Below is text from one section of Douglas Galbi’s work, “Sense in Communication.” This work includes text and images. Some images may be missing (due to use restrictions) or improperly formatted below. The full work in pdf format, as well as other text sections, are available at www.galbithink.org
1. (p. 2) By photograph by Douglas Galbi. (*)
2. (p. 5) Data pipe photograph by Douglas Galbi of calligraphy by Douglas Galbi. (*)
3. (p. 6) Get up photograph of dance choreographed by Lodi McClellan, A Concert of Student Works, MIT Dance Workship, May 5-6, 1989.
4. (p. 7) Victorine photograph by Douglas Galbi. (*)
5. (p. 8) Chauvet-Pont-d’Arc cave painting, Slide no. 34 (photo Jean Clottes). With the support of the French Ministry of Culture and Communication, Régional Direction for Cultural Affairs – Rhône-Alpes, Régional Department of Archaeology.
6. (p. 9) Exhibition photograph by Douglas Galbi, after A Thought to Consider, J. Seward Johnson, Jr., after In the Winter Garden, Eduoard Manet.
7. (p. 12) Runaway model photograph by Douglas Galbi of sculpture by Douglas Galbi. (*)
8. (p. 15) Souls photograph by Douglas Galbi. (*)
9. (p. 17) Raggedy Ann photograph by Douglas Galbi of doll made by Joan Galbi, after Raggedy Ann of Johnny Gruelle, see www.raggedyann-museum.org/intro.html
10. (p. 21) Hamzanama folio, Arthur M. Sackler Museum, Harvard University Art Museums, Francis H. Burr Memorial Fund, 1941.292.2; photo, Allan Macintyre, © President and Fellows of Harvard College. Catalog no. 61 in Seyller (2002).
11. (p. 27) Hamza's son Rustam, questioning a slave-girl who has betrayed his love affair with the lady Mihr Afruz, Hamzanama folio, detail, Victoria & Albert Museum, London, IS.1519-1883; displayed in web presentation on www.vam.ac.uk in conjunction with the “Adventures of Hamza” exhibition. Catalog no. R160 in Seyller (2002).
12. (p. 28) Detail from image 9.
13. (p. 31) Hamzanama folio, The Conqueror at the Gate of a City, Mir Sayyid ‘ali, 1567-1581/2, Seattle Art Museum, Gift of Dr. and Mrs. Richard E. Fuller, 68.160, photo © Paul Macapia. Catalog no. 38 in Seyller (2002).
14. (p. 32) Hamzanama folio, Zumurrud Shah falls into a pit and is beaten by suspicious gardeners, Victoria & Albert Museum, London, IS.1516-1883; diplayed in web presentation on www.vam.ac.uk in conjunction with the “Adventures of Hamza” exhibition. Catalog no. 28 in Seyller (2002).
15. (p. 37) Same as image 9.
16. (p. 41) Hamzanama folio, Lifting an elephant single-handed, Farrukh-Nizhad so astonishes two brothers that they convert to Islam, MAK-Austrian Museum of Applied Arts / Contemporary Art, Vienna, B.I. 8770/26. Catalog no. 52 in Seyller (2002).
17. (p. 45) Byzantine hodigitria, courtesy of Yuri Koszarycz, www.mcauley.acu.edu.au/~yuri/index.html
18. (p. 46) Hamzanama folio, Zumurrud Shah flees with his army to Antali by flying through the air on urns sent by sorcerers, MAK-Austrian Museum of Applied Arts / Contemporary Art, Vienna, B.I. 8770/28. Catalog no. 57 in Seyller (2002).
19. (p. 52) Morgan Bible of Louis IX, The Pierpont Morgan Library, New York, Ms M.638, f.2r, detail.
20. (p. 58) Morgan Bible of Louis IX, The Pierpont Morgan Library, New York, Ms M.638, f.24v, detail.
21. (p. 63) Morgan Bible of Louis IX, The Pierpont Morgan Library, New York, Ms M.638, f.2r, detail.
22. (p. 68)Morgan Bible of Louis IX, The Pierpont Morgan Library, New York, Ms M.638, f.24v, detail.
23. (p. 71) Morgan Bible of Louis IX, The Pierpont Morgan Library, New York, Ms M.638, f.4r.
24. (p. 73) Morgan Bible of Louis IX, The Pierpont Morgan Library, New York, Ms M.638, f.4r, detail.
25. (p. 77) Morgan Bible of Louis IX, The Pierpont Morgan Library, New York, Ms M.638, f.20v, detail.
26. (p. 78) Morgan Bible of Louis IX, The Pierpont Morgan Library, New York, Ms M.638, f.4r, detail.
27. (p. 87) River in the woods photograph by Douglas Galbi. (*)
28. (p. 88) Belly dancer charcoal drawing by Joan Galbi arranged and photographed by Douglas Galbi. (*)
29. (p. 96) Salus Populi Romani hodigitria, photograph courtesy of Johann G. Roten, www.udayton.edu/mary
30. (p. 101) Flower portrait of William Shakespeare, permission from the Royal Shakespeare Theatre pending.
31. (p. 107) Friends photograph by Douglas Galbi.
32. (p. 109) Dad dreaming photograph by Douglas Galbi. (*)
33. (p. 113) Square word calligraphy red-line tracing book demonstration, Xu Bing, courtesy of Xu Bing, www.xubing.com
34. (p. 118) Detail from McCloud, Scott, Understanding Comics (New York: Paradox Press, 1999) p. 139, with permission from Scott McCloud, www.scottmccloud.com
35. (p. 134) Photographer photograph by Douglas Galbi. (*)
36. (p. 137) A Way from Home photograph of dance choreographed and danced by Douglas Galbi in A Concert of Student Works, MIT Dance Workship, May 3-4, 1991.
37. (p. 139) Go board after Third Ghost Move of the Vomiting Blood Game, courtesy of the Sensei’s Library, http://senseis.xmp.net/?BloodVomitingGame
38. (p. 141) Francisco’s granddaughter photograph by Douglas Galbi. (*)
39. (p. 157) Ready to ride photograph by Douglas Galbi.
40. (p. 160) Two halves photograph by Douglas Galbi. (*)
41. (p. 164) Duane photograph by Douglas Galbi (*)
42. (p. 166) New York / New Russia photograph by unknown volunteer photographer.
43. (p. 174) Will you give me a ride? photograph by Douglas Galbi.
44. (p. 187) Oscar Wilde photograph at issue in Burrow-Giles Lithographic Co. v. Sarony (1884), courtesy of Steven D. Jamar, www.law.howard.edu/faculty/pages/jamar/
45. (p. 189) One of Bleistein’s circus posters at issue in Bleistein v. Donaldson Lithographing Co. (1903), courtesy of Steven D. Jamar, www.law.howard.edu/faculty/pages/jamar/
This work is intended to advance public discussion of communications policy, to promote the progress of science and the useful arts, and to provide joy to any persons around the world who might encounter it. It is a non-commercial, freely available work.
I am grateful to the persons who helped me to get permissions to use images in this work. They could have refused to do so in many ways. To get these permissions, I spent $259 of my own personal money. Undoubtedly the persons in charge of providing permissions could have sought to charge me much more than they actually did. I am grateful that they did not seek to charge more. I am also grateful that I have the financial means to pay the prices that they set.
Public resources for visual communication and lawful use of images are increasingly important public concerns. Legal and moral rights with respect to expressive works developed primarily from concerns about copying texts in circumstances of widespread free use of words orally. Laws like copyright law gradually extended to encompass most media. However, in describing a text, a scholar can still use the same, free public language that the text uses. Free, public resources for visual communication are much less developed, and copyright law with respect to images is complex and arcane. New communications technologies give persons much better opportunities to communicate visually. My work indicates that communications growth depends on innovations in communication, including innovations in topics, circumstances, artifacts, and use of sensory modes. Public resources for visual communication and widely respected law governing use of images contribute greatly to promoting such innovation.
With respect to the images for which “(*)” follows the credit text above, I grant to everyone permission to use these images under the Creative Commons Attribution-NonCommercial-ShareAlike License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-sa/1.0/ or send a letter to Creative Commons, 559 Nathan Abbott Way, Stanford, California 94305, USA. This work contains images of unique artistic masterpieces of great importance in world history. Many persons have invested large amounts of time and resources in creating them, preserving them, and making them available to the public. I encourage everyone to respect the rightful claims that others have with respect to images used in this work.
 One person in charge of issuing permission to use a photograph posted on an art foundation’s website asked to see a copy of my paper as part of the process to determine whether to grant me permission to use the image posted on the foundation’s website. That seems to me to be the sort of requirement that tends to suppress free discussion and multiple viewpoints. Another reaction that I encountered was simply to ignore my e-mails and telephone calls. The difficulty and cost of gaining permissions varies greatly from person to person and from institution to institution. Getting permissions has been a challenge in doing this work.
 For discussion of U.S. law concerning these issues, see e.g. Butler (1998) and Dougherty (2001).
 More appreciation for the importance of public digital resources is beginning to develop. See, e.g. the Public Knowledge Project, at http://www.pkp.ubc.ca/resources/index.html, Public Knowledge, at http://www.publicknowledge.org/, RLG, at http://www.rlg.org/rlg.html, and European Science Foundation (2003).