But the Beijing Treaty goes on to list detailed examples of what will be considered “ the normal course of exploitation”– “such as editing, compression, dubbing, or formatting”–and to include the treatment of the work “in existing or new media or formats” and any dealings with the performance “that are made in the course of a use authorized by the performer.” This seems like an incredibly comprehensive list of exclusions from the moral right of integrity. Read in conjunction with the provision that the limitations apply to virtually all media or formats, whether “existing or new,” it seems that almost anything would qualify as “a use authorized by the performer” in the audiovisual context. The identification of specific activities seems to address virtually every kind of treatment to which a performance could be subject in the audiovisual context– “editing, compression, dubbing, or formatting.” Is there any way of manipulating a performance for use in the audiovisual context that is not covered by these four words? If there were, the four activities noted here are framed as a non-exhaustive list, and any treatment of the work that could be read ejusdem generis would arguably fall within the definition of “normal... exploitation.”