More index entries.

diff --git a/freeculture.xml b/freeculture.xml
index b345b39c3b5126d49aad2ace381c9007821345b1..4b73949033d5d4088e35e69db1544a22d178db75 100644 (file)
--- a/freeculture.xml
+++ b/freeculture.xml
@@ -837,27 +837,27 @@ These values built a tradition that, for at least the first 180 years of
 our Republic, guaranteed creators the right to build freely upon their
 past, and protected creators and innovators from either state or private
 control. The First Amendment protected creators against state control.
 our Republic, guaranteed creators the right to build freely upon their
 past, and protected creators and innovators from either state or private
 control. The First Amendment protected creators against state control.

-And as Professor Neil Netanel powerfully argues,<footnote><para>
+And as Professor Neil Netanel powerfully argues,<footnote>
+<indexterm><primary>Netanel, Neil Weinstock</primary></indexterm>
+<para>

 Neil W. Netanel, "Copyright and a Democratic Civil Society," Yale Law
 Journal 106 (1996): 283.
 </para></footnote>
 Neil W. Netanel, "Copyright and a Democratic Civil Society," Yale Law
 Journal 106 (1996): 283.
 </para></footnote>

-copyright law, 
-               properly
-balanced, protected creators against private control. Our tradition
-was thus neither Soviet nor the tradition of patrons. It instead carved out
-a wide berth within which creators could cultivate and extend our culture.
+copyright law, properly balanced, protected creators against private
+control. Our tradition was thus neither Soviet nor the tradition of
+patrons. It instead carved out a wide berth within which creators
+could cultivate and extend our culture.

 </para>
 <para>
 Yet the law's response to the Internet, when tied to changes in the
 </para>
 <para>
 Yet the law's response to the Internet, when tied to changes in the

-technology of the Internet itself, has massively increased the effective
-regulation of creativity in America. To build upon or critique the 
-               culture
-around us one must ask, Oliver Twist&ndash;like, for permission first.
-Permission is, of course, often granted&mdash;but it is not often granted to
-the critical or the 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.
+technology of the Internet itself, has massively increased the
+effective regulation of creativity in America. To build upon or
+critique the culture around us one must ask, Oliver Twist&ndash;like,
+for permission first.  Permission is, of course, often
+granted&mdash;but it is not often granted to the critical or the
+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>
 <!-- PAGE BREAK 26 -->
 <para>
 </para>
 <!-- PAGE BREAK 26 -->
 <para>


@@ -1115,6 +1115,7 @@ 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>
 Byzantine complexity that copyright law has become. It was just one
 more expense of doing business.
 </para>

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


@@ -1132,7 +1133,9 @@ 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 -->
 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><para>
+be seeing, as Richard Florida writes, the "Rise of the Creative Class."<footnote>
+<indexterm><primary>Florida, Richard</primary></indexterm>
+<para>

 <!-- f4 -->
 In The Rise of the Creative Class (New York: Basic Books, 2002),
 Richard Florida documents a shift in the nature of labor toward a
 <!-- f4 -->
 In The Rise of the Creative Class (New York: Basic Books, 2002),
 Richard Florida documents a shift in the nature of labor toward a


@@ -9298,6 +9301,7 @@ are afraid of technologies that touch content. In an article in Business
 2.0, Rafe Needleman describes a discussion with BMW:
 </para>
 <blockquote>
 2.0, Rafe Needleman describes a discussion with BMW:
 </para>
 <blockquote>

+<indexterm><primary>BMW</primary></indexterm>

 <para>
 I asked why, with all the storage capacity and computer power in
 the car, there was no way to play MP3 files. I was told that BMW
 <para>
 I asked why, with all the storage capacity and computer power in
 the car, there was no way to play MP3 files. I was told that BMW


@@ -9305,7 +9309,9 @@ engineers in Germany had rigged a new vehicle to play MP3s via
 the car's built-in sound system, but that the company's marketing
 and legal departments weren't comfortable with pushing this 
 forward for release stateside. Even today, no new cars are sold in the
 the car's built-in sound system, but that the company's marketing
 and legal departments weren't comfortable with pushing this 
 forward for release stateside. Even today, no new cars are sold in the

-United States with bona fide MP3 players. . . . <footnote><para>
+United States with bona fide MP3 players. . . . <footnote>
+<indexterm><primary>Needleman, Rafe</primary></indexterm>
+<para>

 <!-- f5. -->
 Rafe Needleman, "Driving in Cars with MP3s," Business 2.0, 16 June
 2003, available at 
 <!-- f5. -->
 Rafe Needleman, "Driving in Cars with MP3s," Business 2.0, 16 June
 2003, available at 


@@ -9316,13 +9322,11 @@ to Dr. Mohammad Al-Ubaydli for this example.
 </blockquote>
 <para>
 This is the world of the mafia&mdash;filled with "your money or your
 </blockquote>
 <para>
 This is the world of the mafia&mdash;filled with "your money or your

-life" offers, governed in the end not by courts but by the threats that the
-law empowers copyright holders to exercise. It is a system that will 
-               obviously
-and necessarily stifle new innovation. It is hard enough to start
-a company. It is impossibly hard if that company is constantly 
-               threatened
-by litigation.
+life" offers, governed in the end not by courts but by the threats
+that the law empowers copyright holders to exercise. It is a system
+that will obviously and necessarily stifle new innovation. It is hard
+enough to start a company. It is impossibly hard if that company is
+constantly threatened by litigation.

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


@@ -14285,7 +14289,10 @@ way to compensate those who are harmed.
 </para>
 <para>
 The idea would be a modification of a proposal that has been
 </para>
 <para>
 The idea would be a modification of a proposal that has been

-floated by Harvard law professor William Fisher.<footnote><para>
+floated by Harvard law professor William Fisher.<footnote>
+<indexterm><primary>Netanel, Neil Weinstock</primary></indexterm>
+<indexterm><primary>Fisher, William</primary></indexterm>
+<para>

 <!-- f9. --> William Fisher, Digital Music: Problems and Possibilities (last revised:
 10 October 2000), available at 
 <ulink url="http://free-culture.cc/notes/">link #77</ulink>; William Fisher, Promises to Keep:
 <!-- f9. --> William Fisher, Digital Music: Problems and Possibilities (last revised:
 10 October 2000), available at 
 <ulink url="http://free-culture.cc/notes/">link #77</ulink>; William Fisher, Promises to Keep: