Update with new indexes and wrap lines.

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

diff --git a/freeculture.xml b/freeculture.xml
index e3c59c8b14add3cc06bb3f95247fbe3ef202a653..f98688910e2baa815528b21d7b23f08a76dfeedc 100644 (file)
--- a/freeculture.xml
+++ b/freeculture.xml
@@ -274,7 +274,7 @@ author's rights is appreciated.
 </colophon>
 
 <!-- PAGE BREAK 7 -->
-<dedication>
+<dedication><title></title>
 <para>
 To Eric Eldred&mdash;whose work first drew me to this cause, and for whom
 it continues still.
@@ -1227,6 +1227,7 @@ Byzantine complexity that copyright law has become. It was just one
 more expense of doing business.
 </para>
 <indexterm><primary>Florida, Richard</primary></indexterm>
+<indexterm><primary>Rise of the Creative Class, The (Florida)</primary></indexterm>
 <para>
 But with the birth of the Internet, this natural limit to the reach of
 the law has disappeared. The law controls not just the creativity of
@@ -1244,17 +1245,20 @@ commercial and noncommercial creativity, the law burdens this
 creativity with insanely complex and vague rules and with the threat
 of obscenely severe penalties. We may
 <!-- PAGE BREAK 33 -->
-be seeing, as Richard Florida writes, the "Rise of the Creative Class."<footnote>
+be seeing, as Richard Florida writes, the "Rise of the Creative
+Class."<footnote>
 <para>
 <!-- f4 -->
-In <citetitle>The Rise of the Creative Class</citetitle> (New York: Basic Books, 2002),
-Richard Florida documents a shift in the nature of labor toward a
-labor of creativity.  His work, however, doesn't directly address the
-legal conditions under which that creativity is enabled or stifled. I
-certainly agree with him about the importance and significance of this
-change, but I also believe the conditions under which it will be
-enabled are much more tenuous.
+In <citetitle>The Rise of the Creative Class</citetitle> (New York:
+Basic Books, 2002), Richard Florida documents a shift in the nature of
+labor toward a labor of creativity.  His work, however, doesn't
+directly address the legal conditions under which that creativity is
+enabled or stifled. I certainly agree with him about the importance
+and significance of this change, but I also believe the conditions
+under which it will be enabled are much more tenuous.
+
 <indexterm><primary>Florida, Richard</primary></indexterm>
+<indexterm><primary>Rise of the Creative Class, The (Florida)</primary></indexterm>
 </para></footnote>
 Unfortunately, we are also seeing an extraordinary rise of regulation of
 this creative class.
@@ -2592,6 +2596,10 @@ quipped to me in a rare moment of despondence.
 </chapter>
 <chapter label="3" id="catalogs">
 <title>CHAPTER THREE: Catalogs</title>
+<indexterm><primary>RPI</primary><see>Rensselaer Polytechnic Institute (RPI)</see></indexterm>
+<indexterm id="idxrensselaer" class='startofrange'>
+  <primary>Rensselaer Polytechnic Institute (RPI)</primary>
+</indexterm>
 <para>
 In the fall of 2002, Jesse Jordan of Oceanside, New York, enrolled as
 a freshman at Rensselaer Polytechnic Institute, in Troy, New York.
@@ -2729,6 +2737,7 @@ Suit Alleges $97.8 Billion in Damages," <citetitle>Professional Media Group LCC<
 (2003): 5, available at 2003 WL 55179443.
 </para></footnote>
 </para>
+<indexterm startref="idxrensselaer" class='endofrange'/>
 <para>
 Jesse called his parents. They were supportive but a bit frightened.
 An uncle was a lawyer. He began negotiations with the RIAA. They
@@ -2912,6 +2921,7 @@ how requires a bit of detail about the way the law regulates music.
 <indexterm id="idxfourneauxhenri" class='startofrange'>
   <primary>Fourneaux, Henri</primary>
 </indexterm>
+<indexterm><primary>Russel, Phil</primary></indexterm>
 <para>
 At the time that Edison and Henri Fourneaux invented machines
 for reproducing music (Edison the phonograph, Fourneaux the player
@@ -4697,6 +4707,7 @@ under the Statute of Anne.<footnote><para>
 <!-- f8 -->
 Mark Rose, <citetitle>Authors and Owners</citetitle> (Cambridge: Harvard University Press,
 1993), 92.
+<indexterm><primary>Rose, Mark</primary></indexterm>
 </para></footnote>
 Donaldson's publishing house prospered
 <!-- PAGE BREAK 102 -->
@@ -6861,6 +6872,7 @@ derivative works. See Jed Rubenfeld, "The Freedom of Imagination:
 Copyright's Constitutionality," <citetitle>Yale Law
 Journal</citetitle> 112 (2002): 1&ndash;60 (see especially
 pp. 53&ndash;59).
+<indexterm><primary>Rubenfeld, Jeb</primary></indexterm>
 </para></footnote>
 These two different uses of my creative work are treated the same.
 </para>
@@ -7669,6 +7681,7 @@ suggested, Felten himself was distributing a circumvention technology.
 Thus, even though he was not himself infringing anyone's copyright,
 his academic paper was enabling others to infringe others' copyright.
 </para>
+<indexterm><primary>Rogers, Fred</primary></indexterm>
 <para>
 The bizarreness of these arguments is captured in a cartoon drawn in
 1981 by Paul Conrad. At that time, a court in California had held that
@@ -7701,6 +7714,7 @@ important.<footnote><para>
 455 fn. 27 (1984). Rogers never changed his view about the VCR. See
 James Lardner, <citetitle>Fast Forward: Hollywood, the Japanese, and the Onslaught of
 the VCR</citetitle> (New York: W. W. Norton, 1987), 270&ndash;71.
+<indexterm><primary>Rogers, Fred</primary></indexterm>
 </para></footnote>
 </para>
 </blockquote>
@@ -9103,6 +9117,7 @@ Consider one example to make the point, a story whose beginning
 I told in <citetitle>The Future of Ideas</citetitle> and which has progressed in a way that
 even I (pessimist extraordinaire) would never have predicted.
 </para>
+<indexterm><primary>Roberts, Michael</primary></indexterm>
 <para>
 In 1997, Michael Roberts launched a company called MP3.com.  MP3.com
 was keen to remake the music business. Their goal was not just to
@@ -14496,6 +14511,7 @@ began when I read of Eric Eldred's war to keep books free. Eldred's
 work helped launch a movement, the free culture movement, and it is
 to him that this book is dedicated.
 </para>
+<indexterm><primary>Rose, Mark</primary></indexterm>
 <para>
 I received guidance in various places from friends and academics,
 including Glenn Brown, Peter DiCola, Jennifer Mnookin, Richard Posner,