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A high level of paranoia is present throughout the film with the visual manifestation of corporate power, omnipresent police, probing lights, and in the power over the individual represented particularly by genetic programming of the replicants. Control over the environment is seen on a large scale, hand in hand with the seeming absence of any natural life, with artificial animals being created as a substitute for the extinct originals.

the "property" referred to in "intellectual property" is the rights, not the intellectual work.

still encourages a natural rights notion rather than a recognition that the rights are purely statutory, and it only characterizes the "property" rather than eliminates the property presupposition.

in the United States physical property laws are generally part of state law, while copyright law is in the main measure federal

The backronyms intellectual protectionism and intellectual poverty, whose initials are also IP, have found supporters as well, especially among those who have used the backronym digital restrictions management.

The consumer electronics world is well aware of the devastating effects of DRM on innovation.

elman says that if he were in the hardware business, he'd be focusing his attention on building a DVD-ripping movie jukebox. Yet this is something that is currently illegal and scares the DVD-CCA to death. The same activity that gave birth to the MP3 player and revolutionized the music industry is anathema to the content owners in Hollywood.

Many online music stores, such as Apple's iTunes Store, as well as certain e-book publishers, have adopted various DRM strategies.

Windows Vista contains a DRM system called the Protected Media Path, which contains the Protected Video Path (PVP). PVP tries to stop DRM-restricted content from playing while unsigned software is running in order to prevent the unsigned software from accessing the content.

In 2002, Bertelsmann (comprising BMG, Arista, and RCA) was the first corporation to use DRM on audio CDs. This was initially done on promotional CDs, but all CDs from these companies would eventually include at least some DRM.[citation needed] It should be noted that discs with DRM installed are not legitimately standards-compliant Compact Discs (CDs) but rather CD-ROM media, therefore they all lack the CD logotype found on discs which follow the standard (known as Red Book). However, these CDs could not be played on all CD players. Many consumers could also no longer play purchased CDs on their computers. PCs running Microsoft Windows would sometimes even crash when attempting to play the CDs.

in most European countries it is not permitted for a software distributor to waive all warranties regarding a sold product. For this reason the extent of such warranties are specified in most European copyleft licenses. Regarding that, see the CeCILL license, a license that allows one to use GNU GPL (see article 5.3.4 of CeCILL) in combination with a limited warranty (see article 9 of CeCILL).

Captain Beatty claims that society, in its search for happiness, brought about the suppression of literature through an act of self-censorship and that the totalitarian government merely took advantage of the situation.

Mechanical Hound The mechanical hound exists in the original book but not in the 1966 film. It is an emotionless, 8-legged killing machine that can be programmed to seek out and destroy free thinkers, hunting them down by scent. It can remember as many as 10,000 scents of others it is tracking down. The hound is blind to anything but the destruction for which it is programmed. It has a proboscis in a sheath on its snout, which injects lethal amounts of morphine or procaine.

In writing the short novel Fahrenheit 451 I thought I was describing a world that might evolve in four or five decades. But only a few weeks ago, in Beverly Hills one night, a husband and wife passed me, walking their dog. I stood staring after them, absolutely stunned. The woman held in one hand a small cigarette-package-sized radio, its antenna quivering. From this sprang tiny copper wires which ended in a dainty cone plugged into her right ear. There she was, oblivious to man and dog, listening to far winds and whispers and soap-opera cries, sleep-walking, helped up and down curbs by a husband who might just as well not have been there. This was not fiction.[6]

Dune responded in 1965 with its complex descriptions of Arrakis life, from giant sandworms (for whom water is deadly) to smaller, mouse-like life forms adapted to live with limited water. The inhabitants of the planet, the Fremen, must compromise with the ecosystem they live in—sacrificing some of their desire for a water-laden planet in order to preserve the sandworms which are so important to their culture. In this way, Dune foreshadowed the struggle the world would have following Carson's book in balancing human and animal life.

Environmentalists have pointed out that Dune's popularity as a novel depicting a planet as a complex—almost living—thing, in combination with the first images of earth from space during the same time period being published, was instrumental in environmental movements such as the creation of Earth Day in many nations worldwide.[11]

The Fremen also are more capable of self-sacrifice, putting the community before themselves in every instance, while the world outside wallows in personal comfort at the expense of others. In all these characteristics, Dune is not alone in drawing from Gibbon's work, as Isaac Asimov creates a similarly declining empire in his Foundation series, as does Arthur C. Clarke in his The City and the Stars.[12]

The state should regulate our relative interests in the ephemeral realm of thought, but that regulation must be about knowledge, not a clumsy remake of the property system.