... be accessed through the author’s website at http://james-boyle.com. Printed in the United States of America. ISBN: 978-0-300-13740-8 Library of Congr... ...served mockery. “Want that insignia torn off your car, Dad? Then it would be in the public domain, right?” My colleagues at Duke are one of the main i... ... at Duke are one of the main influences on my work. I am lucky enough to work in the only “Center for the Study of the Public Domain” in the academic w... ...a brilliant composer, not only educated me in composition and the history of musical borrowing but co-taught a class on musical borrowing that dramati... ...s, and Carol Rose. Kembrew McLeod and Siva Vaidhyanathan inspired my work on music and sampling. Peter Jaszi was named in my last book as the person w... ...to many of its members. Whitney Brous- sard told me the dirty secrets of the music industry. Daphne Keller—a former student and later a colleague—help... ...s the “database right.” OWNING FACTS? Europe adopted a Database Directive in 1996 which gave a high level of copy- right protection to databases and c... ...__0 ___ 1 37278_u01.qxd 8/28/08 11:04 AM Page 209 growth increased since 1996, while the U.S. database industry has languished? (The drop-off in t... ...es, “the ratio of European/U.S. database production, which was nearly 1:2 in 1996, has become 1:3 in 2004.” 7 Europe had started with higher protectio...

...Our music, our culture, our science, and our economic welfare all depend on a delicate balance between those ideas that are controlled and those that are free, between intellectual property and the public domain. In The Public Do...