By the time Apple's Macintosh operating system finally falls into the public domain, there will be no machine that could possibly run it. The term of copyright for software is effectively unlimited.

Copyrights have not expired, and will not expire, so long as Congress is free to be bought to extend them again.

The real harm of term extension comes not from these famous works. The real harm is to the works that are not famous, not commercially exploited, and no longer available as a result.

Before the monopoly should be permitted, there must be reason to believe it will do some good - for society, and not just for monopoly holders.

While the creative works from the 16th century can still be accessed and used by others, the data in some software programs from the 1990s is already inaccessible.

Notwithstanding the fact that the most innovative and progressive space we've seen - the Internet - has been the place where intellectual property has been least respected. You know, facts don't get in the way of this ideology.

By the time Apple's Macintosh operating system finally falls into the public domain, there will be no machine that could possibly run it. The term of copyright for software is effectively unlimited.

Americans have been selling this view around the world: that progress comes from perfect protection of intellectual property.

Now that copyrights can be just about a century long, the inability to know what is protected and what is not protected becomes a huge and obvious burden on the creative process.

As we've seen, our constitutional system requires limits on copyright as a way to assure that copyright holders do not too heavily influence the development and distribution of our culture.

When government disappears, it's not as if paradise will take its place. When governments are gone, other interests will take their place.

Power runs with ideas that only the crazy would draw into doubt.

This does not mean that every copyright must prove its value initially. That would be a far too cumbersome system of control. But it does mean that every system or category of copyright or patent should prove its worth.

If the only way a library can offer an Internet exhibit about the New Deal is to hire a lawyer to clear the rights to every image and sound, then the copyright system is burdening creativity in a way that has never been seen before because there are no formalities.

Of all the creative work produced by humans anywhere, a tiny fraction has continuing commercial value. For that tiny fraction, the copyright is a crucially important legal device.

So uncritically do we accept the idea of property in culture that we don't even question when the control of that property removes our ability, as a people, to develop our culture democratically.

A free culture has been our past, but it will only be our future if we change the path we are on right now.

Remember the refrain: We always build on the past; the past always tries to stop us. Freedom is about stopping the past, but we have lost that ideal.

If the Internet teaches us anything, it is that great value comes from leaving core resources in a commons, where they're free for people to build upon as they see fit.

All around us are the consequences of the most significant technological, and hence cultural, revolution in generations.

We have a massive system to regulate creativity. A massive system of lawyers regulating creativity as copyright law has expanded in unrecognizable forms, going from a regulation of publishing to a regulation of copying.

The danger in media concentration comes not from the concentration, but instead from the feudalism that this concentration, tied to the change in copyright, produces.

A time is marked not so much by ideas that are argued about as by ideas that are taken for granted. The character of an era hangs upon what needs no defense.

In these times, the hardest task for social or political activists is to find a way to get people to wonder again about what we all believe is true. The challenge is to sow doubt.

A culture without property, or in which creators can't get paid, is anarchy, not freedom.

Believing we know what makes prosperity work, ignoring the nature of the actual prosperity all around, we change the rules within which the Internet revolution lives. These changes will end the revolution.

Monopoly controls have been the exception in free societies; they have been the rule in closed societies.

A free culture is not a culture without property; it is not a culture in which artists don't get paid.

Copyrights have not expired and will not expire so long as Congress is free to be bought to extend them again.

Now that copyrights can be just about a century long the inability to know what is protected and what is not protected becomes a huge and obvious burden on the creative process.

Technology means you can now do amazing things easily; but you couldn't easily do them legally.

Before you can hit the jackpot, you have to put a coin in the machine.

The typewriting machine, when played with expression, is no more annoying than the piano when played by a sister or near relation.

The genius of the economic machine is in its ability to convert these indulgences into profitability. It converts desire into attention, a grip on our eyeballs and eardrums, which in turn can be marketed to advertisers.

If you put garbage in a computer nothing comes out but garbage. But this garbage, having passed through a very expensive machine, is somehow ennobled and none dare criticize it.

I was about 11 when my mother brought me this karaoke machine and I was really into it back then, but about 4 or 5 years ago is when I started printing up my own music, going to the studio and doing my own thing.

Man is a fire-stealing animal, and we can't help building machines and machine intelligences, even if, from time to time, we use them not only to outsmart ourselves but to bring us right up to the doorstep of Doom.

When the machine had been fastened with a wire to the track, so that it could not start until released by the operator, and the motor had been run to make sure that it was in condition, we tossed a coin to decide who should have the first trial. Wilbur won.

Since, however, it is immaterial whether the work is done by assistants or a machine, I decided to build a machine equivalent to an array of about 200 separating funnels.

Man is a beautiful machine that works very badly.

What that means initially is that you have alot of products that are only slightly better games in the same genre on another machine - and the titles that really take advantage of the machine come along later.

To one who believes that really good industrial conditions are the hope for a machine civilization, nothing is more heartening than to watch conference methods and education replacing police methods.

One of the things I particularly enjoyed doing was taking raw sound from locations during the film, like the candy machine, and writing pieces of music to go with them, which is totally unnecessary within the context of the film, because they have their own logic.

Most countries are static, and they need to do is keep having babies. But America's like this big old clanking smoking machine that just lumbers across the landscape scooping up and eating everything in sight.

Come to think of it, the way I play is like a drum machine- very mechanical.

It was like falling off a building and suddenly, bang, you hit the bottom. The first time it happened was on an ordinary day at home. I was taking down some curtains. I took one step, turned around, took another step and then I fell and hit my head hard on the rowing machine.

Admiration of the proletariat, like that of dams, power stations, and aeroplanes, is part of the ideology of the machine age.

Television is the triumph of machine over people.

I even believe in helping an employer function more productively. For then, we will have a claim to higher wages, shorter hours, and greater participation in the benefits of running a smooth industrial machine.