uch too far into the cyberculture to be called "mainstream;" yet even among "the programmers, hackers, and Net surfers" that Barlow describes as being in the know, the amount of discussion of technology's effect on intellectual property is surprisingly small considering the tremendous potential import of the subject. The second interesting point is how both of these articles confirm an idea I mentioned in the second paragraph of this paper: no person can publicly discuss intellectual property in an objective way. Mann, acknowledging his role as journalist, admits, "Because I make much of my living from copyright, I find the to-and-fro fascinating, and have a vested interest in the results". Barlow mentions his experience in the music industry: In regard to my own soft product, rock and roll songs, there is no question that the band I write them for, the Grateful Dead, has increased its popularity enormously by giving them away. We have been letting people tape our concerts since the early seventies, but instead of reducing the demand for our product, we are now the largest concert draw in America, a fact which is at least in part attributable to the popularity generated by those tapes. True, I don't get any royalties on the millions of copies of my songs which have been extracted from concerts, but I see no reason to complain. The fact is, no one but the Grateful Dead can perform a Grateful Dead song, so if you want the experience and not its thin projection, you have to buy a ticket from us. In other words, our intellectual property protection derives from our being the only real-time source of it.Barlow also looks at the status of the article "Selling Wine Without Bottles" itself: Despite its print publication here, I expect it will continue to evolve in liquid form, possibly for years. The thoughts in it have not been "mine" alone but have assembled themselves in a field of interaction which has existed between myself and numerous ot...
