 Let me extend to you all an extremely warm welcome. We're delighted to see so many of you here this morning. I think we have a wonderful array of speakers and participants, many of those who have been at the forefront, I think, of the great migration of content, either in the development of models, business models, for creating and distributing cultural works in the digital environment, or at the forefront of thinking through what exactly is happening here and what are the consequences of this great migration. What is our objective in this particular treaty, which has its genesis, actually, in the development agenda of WIPO and a particular project on IP, intellectual property and competition? I think our objective is, first and foremost, to take stock, once again, if I may say, but to take stock of what has changed and is changing in licensing, in particular, or more generally, the distribution of content in the digital environment. And secondly, and perhaps more importantly, to see what is not working, what is needed, what is lacking in the current system for dealing with the generation and distribution of creative works. And in particular, what is lacking or what is needed to make a vibrant marketplace, a vibrant marketplace which respects, I think, the fantastic possibilities for the generation and distribution of content that are given by the digital environment, to make a pro-competitive marketplace, one in which there is space for all actors and for new actors, in particular, to participate, and also, and perhaps above all, to make an efficient marketplace, because the great trends of convergence and globalization have left a certain redundancy in some of the models that we have used in the copyright world for over 100 years now. So an efficient marketplace that respects, I think, the speed of the technology, the global reach of the technology, and the global audience that there is for creative works increasingly. Let me just make one obvious point here, and that is that when one addresses these questions, you know, what is missing in the current environment to make a vibrant and an efficient marketplace and a pro-competitive marketplace, I think it's a very different problematic, obviously, quite obviously, and probably, therefore, very different solutions from the situation that we face at the end of the 19th century during another wave of globalization with the railways, of course, the steamships, the telegraph, and the telephone, all of which brought about a much more intense set of connections and a much more intense movement of people and, ultimately, cultural goods. And it was a very different problematic that we now face from that one. That one led, of course, to the conclusion of the Berne Convention and to an emphasis on the legal architecture as the place where something was missing and the place where we could find solutions. I personally believe that while the legal architecture is, of course, immensely important, in the current environment, the technical architecture, and I think the lead speaker has pioneered this train of thought, the technical architecture, Professor Lessig, the technical architecture and infrastructure is, of course, key to both the description of what is lacking and the solution. And that we should indeed focus on that. What are the elements of technical infrastructure or architecture that are missing in the system in order to make a vibrant, pro-competitive and efficient marketplace? I think the discussion, or I hope the discussion, will generate this, but let me just say that there are, of course, many interesting ideas around. And just in passing, let me mention what seems to be an idea whose time has come of a global repertory database as an essential piece of global infrastructure or an essential global public good or asset. As one obvious, at least, path that we should follow in our discussion of identification of gaps and suggestions of solutions for the future. Let me say in conclusion that as far as WIPOC is concerned, I would like to assure you all that we are totally committed to this area and to finding a way in which we can make copyright work in the digital environment. And what does that mean? I think we're all agreed on the objective here. The objective is to have the widest possible availability of cultural works that is enabled by the new digital environment, while at the same time also affording a viable economic basis for culture, a viable economic basis for the major cultural participants. We're all agreed on, I think, the objective. And we are, at WIPOC, of course, absolutely committed to this and to ensuring that whatever we can do, we will do to contribute.