>
+
+<para>
+&translationblock;
+</para>
+
+<para>
+Includes index.
+</para>
+
+<para>
+Classifications: (Dewey)
+306.4
+306.40973
+306.46
+341.7582
+343.7309/9,
+(UDK) 347.78
+(US Lib. of Congress) KF2979.L47 2004
+(ACM CRCS) K.4.1
+</para>
+
+<para>
+<informaltable id="isbn">
+<tgroup cols="2" align="left">
+<thead>
+ <row>
+ <entry>ISBN</entry>
+ <entry>Format / MIME-type</entry>
+ </row>
+</thead>
+<tbody>
+ <row>
+ <entry>978-82-92812-XX-Y</entry>
+ <entry>text/plain</entry>
+ </row>
+ <row>
+ <entry>978-82-92812-XX-Y</entry>
+ <entry>application/pdf</entry>
+ </row>
+ <row>
+ <entry>978-82-92812-XX-Y</entry>
+ <entry>text/html</entry>
+ </row>
+ <row>
+ <entry>978-82-92812-XX-Y</entry>
+ <entry>application/epub+zip</entry>
+ </row>
+ <row>
+ <entry>978-82-92812-XX-Y</entry>
+ <entry>application/docbook+xml</entry>
+ </row>
+ <row>
+ <entry>978-82-92812-XX-Y</entry>
+ <entry>application/x-mobipocket-ebook</entry>
+ </row>
+</tbody>
+</tgroup>
+</informaltable>
+</para>
+<?latex } %\tiny ?>
+</colophon>

 </book>
 </book>