Typo.

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

diff --git a/freeculture.xml b/freeculture.xml
index a00d14709f9d99070567b9a56edbd8b24d3a221e..eae61d52e91d44c27d27b9be5cc17f2e5f32d4f5 100644 (file)
--- a/freeculture.xml
+++ b/freeculture.xml
@@ -889,6 +889,7 @@ been undone.  The consequence is that we are less and less a free
 culture, more and more a permission culture.
 </para>
 <!-- PAGE BREAK 24 -->
+<indexterm><primary>protection of artists vs. business interests</primary></indexterm>
 <para>
 This change gets justified as necessary to protect commercial
 creativity.  And indeed, protectionism is precisely its
@@ -965,7 +966,7 @@ this change, the war to rid the world of Internet <quote>pirates</quote> will al
 culture of values that have been integral to our tradition from the start.
 </para>
 <indexterm><primary>Constitution, U.S.</primary><secondary>First Amendment to</secondary></indexterm>
-<indexterm><primary>Copyright law</primary><secondary>as protection of creators</secondary></indexterm>
+<indexterm><primary>copyright law</primary><secondary>as protection of creators</secondary></indexterm>
 <indexterm><primary>First Amendment</primary></indexterm>
 <indexterm><primary>Netanel, Neil Weinstock</primary></indexterm>
 <para>
@@ -1130,8 +1131,8 @@ to which most of us remain oblivious.
 <title><quote>PIRACY</quote></title>
 <partintro>
 <!-- PAGE BREAK 30 -->
-<indexterm><primary>Copyright law</primary><secondary>English</secondary></indexterm>
-<indexterm id='idxmansfield1' class='startofrange'><primary>Mansfield, William Murray, Lord</primary></indexterm>
+<indexterm><primary>copyright law</primary><secondary>English</secondary></indexterm>
+<indexterm id='idxmansfieldwilliammurraylord' class='startofrange'><primary>Mansfield, William Murray, Lord</primary></indexterm>
 <indexterm><primary>music publishing</primary></indexterm>
 <indexterm><primary>sheet music</primary></indexterm>
 <para>
@@ -1150,7 +1151,7 @@ of them for his own use.<footnote><para>
 <citetitle>Bach</citetitle> v. <citetitle>Longman</citetitle>, 98 Eng. Rep. 1274 (1777) (Mansfield).
 </para></footnote>
 </para>
-<indexterm startref="idxmansfield1" class='endofrange'/>
+<indexterm startref='idxmansfieldwilliammurraylord' class='endofrange'/>
 </blockquote>
 <indexterm><primary>Internet</primary><secondary> efficient content distribution on</secondary></indexterm>
 <indexterm id='idxpeertopeerppfilesharingefficiencyof' class='startofrange'><primary>peer-to-peer (p2p) file sharing</primary><secondary>efficiency of</secondary></indexterm>
@@ -1202,7 +1203,8 @@ piracy.
 <indexterm><primary>ASCAP</primary></indexterm>
 <indexterm><primary>Dreyfuss, Rochelle</primary></indexterm>
 <indexterm><primary>Girl Scouts</primary></indexterm>
-<indexterm id='idxifvalue' class='startofrange'><primary><quote>if value, then right</quote> theory</primary></indexterm>
+<indexterm id='idxcreativepropertyifvaluethenrighttheoryof' class='startofrange'><primary>creative property</primary><secondary><quote>if value, then right</quote> theory of</secondary></indexterm>
+<indexterm id='idxifvaluethenrighttheory' class='startofrange'><primary><quote>if value, then right</quote> theory</primary></indexterm>
 <para>
 This view runs deep within the current debates. It is what NYU law
 professor Rochelle Dreyfuss criticizes as the <quote>if value, then right</quote> 
@@ -1226,6 +1228,7 @@ Speech, No One Wins,</quote> <citetitle>Boston Globe</citetitle>, 24 November 20
 There was <quote>value</quote> (the songs) so there must have been a
 <quote>right</quote>&mdash;even against the Girl Scouts.
 </para>
+<indexterm startref='idxcreativepropertyifvaluethenrighttheoryof' class='endofrange'/>
 <para>
 This idea is certainly a possible understanding of how creative
 property should work. It might well be a possible design for a system
@@ -1234,7 +1237,9 @@ of law protecting creative property. But the <quote>if value, then right</quote>
 theory of creative property has never been America's theory of
 creative property.  It has never taken hold within our law.
 </para>
-<indexterm startref='idxifvalue' class='endofrange'/>
+<indexterm startref='idxifvaluethenrighttheory' class='endofrange'/>
+<indexterm id='idxcopyrightlawonrepublishingvstransformationoforiginalwork' class='startofrange'><primary>copyright law</primary><secondary>on republishing vs. transformation of original work</secondary></indexterm>
+<indexterm id='idxcreativitylegalrestrictionson' class='startofrange'><primary>creativity</primary><secondary>legal restrictions on</secondary></indexterm>
 <para>
 Instead, in our tradition, intellectual property is an instrument. It
 sets the groundwork for a richly creative society but remains
@@ -1249,6 +1254,7 @@ work on the one hand and building upon or transforming that work on
 the other. Copyright law at its birth had only publishing as its concern;
 copyright law today regulates both.
 </para>
+<indexterm startref='idxcopyrightlawonrepublishingvstransformationoforiginalwork' class='endofrange'/>
 <para>
 Before the technologies of the Internet, this conflation didn't matter
 all that much. The technologies of publishing were expensive; that
@@ -1257,6 +1263,7 @@ entities could bear the burden of the law&mdash;even the burden of the
 Byzantine complexity that copyright law has become. It was just one
 more expense of doing business.
 </para>
+<indexterm><primary>copyright law</primary><secondary>creativity impeded by</secondary></indexterm>
 <indexterm><primary>Florida, Richard</primary></indexterm>
 <indexterm><primary>Rise of the Creative Class, The (Florida)</primary></indexterm>
 <para>
@@ -1294,6 +1301,7 @@ under which it will be enabled are much more tenuous.
 Unfortunately, we are also seeing an extraordinary rise of regulation of
 this creative class.
 </para>
+<indexterm startref='idxcreativitylegalrestrictionson' class='endofrange'/>
 <para>
 These burdens make no sense in our tradition. We should begin by
 understanding that tradition a bit more and by placing in their proper
@@ -1304,8 +1312,11 @@ context the current battles about behavior labeled <quote>piracy.</quote>
 <!-- PAGE BREAK 34 -->
 <chapter label="1" id="creators">
 <title>CHAPTER ONE: Creators</title>
-<indexterm id='idxanimadedcartoons' class='startofrange'><primary>animated cartoons</primary></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>
+<indexterm id='idxsteamboatwillie' class='startofrange'><primary>Steamboat Willie</primary></indexterm>
+<indexterm id='idxmickeymouse' class='startofrange'><primary>Mickey Mouse</primary></indexterm>
 <para>
 <emphasis role="strong">In 1928</emphasis>, a cartoon character was born. An early Mickey Mouse
 made his debut in May of that year, in a silent flop called <citetitle>Plane Crazy</citetitle>.
@@ -1313,6 +1324,7 @@ In November, in New York City's Colony Theater, in the first widely
 distributed cartoon synchronized with sound, <citetitle>Steamboat Willie</citetitle> brought
 to life the character that would become Mickey Mouse.
 </para>
+<indexterm id='idxdisneywalt' class='startofrange'><primary>Disney, Walt</primary></indexterm>
 <para>
 Synchronized sound had been introduced to film a year earlier in the
 movie <citetitle>The Jazz Singer</citetitle>. That success led Walt Disney to copy the
@@ -1363,6 +1375,9 @@ Disney's invention that set the standard that others struggled to
 match.  And quite often, Disney's great genius, his spark of
 creativity, was built upon the work of others.
 </para>
+<indexterm startref='idxdisneywalt' class='endofrange'/>
+<indexterm id='idxkeatonbuster' class='startofrange'><primary>Keaton, Buster</primary></indexterm>
+<indexterm id='idxsteamboatbilljr' class='startofrange'><primary>Steamboat Bill, Jr.</primary></indexterm>
 <para>
 This much is familiar. What you might not know is that 1928 also marks
 another important transition. In that year, a comic (as opposed to
@@ -1377,6 +1392,8 @@ Jr</citetitle>. was a classic of this form, famous among film buffs for its
 incredible stunts.  The film was classic Keaton&mdash;wildly popular
 and among the best of its genre.
 </para>
+<indexterm id='idxderivativeworkspiracyvs' class='startofrange'><primary>derivative works</primary><secondary>piracy vs.</secondary></indexterm>
+<indexterm id='idxpiracyderivativeworkvs' class='startofrange'><primary>piracy</primary><secondary>derivative work vs.</secondary></indexterm>
 <para>
 <citetitle>Steamboat Bill, Jr</citetitle>. appeared before Disney's cartoon Steamboat
 Willie.
@@ -1400,6 +1417,12 @@ Steamboat Bill, Jr., itself inspired by the song <quote>Steamboat Bill,</quote>
 that we get Steamboat Willie, and then from Steamboat Willie, Mickey
 Mouse.
 </para>
+<indexterm startref='idxsteamboatwillie' class='endofrange'/>
+<indexterm startref='idxmickeymouse' class='endofrange'/>
+<indexterm startref='idxkeatonbuster' class='endofrange'/>
+<indexterm startref='idxsteamboatbilljr' class='endofrange'/>
+<indexterm id='idxcreativitybytransformingpreviousworks' class='startofrange'><primary>creativity</primary><secondary>by transforming previous works</secondary></indexterm>
+<indexterm id='idxdisneyinc' class='startofrange'><primary>Disney, Inc.</primary></indexterm>
 <para>
 This <quote>borrowing</quote> was nothing unique, either for Disney or for the
 industry. Disney was always parroting the feature-length mainstream
@@ -1419,6 +1442,7 @@ were built upon a base that was borrowed.  Disney added to the work of
 others before him, creating something new out of something just barely
 old.
 </para>
+<indexterm id='idxgrimmfairytales' class='startofrange'><primary>Grimm fairy tales</primary></indexterm>
 <para>
 Sometimes this borrowing was slight. Sometimes it was significant.
 Think about the fairy tales of the Brothers Grimm. If you're as
@@ -1450,7 +1474,7 @@ creativity from the culture around him, mixed that creativity with his
 own extraordinary talent, and then burned that mix into the soul of
 his culture. Rip, mix, and burn.
 </para>
-<indexterm startref="idxanimadedcartoons" class='endofrange'/>
+<indexterm startref='idxgrimmfairytales' class='endofrange'/>
 <para>
 This is a kind of creativity. It is a creativity that we should
 remember and celebrate. There are some who would say that there is no
@@ -1460,6 +1484,12 @@ would be a bit misleading. It is, more precisely, <quote>Walt Disney
 creativity</quote>&mdash;a form of expression and genius that builds upon the
 culture around us and makes it something different.
 </para>
+<indexterm startref='idxderivativeworkspiracyvs' class='endofrange'/>
+<indexterm startref='idxpiracyderivativeworkvs' class='endofrange'/>
+<indexterm startref='idxcreativitybytransformingpreviousworks' class='endofrange'/>
+<indexterm id='idxcopyrightdurationof' class='startofrange'><primary>copyright</primary><secondary>duration of</secondary></indexterm>
+<indexterm id='idxpublicdomaindefined' class='startofrange'><primary>public domain</primary><secondary>defined</secondary></indexterm>
+<indexterm id='idxpublicdomaintraditionaltermforconversionto' class='startofrange'><primary>public domain</primary><secondary>traditional term for conversion to</secondary></indexterm>
 <para> In 1928, the culture that Disney was free to draw upon was
 relatively fresh. The public domain in 1928 was not very old and was
 therefore quite vibrant. The average term of copyright was just around
@@ -1491,6 +1521,8 @@ for Disney to use and build upon in 1928. It was free for
 anyone&mdash; whether connected or not, whether rich or not, whether
 approved or not&mdash;to use and build upon.
 </para>
+<indexterm startref='idxanimatedcartoons' class='endofrange'/>
+<indexterm startref='idxfilmsanimated' class='endofrange'/>
 <para>
 This is the ways things always were&mdash;until quite recently. For most
 of our history, the public domain was just over the horizon. From
@@ -1505,12 +1537,22 @@ permission. Yet today, the public domain is presumptive only for
 content from before the Great Depression.
 </para>
 <indexterm startref='idxcartoonfilms' class='endofrange'/>
+<indexterm startref='idxdisneyinc' class='endofrange'/>
+<indexterm startref='idxcopyrightdurationof' class='endofrange'/>
+<indexterm startref='idxpublicdomaindefined' class='endofrange'/>
+<indexterm startref='idxpublicdomaintraditionaltermforconversionto' class='endofrange'/>
+<indexterm><primary>Disney, Walt</primary></indexterm>
 <para>
 <emphasis role="strong">Of course</emphasis>, Walt Disney had no monopoly on <quote>Walt Disney creativity.</quote>
 Nor does America. The norm of free culture has, until recently, and
 except within totalitarian nations, been broadly exploited and quite
 universal.
 </para>
+<indexterm id='idxcomicsjapanese' class='startofrange'><primary>comics, Japanese</primary></indexterm>
+<indexterm id='idxderivativeworkspiracyvs2' class='startofrange'><primary>derivative works</primary><secondary>piracy vs.</secondary></indexterm>
+<indexterm id='idxjapanesecomics' class='startofrange'><primary>Japanese comics</primary></indexterm>
+<indexterm id='idxmanga' class='startofrange'><primary>manga</primary></indexterm>
+<indexterm id='idxpiracyderivativeworkvs2' class='startofrange'><primary>piracy</primary><secondary>derivative work vs.</secondary></indexterm>
 <para>
 Consider, for example, a form of creativity that seems strange to many
 Americans but that is inescapable within Japanese culture: <citetitle>manga</citetitle>, or
@@ -1536,6 +1578,8 @@ But my purpose here is not to understand manga. It is to describe a
 variant on manga that from a lawyer's perspective is quite odd, but
 from a Disney perspective is quite familiar.
 </para>
+<indexterm id='idxcreativitybytransformingpreviousworks2' class='startofrange'><primary>creativity</primary><secondary>by transforming previous works</secondary></indexterm>
+<indexterm id='idxdoujinshicomics' class='startofrange'><primary>doujinshi comics</primary></indexterm>
 <para>
 This is the phenomenon of <citetitle>doujinshi</citetitle>. Doujinshi are also comics, but
 they are a kind of copycat comic. A rich ethic governs the creation of
@@ -1551,6 +1595,7 @@ must be different if they are to be considered true doujinshi. Indeed,
 there are committees that review doujinshi for inclusion within shows
 and reject any copycat comic that is merely a copy.
 </para>
+<indexterm id='idxdisneywalt2' class='startofrange'><primary>Disney, Walt</primary></indexterm>
 <para>
 These copycat comics are not a tiny part of the manga market. They are
 huge. More than 33,000 <quote>circles</quote> of creators from across Japan produce
@@ -1562,6 +1607,8 @@ competes with that market, but there is no sustained effort by those
 who control the commercial manga market to shut the doujinshi market
 down. It flourishes, despite the competition and despite the law.
 </para>
+<indexterm id='idxcopyrightlawjapanese' class='startofrange'><primary>copyright law</primary><secondary>Japanese</secondary></indexterm>
+<indexterm><primary>Steamboat Bill, Jr.</primary></indexterm>
 <para>
 The most puzzling feature of the doujinshi market, for those trained
 in the law, at least, is that it is allowed to exist at all. Under
@@ -1576,6 +1623,7 @@ the permission of the original copyright owner is illegal. It is an
 infringement of the original copyright to make a copy or a derivative
 work without the original copyright owner's permission.
 </para>
+<indexterm startref='idxdisneywalt2' class='endofrange'/>
 <indexterm id='idxwinickjudd' class='startofrange'><primary>Winick, Judd</primary></indexterm>
 <para>
 Yet this illegal market exists and indeed flourishes in Japan, and in
@@ -1592,6 +1640,7 @@ For an excellent history, see Scott McCloud, <citetitle>Reinventing Comics</cite
 York: Perennial, 2000).
 </para></footnote>
 </para>
+<indexterm startref='idxcopyrightlawjapanese' class='endofrange'/>
 <indexterm><primary>Superman comics</primary></indexterm>
 <para>
 American comics now are quite different, Winick explains, in part
@@ -1601,7 +1650,10 @@ and you have to stick to them.</quote> There are things Superman <quote>cannot</
 do. <quote>As a creator, it's frustrating having to stick to some parameters
 which are fifty years old.</quote>
 </para>
-<indexterm startref="idxwinickjudd" class='endofrange'/>
+<indexterm startref='idxwinickjudd' class='endofrange'/>
+<indexterm id='idxcopyrightlawjapanese2' class='startofrange'><primary>copyright law</primary><secondary>Japanese</secondary></indexterm>
+<indexterm><primary>comics, Japanese</primary></indexterm>
+<indexterm id='idxmehrasalil' class='startofrange'><primary>Mehra, Salil</primary></indexterm>
 <para>
 The norm in Japan mitigates this legal difficulty. Some say it is
 precisely the benefit accruing to the Japanese manga market that
@@ -1621,6 +1673,9 @@ individual self-interest and decide not to press their legal
 rights. This is essentially a prisoner's dilemma solved.</quote>
 </para></footnote>
 </para>
+<indexterm startref='idxcomicsjapanese' class='endofrange'/>
+<indexterm startref='idxjapanesecomics' class='endofrange'/>
+<indexterm startref='idxmanga' class='endofrange'/>
 <para>
 The problem with this story, however, as Mehra plainly acknowledges,
 is that the mechanism producing this laissez faire response is not
@@ -1632,6 +1687,8 @@ individual manga artists have sued doujinshi artists, why is there not
 a more general pattern of blocking this <quote>free taking</quote> by the doujinshi
 culture?
 </para>
+<indexterm startref='idxcopyrightlawjapanese2' class='endofrange'/>
+<indexterm startref='idxmehrasalil' class='endofrange'/>
 <para>
 I spent four wonderful months in Japan, and I asked this question
 as often as I could. Perhaps the best account in the end was offered by
@@ -1651,6 +1708,7 @@ uncompensated sharing? Does piracy here hurt the victims of the
 piracy, or does it help them? Would lawyers fighting this piracy help
 their clients or hurt them?
 </para>
+<indexterm startref='idxdoujinshicomics' class='endofrange'/>
 <para>
 <emphasis role='strong'>Let's pause</emphasis> for a moment.
 </para>
@@ -1678,6 +1736,9 @@ A large, diverse society cannot survive without property; a large,
 diverse, and modern society cannot flourish without intellectual
 property.
 </para>
+<indexterm id='idxdisneywalt3' class='startofrange'><primary>Disney, Walt</primary></indexterm>
+<indexterm id='idxgrimmfairytales2' class='startofrange'><primary>Grimm fairy tales</primary></indexterm>
+<indexterm><primary>Keaton, Buster</primary></indexterm>
 <para>
 But it takes just a second's reflection to realize that there is
 plenty of value out there that <quote>property</quote> doesn't capture. I don't
@@ -1693,6 +1754,7 @@ Disney's use would have been considered <quote>fair.</quote> There was nothing
 wrong with the taking from the Grimms because the Grimms' work was in
 the public domain.
 </para>
+<indexterm id='idxfreeculturederivativeworksbasedon' class='startofrange'><primary>free culture</primary><secondary>derivative works based on</secondary></indexterm>
 <para>
 Thus, even though the things that Disney took&mdash;or more generally,
 the things taken by anyone exercising Walt Disney creativity&mdash;are
@@ -1702,6 +1764,12 @@ valuable, our tradition does not treat those takings as wrong. Some
 things remain free for the taking within a free culture, and that
 freedom is good.
 </para>
+<indexterm startref='idxgrimmfairytales2' class='endofrange'/>
+<indexterm id='idxcopyrightlawjapanese3' class='startofrange'><primary>copyright law</primary><secondary>Japanese</secondary></indexterm>
+<indexterm><primary>comics, Japanese</primary></indexterm>
+<indexterm id='idxdoujinshicomics2' class='startofrange'><primary>doujinshi comics</primary></indexterm>
+<indexterm id='idxjapanesecomics2' class='startofrange'><primary>Japanese comics</primary></indexterm>
+<indexterm id='idxmanga2' class='startofrange'><primary>manga</primary></indexterm>
 <para>
 The same with the doujinshi culture. If a doujinshi artist broke into
 a publisher's office and ran off with a thousand copies of his latest
@@ -1710,12 +1778,20 @@ saying the artist was wrong. In addition to having trespassed, he would
 have stolen something of value. The law bans that stealing in whatever
 form, whether large or small.
 </para>
+<indexterm startref='idxcreativitybytransformingpreviousworks2' class='endofrange'/>
 <para>
 Yet there is an obvious reluctance, even among Japanese lawyers, to
 say that the copycat comic artists are <quote>stealing.</quote> This form of Walt
 Disney creativity is seen as fair and right, even if lawyers in
 particular find it hard to say why.
 </para>
+<indexterm startref='idxderivativeworkspiracyvs2' class='endofrange'/>
+<indexterm startref='idxpiracyderivativeworkvs2' class='endofrange'/>
+<indexterm startref='idxcopyrightlawjapanese3' class='endofrange'/>
+<indexterm startref='idxdoujinshicomics2' class='endofrange'/>
+<indexterm startref='idxjapanesecomics2' class='endofrange'/>
+<indexterm startref='idxmanga2' class='endofrange'/>
+<indexterm><primary>Shakespeare, William</primary></indexterm>
 <para>
 It's the same with a thousand examples that appear everywhere once you
 begin to look. Scientists build upon the work of other scientists
@@ -1741,6 +1817,7 @@ every society has left a certain bit of its culture free for the taking&mdash;fr
 societies more fully than unfree, perhaps, but all societies to some degree.
 <!-- PAGE BREAK 43 -->
 </para>
+<indexterm startref='idxdisneywalt3' class='endofrange'/>
 <para>
 The hard question is therefore not <emphasis>whether</emphasis> a
 culture is free. All cultures are free to some degree. The hard
@@ -1758,14 +1835,15 @@ Free cultures are cultures that leave a great deal open for others to
 build upon; unfree, or permission, cultures leave much less. Ours was a
 free culture. It is becoming much less so.
 </para>
+<indexterm startref='idxfreeculturederivativeworksbasedon' class='endofrange'/>
 
 <!-- PAGE BREAK 44 -->
 </chapter>
 <chapter label="2" id="mere-copyists">
 <title>CHAPTER TWO: <quote>Mere Copyists</quote></title>
-<indexterm id='idxcameratech' class='startofrange'><primary>camera technology</primary></indexterm>
-<indexterm id='idxphotography' class='startofrange'><primary>photography</primary></indexterm>
 <indexterm><primary>Daguerre, Louis</primary></indexterm>
+<indexterm id='idxcameratechnology' class='startofrange'><primary>camera technology</primary></indexterm>
+<indexterm id='idxphotography' class='startofrange'><primary>photography</primary></indexterm>
 <para>
 <emphasis role='strong'>In 1839</emphasis>, Louis Daguerre invented
 the first practical technology for producing what we would call
@@ -1801,7 +1879,8 @@ a developer, driving the costs of photography down substantially. By
 lowering the costs, Eastman expected he could dramatically broaden the
 population of photographers.
 </para>
-<indexterm><primary>Kodak Primer, The (Eastman)</primary></indexterm>
+<indexterm id='idxkodakcameras' class='startofrange'><primary>Kodak cameras</primary></indexterm>
+<indexterm id='idxkodakprimertheeastman' class='startofrange'><primary>Kodak Primer, The (Eastman)</primary></indexterm>
 <para>
 Eastman developed flexible, emulsion-coated paper film and placed
 rolls of it in small, simple cameras: the Kodak. The device was
@@ -1824,12 +1903,13 @@ preliminary study, without a darkroom and without
 chemicals.<footnote>
 <para>
 <!-- f2 -->
+<indexterm><primary>Coe, Brian</primary></indexterm>
 Brian Coe, <citetitle>The Birth of Photography</citetitle> (New York: Taplinger Publishing,
 1977), 53.
-<indexterm><primary>Coe, Brian</primary></indexterm>
 </para></footnote>
 </para>
 </blockquote>
+<indexterm startref='idxkodakprimertheeastman' class='endofrange'/>
 <para>
 For $25, anyone could make pictures. The camera came preloaded
 with film, and when it had been used, the camera was returned to an
@@ -1849,7 +1929,6 @@ an average annual increase of over 17 percent.<footnote><para>
 Based on a chart in Jenkins, p. 178.
 </para></footnote>
 </para>
-<indexterm startref='idxcameratech' class='endofrange'/>
 <indexterm><primary>Coe, Brian</primary></indexterm>
 <para>
 
@@ -1868,6 +1947,8 @@ interpretation or bias.</quote><footnote><para>
 Coe, 58.
 </para></footnote>
 </para>
+<indexterm><primary>democracy</primary><secondary>in technologies of expression</secondary></indexterm>
+<indexterm><primary>expression, technologies of</primary><secondary>democratic</secondary></indexterm>
 <para>
 In this way, the Kodak camera and film were technologies of
 expression.  The pencil or paintbrush was also a technology of
@@ -1881,6 +1962,8 @@ creativity that the Kodak enabled. Democratic tools gave ordinary
 people a way to express themselves more easily than any tools could
 have before.
 </para>
+<indexterm startref='idxkodakcameras' class='endofrange'/>
+<indexterm id='idxpermissionsphotographyexemptedfrom' class='startofrange'><primary>permissions</primary><secondary>photography exempted from</secondary></indexterm>
 <para>
 What was required for this technology to flourish? Obviously,
 Eastman's genius was an important part. But also important was the
@@ -1898,6 +1981,9 @@ v. <citetitle>N.E. Life Ins. Co</citetitle>., 50 S.E. 68 (Ga. 1905);
 Dist. Ct. 1894).
 </para></footnote>
 </para>
+<indexterm startref='idxcameratechnology' class='endofrange'/>
+<indexterm id='idxdisneywalt4' class='startofrange'><primary>Disney, Walt</primary></indexterm>
+<indexterm id='idximagesownershipof' class='startofrange'><primary>images, ownership of</primary></indexterm>
 <para>
 The arguments in favor of requiring permission will sound surprisingly
 familiar. The photographer was <quote>taking</quote> something from the person or
@@ -1910,6 +1996,8 @@ Mickey, so, too, should these photographers not be free to take images
 that they thought valuable.
 </para>
 <indexterm><primary>Brandeis, Louis D.</primary></indexterm>
+<indexterm><primary>Steamboat Bill, Jr.</primary></indexterm>
+<indexterm id='idxcameratechnology2' class='startofrange'><primary>camera technology</primary></indexterm>
 <para>
 On the other side was an argument that should be familiar, as well.
 Sure, there may be something of value being used. But citizens should
@@ -1927,7 +2015,7 @@ gets something for nothing. Just as Disney could take inspiration from
 <citetitle>Steamboat Bill, Jr</citetitle>. or the Brothers Grimm, the photographer should be
 free to capture an image without compensating the source.
 </para>
-<indexterm><primary>images, ownership of</primary></indexterm>
+<indexterm startref='idxdisneywalt4' class='endofrange'/>
 <para>
 Fortunately for Mr. Eastman, and for photography in general, these
 early decisions went in favor of the pirates. In general, no
@@ -1946,6 +2034,8 @@ Inc</citetitle>., 971 F.  2d 1395 (9th Cir. 1992), cert. denied, 508 U.S. 951
 (1993).
 </para></footnote>)
 </para>
+<indexterm><primary>Kodak cameras</primary></indexterm>
+<indexterm><primary>Napster</primary></indexterm>
 <para>
 We can only speculate about how photography would have developed had
 the law gone the other way. If the presumption had been against the
@@ -1961,6 +2051,10 @@ imagine the law then requiring that some form of permission be
 demonstrated before a company developed pictures. We could imagine a
 system developing to demonstrate that permission.
 </para>
+<indexterm startref='idxcameratechnology2' class='endofrange'/>
+<indexterm id='idxcameratechnology3' class='startofrange'><primary>camera technology</primary></indexterm>
+<indexterm><primary>democracy</primary><secondary>in technologies of expression</secondary></indexterm>
+<indexterm><primary>expression, technologies of</primary><secondary>democratic</secondary></indexterm>
 <para>
 
 <!-- PAGE BREAK 48 -->
@@ -1976,7 +2070,10 @@ that growth would have been realized. And certainly, nothing like that
 growth in a democratic technology of expression would have been
 realized.
 </para>
-<indexterm><primary>camera technology</primary></indexterm>
+<indexterm startref='idxphotography' class='endofrange'/>
+<indexterm startref='idxeastmangeorge' class='endofrange'/>
+<indexterm startref='idxpermissionsphotographyexemptedfrom' class='endofrange'/>
+<indexterm startref='idximagesownershipof' class='endofrange'/>
 <para>
 <emphasis role='strong'>If you drive</emphasis> through San
 Francisco's Presidio, you might see two gaudy yellow school buses
@@ -1993,8 +2090,6 @@ schools and enable three hundred to five hundred children to learn
 something about media by doing something with media.  By doing, they
 think. By tinkering, they learn.
 </para>
-<indexterm startref="idxeastmangeorge" class='endofrange'/>
-<indexterm startref="idxphotography" class='endofrange'/>
 <para>
 These buses are not cheap, but the technology they carry is
 increasingly so. The cost of a high-quality digital video system has
@@ -2028,6 +2123,8 @@ and noticing split infinitives are the things that <quote>literate</quote> peopl
 about.
 </para>
 <indexterm><primary>advertising</primary></indexterm>
+<indexterm><primary>commercials</primary></indexterm>
+<indexterm><primary>television</primary><secondary>advertising on</secondary></indexterm>
 <para>
 Maybe. But in a world where children see on average 390 hours of
 television commercials per year, or between 20,000 and 45,000 
@@ -2053,6 +2150,7 @@ how difficult media is. Or more fundamentally, few of us have a sense
 of how media works, how it holds an audience or leads it through a
 story, how it triggers emotion or builds suspense.
 </para>
+<indexterm startref='idxcameratechnology3' class='endofrange'/>
 <para>
 It took filmmaking a generation before it could do these things well.
 But even then, the knowledge was in the filming, not in writing about
@@ -2062,6 +2160,7 @@ reflecting upon what one has written. One learns to write with images
 by making them and then reflecting upon what one has created.
 </para>
 <indexterm><primary>Crichton, Michael</primary></indexterm>
+<indexterm id='idxdaleyelizabeth' class='startofrange'><primary>Daley, Elizabeth</primary></indexterm>
 <para>
 This grammar has changed as media has changed. When it was just film,
 as Elizabeth Daley, executive director of the University of Southern
@@ -2142,7 +2241,7 @@ language of the twenty-first century.</quote><footnote><para>
 Ibid.
 </para></footnote>
 </para>
-<indexterm><primary>Barish, Stephanie</primary></indexterm>
+<indexterm id='idxbarishstephanie' class='startofrange'><primary>Barish, Stephanie</primary></indexterm>
 <para>
 As with any language, this language comes more easily to some than to
 others. It doesn't necessarily come more easily to those who excel in
@@ -2155,6 +2254,7 @@ failure. But Daley and Barish ran a program that gave kids an
 opportunity to use film to express meaning about something the
 students know something about&mdash;gun violence.
 </para>
+<indexterm startref='idxdaleyelizabeth' class='endofrange'/>
 <para>
 The class was held on Friday afternoons, and it created a relatively
 new problem for the school. While the challenge in most classes was
@@ -2180,6 +2280,7 @@ can do well. Yet neither is text a form in which
 <emphasis>these</emphasis> ideas can be expressed well. The power of
 this message depended upon its connection to this form of expression.
 </para>
+<indexterm startref='idxbarishstephanie' class='endofrange'/>
 <para>
 
 <!-- PAGE BREAK 52 -->
@@ -2230,7 +2331,9 @@ had a lot of power with this language.
 <!-- FIXME removed a " from the end of the previous paragraph that did
      not match with any start quote. -->
 </blockquote>
+<indexterm id='idxseptemberterroristattacksof' class='startofrange'><primary>September 11, 2001, terrorist attacks of</primary></indexterm>
 <indexterm><primary>World Trade Center</primary></indexterm>
+<indexterm id='idxnewscoverage' class='startofrange'><primary>news coverage</primary></indexterm>
 <para>
 <emphasis role='strong'>When two planes</emphasis> crashed into the
 World Trade Center, another into the Pentagon, and a fourth into a
@@ -2267,6 +2370,7 @@ the term in his book <citetitle>Cyber Rights</citetitle>, around a news event th
 captured the attention of the world. There was ABC and CBS, but there
 was also the Internet.
 </para>
+<indexterm startref='idxseptemberterroristattacksof' class='endofrange'/>
 <para>
 I don't mean simply to praise the Internet&mdash;though I do think the
 people who supported this form of speech should be praised. I mean
@@ -2286,6 +2390,10 @@ and obviously not just that events are commented upon critically, but
 that this mix of captured images, sound, and commentary can be widely
 spread practically instantaneously.
 </para>
+<indexterm><primary>September 11, 2001, terrorist attacks of</primary></indexterm>
+<indexterm id='idxblogsweblogs' class='startofrange'><primary>blogs (Web-logs)</primary></indexterm>
+<indexterm id='idxinternetblogson' class='startofrange'><primary>Internet</primary><secondary>blogs on</secondary></indexterm>
+<indexterm id='idxweblogsblogs' class='startofrange'><primary>Web-logs (blogs)</primary></indexterm>
 <para>
 September 11 was not an aberration. It was a beginning. Around the
 same time, a form of communication that has grown dramatically was
@@ -2295,7 +2403,8 @@ such as in Japan, it functions very much like a diary. In those
 cultures, it records private facts in a public way&mdash;it's a kind
 of electronic <citetitle>Jerry Springer</citetitle>, available anywhere in the world.
 </para>
-<indexterm><primary>blogs (Web-logs)</primary></indexterm>
+<indexterm><primary>political discourse</primary></indexterm>
+<indexterm id='idxinternetpublicdiscourseconductedon' class='startofrange'><primary>Internet</primary><secondary>public discourse conducted on</secondary></indexterm>
 <para>
 But in the United States, blogs have taken on a very different
 character.  There are some who use the space simply to talk about
@@ -2310,6 +2419,9 @@ are relatively short; they point directly to words used by others,
 criticizing with or adding to them.  They are arguably the most
 important form of unchoreographed public discourse that we have.
 </para>
+<indexterm id='idxdemocracyintechnologiesofexpression' class='startofrange'><primary>democracy</primary><secondary>in technologies of expression</secondary></indexterm>
+<indexterm id='idxelections' class='startofrange'><primary>elections</primary></indexterm>
+<indexterm id='idxexpressiontechnologiesofdemocratic' class='startofrange'><primary>expression, technologies of</primary><secondary>democratic</secondary></indexterm>
 <para>
 That's a strong statement. Yet it says as much about our democracy as
 it does about blogs. This is the part of America that is most
@@ -2321,7 +2433,11 @@ people vote
 in those elections. The cycle of these elections has become totally
 professionalized and routinized. Most of us think this is democracy.
 </para>
+<indexterm startref='idxblogsweblogs' class='endofrange'/>
+<indexterm startref='idxinternetblogson' class='endofrange'/>
+<indexterm startref='idxweblogsblogs' class='endofrange'/>
 <indexterm><primary>Tocqueville, Alexis de</primary></indexterm>
+<indexterm id='idxdemocracypublicdiscoursein' class='startofrange'><primary>democracy</primary><secondary>public discourse in</secondary></indexterm>
 <indexterm><primary>jury system</primary></indexterm>
 <para>
 But democracy has never just been about elections. Democracy
@@ -2343,6 +2459,7 @@ See, for example, Alexis de Tocqueville, <citetitle>Democracy in America</citeti
 bk. 1, trans.  Henry Reeve (New York: Bantam Books, 2000), ch. 16.
 </para></footnote>
 </para>
+<indexterm startref='idxelections' class='endofrange'/>
 <para>
 Yet even this institution flags in American life today. And in its
 place, there is no systematic effort to enable citizen deliberation. Some
@@ -2355,6 +2472,7 @@ And in some towns in New England, something close to deliberation
 remains. But for most of us for most of the time, there is no time or
 place for <quote>democratic deliberation</quote> to occur.
 </para>
+<indexterm id='idxpoliticaldiscourse' class='startofrange'><primary>political discourse</primary></indexterm>
 <para>
 More bizarrely, there is generally not even permission for it to
 occur.  We, the most powerful democracy in the world, have developed a
@@ -2368,8 +2486,13 @@ Cass Sunstein, <citetitle>Republic.com</citetitle> (Princeton: Princeton Univers
 </para></footnote> We say what our friends want to hear, and hear very
 little beyond what our friends say.
 </para>
-<indexterm id='idxblogs1' class='startofrange'><primary>blogs (Web-logs)</primary></indexterm>
+<indexterm id='idxblogsweblogs2' class='startofrange'><primary>blogs (Web-logs)</primary></indexterm>
 <indexterm><primary>e-mail</primary></indexterm>
+<indexterm id='idxinternetblogson2' class='startofrange'><primary>Internet</primary><secondary>blogs on</secondary></indexterm>
+<indexterm id='idxweblogsblogs2' class='startofrange'><primary>Web-logs (blogs)</primary></indexterm>
+<indexterm startref='idxdemocracyintechnologiesofexpression' class='endofrange'/>
+<indexterm startref='idxexpressiontechnologiesofdemocratic' class='endofrange'/>
+<indexterm startref='idxdemocracypublicdiscoursein' class='endofrange'/>
 <para>
 Enter the blog. The blog's very architecture solves one part of this
 problem. People post when they want to post, and people read when they
@@ -2525,8 +2648,13 @@ Today there are probably a couple of million blogs where such writing
 happens. When there are ten million, there will be something
 extraordinary to report.
 </para>
-<indexterm startref='idxblogs1' class='endofrange'/>
-<indexterm startref="idxwinerdave" class='endofrange'/>
+<indexterm startref='idxnewscoverage' class='endofrange'/>
+<indexterm startref='idxpoliticaldiscourse' class='endofrange'/>
+<indexterm startref='idxblogsweblogs2' class='endofrange'/>
+<indexterm startref='idxinternetblogson2' class='endofrange'/>
+<indexterm startref='idxweblogsblogs2' class='endofrange'/>
+<indexterm startref='idxwinerdave' class='endofrange'/>
+<indexterm startref='idxinternetpublicdiscourseconductedon' class='endofrange'/>
 <indexterm id='idxbrownjohnseely' class='startofrange'><primary>Brown, John Seely</primary></indexterm>
 <indexterm id='idxadvertising1' class='startofrange'><primary>advertising</primary></indexterm>
 <para>
@@ -2980,6 +3108,7 @@ Edison's creative property.
 </section>
 <section id="recordedmusic">
 <title>Recorded Music</title>
+<indexterm id='idxcopyrightlawonmusicrecordings' class='startofrange'><primary>copyright law</primary><secondary>on music recordings</secondary></indexterm>
 <para>
 The record industry was born of another kind of piracy, though to see
 how requires a bit of detail about the way the law regulates music.
@@ -3116,6 +3245,7 @@ Copyright Act in 1909, record companies were free to distribute copies
 of recordings so long as they paid the composer (or copyright holder)
 the fee set by the statute.
 </para>
+<indexterm><primary>Grisham, John</primary></indexterm>
 <para>
 This is an exception within the law of copyright. When John Grisham
 writes a novel, a publisher is free to publish that novel only if
@@ -3124,8 +3254,8 @@ charge whatever he wants for that permission. The price to publish
 Grisham is thus set by Grisham, and copyright law ordinarily says you
 have no permission to use Grisham's work except with permission of
 Grisham.
-<indexterm><primary>Grisham, John</primary></indexterm>
 </para>
+<indexterm startref='idxcopyrightlawonmusicrecordings' class='endofrange'/>
 <para>
 But the law governing recordings gives recording artists less. And
 thus, in effect, the law <emphasis>subsidizes</emphasis> the recording
@@ -4121,6 +4251,17 @@ legitimate rights of creators while protecting innovation. Sometimes
 this has meant more rights for creators. Sometimes less.
 </para>
 <indexterm><primary>artists</primary><secondary>recording industry payments to</secondary></indexterm>
+<indexterm><primary>composers, copyright protections of</primary></indexterm>
+<indexterm id='idxcongressusoncopyrightlaws2' class='startofrange'><primary>Congress, U.S.</primary><secondary>on copyright laws</secondary></indexterm>
+<indexterm id='idxcongressusonrecordingindustry2' class='startofrange'><primary>Congress, U.S.</primary><secondary>on recording industry</secondary></indexterm>
+<indexterm id='idxcopyrightlawonmusicrecordings2' class='startofrange'><primary>copyright law</primary><secondary>on music recordings</secondary></indexterm>
+<indexterm id='idxcopyrightlawstatutorylicensesin2' class='startofrange'><primary>copyright law</primary><secondary>statutory licenses in</secondary></indexterm>
+<indexterm><primary>radio</primary><secondary>music recordings played on</secondary></indexterm>
+<indexterm><primary>recording industry</primary><secondary>artist remuneration in</secondary></indexterm>
+<indexterm><primary>recording industry</primary><secondary>copyright protections in</secondary></indexterm>
+<indexterm><primary>recording industry</primary><secondary>radio broadcast and</secondary></indexterm>
+<indexterm><primary>statutory licenses</primary></indexterm>
+<indexterm><primary>composer's rights vs. producers' rights in</primary></indexterm>
 <para>
 So, as we've seen, when <quote>mechanical reproduction</quote> threatened the
 interests of composers, Congress balanced the rights of composers
@@ -4142,6 +4283,7 @@ compensation, but at a level set by the law. It likewise gave cable
 companies the right to the content, so long as they paid the statutory
 price.
 </para>
+<indexterm startref='idxcongressusonrecordingindustry2' class='endofrange'/>
 <para>
 
 <!-- PAGE BREAK 88 -->
@@ -4160,6 +4302,8 @@ Congress chose a path that would assure
 <emphasis>compensation</emphasis> without giving the past
 (broadcasters) control over the future (cable).
 </para>
+<indexterm startref='idxcopyrightlawonmusicrecordings2' class='endofrange'/>
+<indexterm startref='idxcopyrightlawstatutorylicensesin2' class='endofrange'/>
 <indexterm startref='idxcabletv2' class='endofrange'/>
 <indexterm><primary>Betamax</primary></indexterm>
 <indexterm id='idxcassettevcrs1' class='startofrange'><primary>cassette recording</primary><secondary>VCRs</secondary></indexterm>
@@ -4176,6 +4320,7 @@ and shows. Sony was therefore benefiting from the copyright
 infringement of its customers. It should therefore, Disney and
 Universal claimed, be partially liable for that infringement.
 </para>
+<indexterm startref='idxcongressusoncopyrightlaws2' class='endofrange'/>
 <para>
 There was something to Disney's and Universal's claim. Sony did
 decide to design its machine to make it very simple to record television
@@ -4213,7 +4358,7 @@ and plain common sense.</quote><footnote><para>
 <!-- f19 -->
 Copyright Infringements (Audio and Video Recorders), 475.
 </para></footnote>
-Indeed, as surveys would later show,
+Indeed, as surveys would later show, 45
 percent of VCR owners had movie libraries of ten videos or more<footnote><para>
 <!-- f20 -->
 <citetitle>Universal City Studios, Inc</citetitle>. v. <citetitle>Sony Corp. of America</citetitle>, 480 F. Supp. 429,
@@ -4221,8 +4366,8 @@ percent of VCR owners had movie libraries of ten videos or more<footnote><para>
 </para></footnote>
 &mdash; a use the Court would later hold was not <quote>fair.</quote> By
 <quote>allowing VCR owners to copy freely by the means of an exemption from
-copyright infringementwithout creating a mechanism to compensate
-copyrightowners,</quote> Valenti testified, Congress would <quote>take from the
+copyright infringement without creating a mechanism to compensate
+copyright owners,</quote> Valenti testified, Congress would <quote>take from the
 owners the very essence of their property: the exclusive right to
 control who may use their work, that is, who may copy it and thereby
 profit from its reproduction.</quote><footnote><para>
@@ -4353,6 +4498,7 @@ technology to benefit from content made before. It balanced the
 interests at stake.
 <!-- PAGE BREAK 91 -->
 </para>
+<indexterm><primary>Disney, Walt</primary></indexterm>
 <para>
 When you think across these examples, and the other examples that
 make up the first four chapters of this section, this balance makes
@@ -4867,7 +5013,7 @@ Exploding the Myth of Common Law Copyright,</quote> <citetitle>Wayne Law Review<
 (1983): 1152.
 </para></footnote>
 </para>
-<indexterm id="idxmansfield2" class='startofrange'><primary>Mansfield, William Murray, Lord</primary></indexterm>
+<indexterm id='idxmansfieldwilliammurraylord2' class='startofrange'><primary>Mansfield, William Murray, Lord</primary></indexterm>
 <para>
 Astonishingly to modern lawyers, one of the greatest judges in English
 history, Lord Mansfield, agreed with the booksellers. Whatever
@@ -4893,7 +5039,7 @@ a reasonable period of time. Within twenty-one years, Parliament
 believed, Britain would mature from the controlled culture that the
 Crown coveted to the free culture that we inherited.
 </para>
-<indexterm startref="idxmansfield2" class='endofrange'/>
+<indexterm startref='idxmansfieldwilliammurraylord2' class='endofrange'/>
 <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.
@@ -5690,6 +5836,7 @@ billion pages, and it was growing at about a billion pages a month.
 <indexterm><primary>Vanderbilt University</primary></indexterm>
 <indexterm><primary>Way Back Machine</primary></indexterm>
 <indexterm><primary>libraries</primary><secondary>archival function of</secondary></indexterm>
+<indexterm id='idxnewscoverage2' class='startofrange'><primary>news coverage</primary></indexterm>
 <para>
 The Way Back Machine is the largest archive of human knowledge in
 human history. At the end of 2002, it held <quote>two hundred and thirty
@@ -5783,6 +5930,7 @@ events of that day.
 </para>
 <indexterm><primary>Movie Archive</primary></indexterm>
 <indexterm><primary>archive.org</primary><seealso>Internet Archive</seealso></indexterm>
+<indexterm startref='idxnewscoverage2' class='endofrange'/>
 <indexterm><primary>films</primary><secondary>archive of</secondary></indexterm>
 <indexterm><primary>Internet Archive</primary></indexterm>
 <indexterm><primary>Duck and Cover film</primary></indexterm>
@@ -5915,6 +6063,7 @@ proud of. Up there with the Library of Alexandria, putting a man on
 the moon, and the invention of the printing press.
 </para>
 </blockquote>
+<indexterm><primary>Disney, Walt</primary></indexterm>
 <para>
 Kahle is not the only librarian. The Internet Archive is not the only
 archive. But Kahle and the Internet Archive suggest what the future of
@@ -7045,6 +7194,8 @@ pp. 53&ndash;59).
 </para></footnote>
 These two different uses of my creative work are treated the same.
 </para>
+<indexterm><primary>Disney, Walt</primary></indexterm>
+<indexterm><primary>Mickey Mouse</primary></indexterm>
 <para>
 This again may seem right to you. If I wrote a book, then why should
 you be able to write a movie that takes my story and makes money from
@@ -7109,14 +7260,19 @@ current reach of copyright was never contemplated, much less chosen,
 by the legislators who enacted copyright law.
 </para>
 <para>
-We  can see this point abstractly by beginning with this largely
+We can see this point abstractly by beginning with this largely
 empty circle.
 </para>
 <figure id="fig-1521">
 <title>All potential uses of a book.</title>
 <graphic fileref="images/1521.png"></graphic>
 </figure>
-<indexterm id='idxbooksusetypes' class='startofrange'><primary>books</primary><secondary>three types of uses of</secondary></indexterm>
+<indexterm id='idxbooksthreetypesofusesof' class='startofrange'><primary>books</primary><secondary>three types of uses of</secondary></indexterm>
+<indexterm id='idxcopyrightlawcopiesascoreissueof2' class='startofrange'><primary>copyright law</primary><secondary>copies as core issue of</secondary></indexterm>
+<indexterm id='idxinternetcopyrightapplicabilityalteredbytechnologyof' class='startofrange'><primary>Internet</primary><secondary>copyright applicability altered by technology of</secondary></indexterm>
+<indexterm id='idxtechnologycopyrightintentalteredby' class='startofrange'><primary>technology</primary><secondary>copyright intent altered by</secondary></indexterm>
+<indexterm id='idxderivativeworkspiracyvs4' class='startofrange'><primary>derivative works</primary><secondary>piracy vs.</secondary></indexterm>
+<indexterm id='idxpiracyderivativeworkvs4' class='startofrange'><primary>piracy</primary><secondary>derivative work vs.</secondary></indexterm>
 <para>
 <!-- PAGE BREAK 152 -->
 Think about a book in real space, and imagine this circle to represent
@@ -7143,6 +7299,8 @@ at the core of this circle of possible uses of a copyrighted work. It is the
 paradigmatic use properly regulated by copyright regulation (see first
 diagram on next page).
 </para>
+<indexterm startref='idxderivativeworkspiracyvs4' class='endofrange'/>
+<indexterm startref='idxpiracyderivativeworkvs4' class='endofrange'/>
 <para>
 Finally, there is a tiny sliver of otherwise regulated copying uses
 that remain unregulated because the law considers these <quote>fair uses.</quote>
@@ -7177,7 +7335,7 @@ In real space, then, the possible uses of a book are divided into three
 sorts: (1) unregulated uses, (2) regulated uses, and (3) regulated uses that
 are nonetheless deemed <quote>fair</quote> regardless of the copyright owner's views.
 </para>
-<indexterm startref='idxbooksusetypes' class='endofrange'/>
+<indexterm startref='idxbooksthreetypesofusesof' class='endofrange'/>
 <indexterm><primary>books</primary><secondary>on Internet</secondary></indexterm>
 <para>
 Enter the Internet&mdash;a distributed, digital network where every use
@@ -7213,6 +7371,7 @@ use&mdash;reading&mdash; could be regulated by copyright law because
 none of those uses produced a copy.
 </para>
 <indexterm><primary>books</primary><secondary>on Internet</secondary></indexterm>
+<indexterm id='idxderivativeworkstechnologicaldevelopmentsand' class='startofrange'><primary>derivative works</primary><secondary>technological developments and</secondary></indexterm>
 <para>
 But the same book as an e-book is effectively governed by a different
 set of rules. Now if the copyright owner says you may read the book
@@ -7239,6 +7398,7 @@ evidence at all that policy makers had this idea in mind when they
 allowed our policy here to shift. Unregulated uses were an important
 part of free culture before the Internet.
 </para>
+<indexterm id='idxcopyrightlawonrepublishingvstransformationoforiginalwork3' class='startofrange'><primary>copyright law</primary><secondary>on republishing vs. transformation of original work</secondary></indexterm>
 <para>
 Second, this shift is especially troubling in the context of
 transformative uses of creative content. Again, we can all understand
@@ -7265,6 +7425,11 @@ copyright law and hence the need for a fair use defense. The right to
 read was effectively protected before because reading was not
 regulated.
 </para>
+<indexterm startref='idxcopyrightlawcopiesascoreissueof2' class='endofrange'/>
+<indexterm startref='idxinternetcopyrightapplicabilityalteredbytechnologyof' class='endofrange'/>
+<indexterm startref='idxtechnologycopyrightintentalteredby' class='endofrange'/>
+<indexterm startref='idxderivativeworkstechnologicaldevelopmentsand' class='endofrange'/>
+<indexterm startref='idxcopyrightlawonrepublishingvstransformationoforiginalwork3' class='endofrange'/>
 <para>
 This point about fair use is totally ignored, even by advocates for
 free culture. We have been cornered into arguing that our rights
@@ -7503,6 +7668,8 @@ the book.
 <title>List of the permissions for Aristotle;s <quote>Politics</quote>.</title>
 <graphic fileref="images/1622.png"></graphic>
 </figure>
+<indexterm><primary>Future of Ideas, The (Lessig)</primary></indexterm>
+<indexterm><primary>Lessig, Lawrence</primary></indexterm>
 <para>
 Finally (and most embarrassingly), here are the permissions for the
 original e-book version of my last book, <citetitle>The Future of
@@ -7556,6 +7723,7 @@ if you push the Read Aloud button with my book, the machine simply
 won't read aloud.
 </para>
 <indexterm><primary>Marx Brothers</primary></indexterm>
+<indexterm><primary>Warner Brothers</primary></indexterm>
 <para>
 <!-- PAGE BREAK 163 -->
 These are <emphasis>controls</emphasis>, not permissions. Imagine a
@@ -7583,7 +7751,8 @@ to defeat these protections as well?
 We've only scratched the surface of this story. Return to the Adobe
 eBook Reader.
 </para>
-<indexterm><primary>Alice's Adventures in Wonderland (Carroll)</primary></indexterm>
+<indexterm id='idxalicesadventuresinwonderlandcarroll' class='startofrange'><primary>Alice's Adventures in Wonderland (Carroll)</primary></indexterm>
+<indexterm id='idxpublicdomainebookrestrictionson2' class='startofrange'><primary>public domain</primary><secondary>e-book restrictions on</secondary></indexterm>
 <para>
 Early in the life of the Adobe eBook Reader, Adobe suffered a public
 relations nightmare. Among the books that you could download for free
@@ -7624,6 +7793,8 @@ could use a computer to read the book aloud, would Adobe agree that
 such a use of an eBook Reader was fair? Adobe didn't answer because
 the answer, however absurd it might seem, is no.
 </para>
+<indexterm startref='idxalicesadventuresinwonderlandcarroll' class='endofrange'/>
+<indexterm startref='idxpublicdomainebookrestrictionson2' class='endofrange'/>
 <para>
 The point is not to blame Adobe. Indeed, Adobe is among the most
 innovative companies developing strategies to balance open access to
@@ -10463,6 +10634,8 @@ gave birth to a hobby, and his hobby begat a cause: Eldred would build
 a library of public domain works by scanning these works and making
 them available for free.
 </para>
+<indexterm id='idxdisneywalt5' class='startofrange'><primary>Disney, Walt</primary></indexterm>
+<indexterm><primary>Grimm fairy tales</primary></indexterm>
 <para>
 Eldred's library was not simply a copy of certain public domain
 works, though even a copy would have been of great value to people
@@ -10486,7 +10659,8 @@ animated cartoons, sometimes successfully (<citetitle>Cinderella</citetitle>), s
 (<citetitle>The Hunchback of Notre Dame</citetitle>, <citetitle>Treasure Planet</citetitle>). These are all
 commercial publications of public domain works.
 </para>
-<indexterm startref="idxhawthornenathaniel" class='endofrange'/>
+<indexterm startref='idxhawthornenathaniel' class='endofrange'/>
+<indexterm startref='idxdisneywalt5' class='endofrange'/>
 <para>
 The Internet created the possibility of noncommercial publications of
 public domain works. Eldred's is just one example. There are literally
@@ -10499,6 +10673,7 @@ social causes. But with the Internet, it includes a wide range of
 individuals and groups dedicated to spreading culture
 generally.<footnote><para>
 <!-- f1. -->
+<indexterm><primary>pornography</primary></indexterm>
 There's a parallel here with pornography that is a bit hard to
 describe, but it's a strong one. One phenomenon that the Internet
 created was a world of noncommercial pornographers&mdash;people who
@@ -10838,6 +11013,10 @@ its politics struck me as extraordinarily boring.  I was not going to
 devote my life to teaching constitutional law if these nine Justices
 were going to be petty politicians.
 </para>
+<indexterm><primary>Constitution, U.S.</primary><secondary>copyright purpose established in</secondary></indexterm>
+<indexterm><primary>copyright</primary><secondary>constitutional purpose of</secondary></indexterm>
+<indexterm><primary>copyright</primary><secondary>duration of</secondary></indexterm>
+<indexterm><primary>Disney, Walt</primary></indexterm>
 <para>
 <emphasis role='strong'>Now let's pause</emphasis> for a moment to
 make sure we understand what the argument in
@@ -11479,6 +11658,8 @@ who had advised us early on about a First Amendment strategy; and
 finally, former solicitor general Charles Fried.
 </para>
 <indexterm><primary>Fried, Charles</primary></indexterm>
+<indexterm><primary>Congress, U.S.</primary><secondary>constitutional powers of</secondary></indexterm>
+<indexterm><primary>Constitution, U.S.</primary><secondary>Commerce Clause of</secondary></indexterm>
 <para>
 Fried was a special victory for our side. Every other former solicitor
 general was hired by the other side to defend Congress's power to give
@@ -11508,6 +11689,8 @@ continue to have the right to control who did what with content they
 wanted to control.
 </para>
 <indexterm><primary>Gershwin, George</primary></indexterm>
+<indexterm><primary>Porgy and Bess</primary></indexterm>
+<indexterm><primary>pornography</primary></indexterm>
 <para>
 Dr. Seuss's representatives, for example, argued that it was
 better for the Dr. Seuss estate to control what happened to
@@ -12863,6 +13046,7 @@ perspectives.  And WIPO was an ideal venue for this discussion, since
 WIPO is the preeminent international body dealing with intellectual
 property issues.
 </para>
+<indexterm id='idxworldsummitontheinformationsocietywsis' class='startofrange'><primary>World Summit on the Information Society (WSIS)</primary></indexterm>
 <para>
 Indeed, I was once publicly scolded for not recognizing this fact
 about WIPO. In February 2003, I delivered a keynote address to a
@@ -12893,6 +13077,7 @@ had thought it was taken for granted that WIPO could and should. And
 thus the meeting about <quote>open and collaborative projects to create
 public goods</quote> seemed perfectly appropriate within the WIPO agenda.
 </para>
+<indexterm startref='idxworldsummitontheinformationsocietywsis' class='endofrange'/>
 <indexterm><primary>Apple Corporation</primary></indexterm>
 <para>
 But there is one project within that list that is highly
@@ -13007,7 +13192,10 @@ in understanding&mdash;the sort of mistake that is excusable in a
 first-year law student, but an embarrassment from a high government
 official dealing with intellectual property issues.
 </para>
+<indexterm><primary>World Summit on the Information Society (WSIS)</primary></indexterm>
+<indexterm><primary>drugs</primary><secondary>pharmaceutical</secondary></indexterm>
 <indexterm><primary>generic drugs</primary></indexterm>
+<indexterm><primary>patents</primary><secondary>on pharmaceuticals</secondary></indexterm>
 <para>
 Second, who ever said that WIPO's exclusive aim was to <quote>promote</quote>
 intellectual property maximally? As I had been scolded at the
@@ -14799,7 +14987,7 @@ permission produces. Again, this is the reality of Brezhnev's Russia.
 The law should regulate in certain areas of culture&mdash;but it should
 regulate culture only where that regulation does good. Yet lawyers
 
-<!-- PAGE BREAK 311 -->
+<!-- PAGE BREAK 311-->
 rarely test their power, or the power they promote, against this
 simple pragmatic question: <quote>Will it do good?</quote> When challenged about
 the expanding reach of the law, the lawyer answers, <quote>Why not?</quote>