More indexes and clean up XML.

diff --git a/freeculture.xml b/freeculture.xml
index ec35ed8a051f835fca5b8e5fc52ec205b944cd86..d77f30aa05303a05a72f1cb609627e1582b84683 100644 (file)
--- a/freeculture.xml
+++ b/freeculture.xml
@@ -1888,7 +1888,9 @@ California's Annenberg Center for Communication and dean of the
 <!-- PAGE BREAK 50 -->
 USC School of Cinema-Television, explained to me, the grammar was
 about "the placement of objects, color, . . . rhythm, pacing, and 
 <!-- PAGE BREAK 50 -->
 USC School of Cinema-Television, explained to me, the grammar was
 about "the placement of objects, color, . . . rhythm, pacing, and 

-               texture."<footnote><para>
+               texture."<footnote>
+<indexterm><primary>Barish, Stephanie</primary></indexterm>
+<para>

 <!-- f11 -->
 Interview with Elizabeth Daley and Stephanie Barish, 13 December
 2002.
 <!-- f11 -->
 Interview with Elizabeth Daley and Stephanie Barish, 13 December
 2002.


@@ -1911,19 +1913,17 @@ available at
 </para>
 <indexterm><primary>computer games</primary></indexterm>
 <para>
 </para>
 <indexterm><primary>computer games</primary></indexterm>
 <para>

-This skill is precisely the craft a filmmaker learns. As Daley 
-               describes,
-"people are very surprised about how they are led through a
+This skill is precisely the craft a filmmaker learns. As Daley
+describes, "people are very surprised about how they are led through a

 film. [I]t is perfectly constructed to keep you from seeing it, so you
 have no idea. If a filmmaker succeeds you do not know how you were
 led." If you know you were led through a film, the film has failed.
 </para>
 <para>
 film. [I]t is perfectly constructed to keep you from seeing it, so you
 have no idea. If a filmmaker succeeds you do not know how you were
 led." If you know you were led through a film, the film has failed.
 </para>
 <para>

-Yet the push for an expanded literacy&mdash;one that goes beyond text to
-include audio and visual elements&mdash;is not about making better film 
-               directors.
-The aim is not to improve the profession of filmmaking at all.
-Instead, as Daley explained,
+Yet the push for an expanded literacy&mdash;one that goes beyond text
+to include audio and visual elements&mdash;is not about making better
+film directors.  The aim is not to improve the profession of
+filmmaking at all.  Instead, as Daley explained,

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


@@ -1948,7 +1948,9 @@ tools that enable the writing to lead or mislead. The aim of any literacy,
 <!-- PAGE BREAK 51 -->
 and this literacy in particular, is to "empower people to choose the 
                appropriate
 <!-- PAGE BREAK 51 -->
 and this literacy in particular, is to "empower people to choose the 
                appropriate

-language for what they need to create or express."<footnote><para>
+language for what they need to create or express."<footnote>
+<indexterm><primary>Barish, Stephanie</primary></indexterm>
+<para>

 <!-- f13 -->
 Interview with Daley and Barish.
 </para></footnote> It is to enable
 <!-- f13 -->
 Interview with Daley and Barish.
 </para></footnote> It is to enable


@@ -1957,19 +1959,18 @@ students "to communicate in the language of the twenty-first century."<footnote>
 Ibid.
 </para></footnote>
 </para>
 Ibid.
 </para></footnote>
 </para>

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

 <para>
 <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 written language. Daley and Stephanie Barish, director of the 
-               Institute
-for Multimedia Literacy at the Annenberg Center, describe one
-particularly poignant example of a project they ran in a high school.
-The high school was a very poor inner-city Los Angeles school. In all
-the traditional measures of success, this school was a 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.
+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
+written language. Daley and Stephanie Barish, director of the
+Institute for Multimedia Literacy at the Annenberg Center, describe
+one particularly poignant example of a project they ran in a high
+school.  The high school was a very poor inner-city Los Angeles
+school. In all the traditional measures of success, this school was a
+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>
 <para>
 The class was held on Friday afternoons, and it created a relatively
 </para>
 <para>
 The class was held on Friday afternoons, and it created a relatively


@@ -1980,22 +1981,21 @@ said Barish. They were working harder than in any other class to do
 what education should be about&mdash;learning how to express themselves.
 </para>
 <para>
 what education should be about&mdash;learning how to express themselves.
 </para>
 <para>

-Using whatever "free web stuff they could find," and relatively 
-               simple
+Using whatever "free web stuff they could find," and relatively simple

 tools to enable the kids to mix "image, sound, and text," Barish said
 this class produced a series of projects that showed something about
 gun violence that few would otherwise understand. This was an issue
 tools to enable the kids to mix "image, sound, and text," Barish said
 this class produced a series of projects that showed something about
 gun violence that few would otherwise understand. This was an issue

-close to the lives of these students. The project "gave them a tool and
-empowered them to be able to both understand it and talk about it,"
-Barish explained. That tool succeeded in creating expression&mdash;far more
-successfully and powerfully than could have been created using only
-text. "If you had said to these students, `you have to do it in text,' they
-would've just thrown their hands up and gone and done something
-else," Barish described, in part, no doubt, because expressing 
-               themselves
-in text is not something these students can do well. Yet neither
-is text a form in which these ideas can be expressed well. The power of
-this message depended upon its connection to this form of expression.
+close to the lives of these students. The project "gave them a tool
+and empowered them to be able to both understand it and talk about
+it," Barish explained. That tool succeeded in creating
+expression&mdash;far more successfully and powerfully than could have
+been created using only text. "If you had said to these students, `you
+have to do it in text,' they would've just thrown their hands up and
+gone and done something else," Barish described, in part, no doubt,
+because expressing themselves in text is not something these students
+can do well. Yet neither is text a form in which these ideas can be
+expressed well. The power of this message depended upon its connection
+to this form of expression.

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


@@ -2414,6 +2414,7 @@ if you are visual, if you are interested in film . . . [then] there is a lot
 you can start to do on this medium. [It] can now amplify and honor
 these multiple forms of intelligence."
 </para>
 you can start to do on this medium. [It] can now amplify and honor
 these multiple forms of intelligence."
 </para>

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

 <para>
 Brown is talking about what Elizabeth Daley, Stephanie Barish,
 and Just Think! teach: that this tinkering with culture teaches as well
 <para>
 Brown is talking about what Elizabeth Daley, Stephanie Barish,
 and Just Think! teach: that this tinkering with culture teaches as well


@@ -2423,23 +2424,20 @@ as creates. It develops talents differently, and it builds a different kind
 of recognition.
 </para>
 <para>
 of recognition.
 </para>
 <para>

-Yet the freedom to tinker with these objects is not guaranteed. 
-               Indeed,
-as we'll see through the course of this book, that freedom is 
-               increasingly
-highly contested. While there's no doubt that your father
-had the right to tinker with the car engine, there's great doubt that your
-child will have the right to tinker with the images she finds all around.
-The law and, increasingly, technology interfere with a freedom that
-technology, and curiosity, would otherwise ensure.
+Yet the freedom to tinker with these objects is not guaranteed.
+Indeed, as we'll see through the course of this book, that freedom is
+increasingly highly contested. While there's no doubt that your father
+had the right to tinker with the car engine, there's great doubt that
+your child will have the right to tinker with the images she finds all
+around.  The law and, increasingly, technology interfere with a
+freedom that technology, and curiosity, would otherwise ensure.

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

-These restrictions have become the focus of researchers and 
-               scholars.
-Professor Ed Felten of Princeton (whom we'll see more of in 
-               chapter
+These restrictions have become the focus of researchers and scholars.
+Professor Ed Felten of Princeton (whom we'll see more of in chapter

 10) has developed a powerful argument in favor of the "right to
 10) has developed a powerful argument in favor of the "right to

-tinker" as it applies to computer science and to knowledge in general.<footnote><para>
+tinker" as it applies to computer science and to knowledge in
+general.<footnote><para>

 <!-- f22 -->
 See, for example, Edward Felten and Andrew Appel, "Technological 
                Access
 <!-- f22 -->
 See, for example, Edward Felten and Andrew Appel, "Technological 
                Access


@@ -5155,14 +5153,17 @@ Slade asked, "Well, what will it take?"
 Alben replied, "Well, we're going to have to clear rights from
 everyone who appears in these films, and the music and everything
 else that we want to use in these film clips." Slade said, "Great! Go
 Alben replied, "Well, we're going to have to clear rights from
 everyone who appears in these films, and the music and everything
 else that we want to use in these film clips." Slade said, "Great! Go

-for it."<footnote><para>
+for it."<footnote>
+<indexterm>
+<primary>artists</primary>
+<secondary>publicity rights on images of</secondary>
+</indexterm>
+<para>

 <!-- f1 -->
 <!-- f1 -->

-Technically, the rights that Alben had to clear were mainly those of 
-               publicity&mdash;rights
-an artist has to control the commercial exploitation of his 
-               image.
-But these rights, too, burden "Rip, Mix, Burn" creativity, as this chapter
-evinces.
+Technically, the rights that Alben had to clear were mainly those of
+publicity&mdash;rights an artist has to control the commercial
+exploitation of his image.  But these rights, too, burden "Rip, Mix,
+Burn" creativity, as this chapter evinces.

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