About this Author

Ernest Miller pursues research and writing on cyberlaw, intellectual property, and First Amendment issues. Mr. Miller attended the U.S. Naval Academy before attending Yale Law School, where he was president and co-founder of the Law and Technology Society, and founded the technology law and policy news site LawMeme. He is a fellow of the Information Society Project at Yale Law School.
Ernest Miller's blog postings can also be found @
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Feel free to contact me about articles, websites and etc. you think I may find of interest. I'm also available for consulting work and speaking engagements. Email: ernest.miller 8T gmail.com
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July 13, 2005
Posted by Ernest Miller
Lost Remote, among many others, reports that PBS will be making one its shows available solely on the internet under a Creative Commons license (PBS Launches 'a Whole New Kind of Television'). The show, to be hosted by Robert X. Cringely, will be called Nerd TV (Pioneering Another Technology First, PBS Launches NerdTV, the First Downloadable Web-Exclusive Series From a Major Broadcaster).
This is very good news. If PBS doesn't make an RSS broadcatch available, it is likely that someone else will, hopefully, breaking the show down into individual segments.
This is still niche content for an undeveloped market, however, so I doubt the audience will be particularly large. When will we see the hardware that will make subscribing to these sorts of shows easy for the average consumer?
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+ TrackBacks (0) | Category: Broadcatching/Podcasting | Copyright | Creative Commons
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Geist Savages the Harry Potter Injunction Some More
Michael Geist is really going after the injunction a Canadian court has issued regarding the accidental sale of Harry Potter books before they officially go on sale in a couple of days (Harry Potter Injunction). It baffles me that this injunction is considered to be part of copyright law, just as I don't really consider Harper & Row to be part of copyright law. Both cases seem much more similar to trade secret cases than copyright law.
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July 11, 2005
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Ludicrous Copyright Response Letters
JD Lasica has an excellent collection of letters he has received from various studios when he asked permission to use short clips from their movies in home movies he was producing for family use only (When the Studios Won't Give Permission). Some of the responses are risible, others are just sad. There should be no permission necessary for the creation of works in which there is no public distribution. Life would be much simpler and just.
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CoCo on German Copyright Decisions
Constitutional Code has a great roundup of information on several decisions in German courts regarding the copyfight (German File-Sharing Round-Up: TV P2P & Advertisement). One version of P2P software cannot be distributed, it is illegal to link to allofMP3.com, and although internet portals are protected against damages for linking to sites that permit infringing, injunctions may still issue against them. Read the whole thing.
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Fair Use of Citizen Journalism Photos by Big Media
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Anti-Spoofing Technologies and Grokster
Ed Felten points to a report (behind a firewall) that the RIAA is making the argument that anti-spoofing technologies on P2P networks may be evidence of inducement under Grokster (RIAA Saber-Rattling against Antispoofing Technologies?). Ed is entirely right that anti-spoofing technologies have both good and bad uses (you want to make sure you get a good connection/copy of that open source program). It is unlikely that these technologies alone will create liability (fact dependent Sony test necessary, however). Nevertheless, I can see under Grokster that if a court does find other evidence of intent that, like using an advertising-based business model or not employing filtering, a court could find the use of anti-spoofing technology to be further evidence of intent. So, if there is no initial evidence of intent, anti-spoofing is probably good. But, if the court finds evidence of intent, then anti-spoofing could be found to be further evidence of bad intent. What a mess.
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BBC Blasted for Making Music Freely Available
One would think this is parody, but apparently it is not. The Independent reports that classical music labels are lambasting the BBC for making MP3s of classical music available for free download (Downloading Trouble at the BBC). The BBC has been lambasted by classical music labels for making all nine of Beethoven's symphonies available for free download over the Internet. ... But the initiative has infuriated the bosses of leading classical record companies who argue the offer undermines the value of music and that any further offers would be unfair competition. Managing director of the Naxos label, Anthony Anderson, said: "I think there is a question of whether a publicly funded broadcaster should be doing this and there is the obvious issue that it is devaluing the perceived value of music. You are also leading the public to think that it is fine to download and own these files for nothing." Heaven forfend! via Scripting News
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July 07, 2005
Posted by Ernest Miller
Yesterday, the Hollywood Reporter published an article warning that the Slingbox from Sling Media (which allows you to stream video from their DVR to a computer outside the home) risks a secondary liability copyright lawsuit, just days after the decision in Grokster (Slingbox Could Spark New Lawsuits). The EFF's Fred von Lohmann also sees this as a possibility (First Post-Grokster Cold Front?). He points to the following quotes in the Hollywood Reporter article: - "We're hopeful Slingbox will incorporate technology that will respect copyright," said Dean Garfield, vp and director of legal affairs at MPAA. "You don't have the authority to retransmit license work without negotiation or authorization."
- "Slingbox is one manifestation of what we assume will be a cascade of similar products that are meant to manipulate our signals in ways that we think will be harmful to the network-affiliate business, if not the law," CBS executive vp Martin Franks said.
- "Even if you take it at face value that it is a one-to-one transmittal device, I don't think it will be very long before some hacker in Cupertino posts on the Web the way to modify it, the way they modify a TiVo, that turns it into something that can be tapped by 50 people," Franks said.
All well and good, but my prediction? No lawsuit against the Slingbox, unless it turns out to be far easier to hack it then I imagine (not that it won't be unhackable, but that it will be easily and readily hacked).
Sure, Hollywood could bring a lawsuit, but the device is simply too expensive, too difficult to use and unlikely to be any sort of threat to their revenue models despite any worries they may tell the press. Furthermore, Hollywood would very likely lose. I'm unaware of any evidence that would lead me to believe an inducement charge would be successful, even to a minimal extent. Winning a contributory lawsuit under the Sony standard would be iffy, at best.
It would also be unwise politically. Hollywood wants to control technology, but they don't want to look like they want to control technology. A lawsuit against a fairly innocuous consumer technology isn't going to look good, particularly on Capital Hill.
Does Grokster threaten innovation? Yes, but then, the Slingbox isn't all that innovative.
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Posted by Ernest Miller
Yesterday, James DeLong, a senior fellow for the Progress and Freedom Foundation, wrote that "'collective licensing or a media levy' is a euphemism for turning creativity into a socialist gulag" (More Soothsaying). I characterized that statement as "grotesque hyperbole" (Senior Fellow for Progress and Freedom Foundation Compares Alternative Compensation Schemes to Forced Labor Prison Camps). Today, he defends his statement (In Defense of "Grotesque Hyperbole"). I beg to differ. A tad hyperbolic, perhaps, but not grotesquely removed from the inevitable reality. I beg to differ. James' statement was so ridiculously over the top that, originally, I didn't think it needed any commentary, "I could say more, but James' grotesque hyperbole says enough." Apparently I was wrong.
What part of slave labor prison camp doesn't James DeLong understand? Let me turn to a recent discussion in the Washington Post of gulags by Pavel Litvinov, who was a dissident active in human rights causes in the Soviet Union and now lives in the United States (No American 'Gulag'): The word "gulag" was a bureaucratic acronym for the main prison administration in Stalin's Soviet Union. After publication of Alexander Solzhenitsyn's "The Gulag Archipelago," it became a symbol for the system of forced-labor camps that have been an integral feature of communist countries. Millions of prisoners confined in the gulag had not been involved in violence or committed any crime -- they were there because they belonged to a "wrong" social, national or political group or expressed a "wrong" opinion. ...
There is ample reason for Amnesty to be critical of certain U.S. actions. But by using hyperbole and muddling the difference between repressive regimes and the imperfections of democracy, Amnesty's spokesmen put its authority at risk. U.S. human rights violations seem almost trifling in comparison with those committed by Cuba, South Korea, Pakistan or Saudi Arabia....
Words are important. When Amnesty spokesmen use the word "gulag" to describe U.S. human rights violations, they allow the Bush administration to dismiss justified criticism and undermine Amnesty's credibility. At least Amnesty is referring to actual prisons, as opposed to what James DeLong considers poor public policy choices.
Returning to James' defense: I would apply the epithet [gulag] to any system in which creators and doers must beg government functionaries for permission to exercise control of themselves, their creations, or their property, and this permission can be granted or denied whimsically, according to the functionaries' views of "the public good." Well, gee, that pretty much characterizes most of the United States today as a slave labor prison camp in certain circumstances. Kelo, anyone? Perhaps this quote from Lewis Carroll will illustrate the difficulty with DeLong's definition here: 'When I use a word,' Humpty Dumpty said, in a rather scornful tone,' it means just what I choose it to mean, neither more nor less.'
'The question is,' said Alice, 'whether you can make words mean so many different things.'
'The question is,' said Humpty Dumpty, 'which is to be master - that's all.' Litvinov is correct when he says that words are important. DeLong not only unfairly characterizes alternative compensation schemes, but trivializes the suffering of those caught up in the actual gulag.
Back to James DeLong: Anyone who thinks this system [Fisher's alternative compensation system] will be clear of the corruptions of money, political connections, and political correctness is not living in the real world. Furthermore, anyone who thinks that such a system, even if totally pure, could effective allocate resources and produce results superior to a market needs to read about the history and economics of the 20th Century. It's a seriously flawed policy concept. I've raised numerous objections myself: Those are most of my posts on the issue, not counting my criticisms of some of the voluntary compensation schemes that have been put forth. I yield to no one in my opposition to a compulsory licensing scheme.
But if a compulsory licensing scheme were legislated into being, I don't think that would qualify as a slave labor prison camp.
Not every reduction in freedom, even a significant one, is the same thing as a move into the horrors of the gulag archipelago.
James DeLong ends with a Kantian quote: A classic philosophical statement says that "to will the end, you must will the means." In this case, a variation applies: If you will the means, you will the end. Let me respond with a classic internet statement that "As an online discussion grows longer, the probability of a comparison involving Nazis or Hitler approaches 1." In this case, a variation applies: as a discussion of copyright grows longer, the probability of a comparison involving communists or Soviet gulags approaches 1.
UPDATE 1150PT
Derek Slater has some good thoughts on this issue as well (The Real Fear Mongerers).
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Senate Hearings on Grokster Decision
posted by Ernest Miller |
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July 06, 2005
Posted by Ernest Miller
Pam Samuelson weighs in on the Grokster decision in the forthcoming (Oct 2005) Communications of the Association for Computing Machinery.
Read the 7-page paper: Legally Speaking: Did MGM Really Win the Grokster Case? [PDF].
Her answer as to whether MGM actually won Grokster? Not really: MGM didnt really want to win Grokster on an active inducement theory. It has been so wary of this theory that it didnt actively pursue the theory in the lower courts. What MGM really wanted in Grokster was for the Supreme Court to overturn or radically reinterpret the Sony decision and eliminate the safe harbor for technologies capable of SNIUs. MGM thought that the Supreme Court would be so shocked by the exceptionally large volume of unauthorized up- and downloading of copyrighted sound recordings and movies with the aid of p2p technologies, and so outraged by Groksters advertising revenueswhich rise as the volume of infringing uses goes upthat it would abandon the Sony safe harbor in favor of one of the much stricter rules MGM proposed to the Court. These stricter rules would have given MGM and other copyright industry groups much greater leverage in challenging disruptive technologies, such as p2p software. Viewed in this light, MGM actually lost the case for which it was fighting. The copyright industrys legal toolkit to challenge developers of p2p file-sharing technologies is only marginally greater now than before the Supreme Court decided the case. Yup.
Read the whole thing. You'll find that her conclusions are very similar to my conclusions in Kicking the Sony Can Down the Road.
via Constitutional Code
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Von Lohmann on 17 USC 115 Reform
EFF's Fred von Lohmann has some positive things to say about the Copyright Office's proposal to reform 17 USC 115 (A Worthy First Step). This is an important step in the right direction, creating the prerequisites for a real, market-based solution to the P2P dilemma. Of course, it will still be up to the record labels (which own the copyrights in the sound recordings) to join the MROs or create their own collecting societies to license P2P users directly, but the MRO example, if successful, may provide just the push that the record industry needs. At a minimum, this reform should accelerate the licensing of digital music services and novel online uses, like podcasting, that should not be held hostage to internecine squabbles between middlemen, all of whom claim to represent the same rights holders.
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Posted by Ernest Miller
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July 05, 2005
Posted by Ernest Miller
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July 04, 2005
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German Publisher's Group Pushing to Poison DNS
Constitutional Code brings some disturbing news from Germany (DNS Poisoning Requested From Providers by Rights Organisation). The German rights organisation for composers, lyricist and publishers, GEMA, has asked 42 access providers to poison their DNS servers in order to block sites that provide links to eDonkey files. In short, DNS poisoning obstructs the process of converting a URL to a numeric IP address. The GEMA apparently expects the access providers to configure their DNS servers so that "inquiries by end-users are not passed to the correct server, but to an invalid or another pre-defined side." The GEMA also demands that the providers sign a testimony,with which they commit themselves to ensure full blockage under a contractual penalty of 100.000 euro if any of their customers can still reach the targeted site after July 25th.... In the Pennsylvania child pornography case, slightly reminiscent of this one, new legislation allowed the government to aks access providers to block sites, using DNS poisoning amongst others. In that case there was a law to challenge, constitutional restraints to invoke, a court to review the pressure put on the public (government) - private (users) relationship. While laws may be applicable in the German case, users could "constitutionally" loose out if private demands are enforced by private parties. A judicial review is appropriate here, if for one thing, to test how far decisions to block the information flow can be pushed and taken within the private realm. Even if there's arguably illegal activity involved. Because there always is....arguably. [links, emphasis in original] Definitely not good.
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Posted by Ernest Miller
The debate about the meaning and impact of the Grokster continues.
C.E. Petit of Scrivener's Error has collected his thoughts now that the decision is a few days old (Grokster Conclusion: Everything Old Is New Again). He focuses on illuminating the issues through the "copyright clause" of the US Constitution. "Unjust enrichment"? Where did that sneak in? It's not anywhere in any of the opinions! So why are we considering first-year contract law? Well, the most rigorous answer is "we're not: we're considering the relationship of potential remedy to liability, and that relationship is behind virtually all of the common law." For, in the end, that is what the evidence in Grokster points toward: Use of copyright law to prevent unjust enrichment achieved through violation of an exclusive right. Absent the economic factor, it's a lot harder (not impossible, merely harder) to say that mere technology violates a conception of copyright that reads the Intellectual Property Clause as a whole. [emphasis in original] Ron Coleman makes an interesting connection to some of Clay Shirky's writings ( Marginal Thoughts). Shirkey argues, compellingly, that a simpleminded application of the microeconomic model of marginal value to evaluating marginal content sales of the Internet doesn't, and can't, work. Now note that this has no effect on how the Grokster case should have come out, because he is really talking here about supply and demand and prospective IP regimes -- not about the application of the copyright laws based on the statutory language, stare decisis and that other dusty old stuff. The Shirky piece he links to is Fame vs Fortune: Micropayments and Free Content. The answer is simple: creators are not publishers, and putting the power to publish directly into their hands does not make them publishers. It makes them artists with printing presses. This matters because creative people crave attention in a way publishers do not. Prior to the internet, this didn't make much difference. The expense of publishing and distributing printed material is too great for it to be given away freely and in unlimited quantities -- even vanity press books come with a price tag. Now, however, a single individual can serve an audience in the hundreds of thousands, as a hobby, with nary a publisher in sight. Gary Becker explains some of the difficulties in having judges decide on technology's future potential ( Grokster and the Scope of Judicial Power). But several things concern me about the issues raised by this and related court decisions. I basically do not trust the ability of judges, even those with the best of intentions and competence, to decide the economic future of an industry. Do we really want the courts determining when the fraction of the total value due to legal sales is high enough to exonerate manufacturers from contributory infringement? Neither the wisest courts nor wisest economists have enough knowledge to make that decision in a way that is likely to produce more benefits than harm. Does the fraction of legitimate value have to be higher than 50 per cent, 75 per cent, 10 per cent, or some other number? Courts should consider past trends in these percentages because new uses for say a software-legal or illegal- inevitably emerge over time as users become more familiar with its potential. Must courts have to speculate about future uses of software or other products, speculation likely to be dominated by dreams and hopes rather than firm knowledge? Read the whole thing.
Richard Posner, who wrote the In Re Aimster decision, pushes his conception of how to decide these cases (Grokster, File Sharing, and Contributory Infringement). There is a possible middle way that should be considered, and that is to provide a safe harbor to potential contributory infringers who take all reasonable (cost-justified) measures to prevent the use of their product or service by infringers. The measures might be joint with the copyright owners. For example, copyright owners who wanted to be able to sue for contributory infringement might be required, as a condition of being permitted to sue, to place a nonremovable electronic tag on their CDs that a computer would read, identifying the CD or a file downloaded from it as containing copyrighted material. Software producers would be excused from liability for contributory infringement if they designed their software to prevent the copying of a tagged file. This seems a preferable approach to using the judicial system to make a case by case assessment of whether to impose liability for contributory infringement on Grokster-like enterprises. This is much easier said than done.
The New York Times writes about the fact that P2P will continue to be around after the decision (The Imps of File Sharing May Lose in Court, but They Are Winning in the Marketplace). Nothing particularly new here.
UPDATE 1335PT
This post from Marginal Revolution is from June 27th, but definitely something I should have linked to earlier (Why Economists Should Feel Conflicted About the Grokster Ruling). The bottom line: The welfare economics of music do not resemble those of bread or buttons. Right now we do not even know whether music is being oversupplied or undersupplied, relative to an optimum. Beware of any analysis of this case which does not consider these deeper underlying issues. Read the whole thing.
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July 03, 2005
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Defending the Commons in India
Nice essay on the public domain in The Hindu (Pirates of the Commons). CONTROLLING access to literary works to prevent copies from being made is a practice that goes back millennia. The Royal Library of Alexandria was so notoriously difficult to get into that Ptolemy III had to bribe his way in with 15 talents of silver.
Innovations do not bloom in an intellectual vacuum where access to knowledge is controlled. Read the whole thing. via Open Access News
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July 02, 2005
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Hodder: Grokster Victory in 5-8 Years
Mary Hodder's analysis of the ultimate impact of Grokster is very similar to mine (The 5-8 Year Problem: Asking the Ocean To Turn Back Won't Work With Digital Media Tides). In 5-8 years, I think the Grokster problem will be solved by a combination of: 1. business model changes by legacy media; 2. changes in demographics because the fact is there will be a critical mass of users who have grown up with digital models in the heads (who are now young enough not to be of voting age but soon will be); and 3. where enough activity online is about people sharing and trading their own stuff (user generated media). It will be little media makers, supplying their own demands, who will solve this legal problem, first. Legacy media will follow behind them. All those legacy media companies, in order to continue to be as relevant to the masses as they have been in the recent past will have to come to the party and play in order to keep their stuff in front of our eyes. That is, the digital media party online, where they find that in order to participate, they have to give up some control of their copyrighted works, and rethink their models to include things like giving away some media in order to make money in some other place. Apparently she has had a drink of the P2P Kool-Aid as well. See Kicking the Sony Can Down the Road for my take. Time is on our side.
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Posted by Ernest Miller
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July 01, 2005
Posted by Ernest Miller
Following the decision in Grokster, the Economist comes out in favor a 14-year copyright term, renewable once (Rip. Mix. Burn.). I certainly endorse shorter terms and have for some time, although I would structure it a bit differently. I don't see why there shouldn't be minimal formalities to extend copyright beyond a single year. But that's not my point. What would Grokster look like if we had a maximum 28-year copyright term?
We have to remember that currently, thanks to copyright term extension, not a whole lot of popular culture has entered the public domain since 1923. 1923! That's essentially the entire modern era as far as music and movies are concerned.
What is most interesting to me is to imagine how Grokster might have turned out differently if there had been a much shorter copyright term. For example, classic movies and music through the 1960s would have been legally shareable via these networks when they were launched. I don't have any figures, but I expect that a substantial amount of the music shared was from the 1960s, 1950s and earlier (most of the Beatles' catalog, for example, and Elvis). I also imagine that movies from this era would have been very popular as well. I don't know what the percentage might be, but I'm certain it would have made the networks look much better even to Justice Ginsburg's crew.
We also have to imagine the many mashups and remixes that would be possible with this library of music and moving pictures. Derivative works would certainly be invigorated by a much shorter copyright term and many of these works would likely be released under a Creative Commons license.
The development of the legitimate download market would probably have also benefited, as many different startups would have had access to a substantial library of works with which to entice customers. Many more companies would have entered the space, likely developing much better user interfaces. MP3 players would have come pre-loaded with many classics, greatly increasing their value proposition. Podcasts would benefit. The possibilities are limitless.
It is impossible to know what the percentages of licit and illicit materials would be in a world of original copyright terms, but we might learn a thing or two from books. After all, books have a much longer history. It would be interesting to compare the use of filesharing networks for ebooks and see what the percentages are of licit and illicit materials, since there is a much wider, more popular library of work for books. Of course, such a test wouldn't be definitive, because books are relatively nothing when it comes to bandwidth and so can't take advantage of one of the main benefits of filesharing networks. And books are substantially different from other mediums for other reasons. Nevertheless, such a study might be enlightening.
In the end, the ultimate outcome of the case might not have been any different (after all, you can induce people to infringe with a perfectly legal printing press), but we would probably have had a decision on Sony as well. I think it likely that, with a profusion of legal uses for P2P networks, at least two more justices would have shifted to Justice Breyer's concurrence.
In the many arguments surrounding Eldred v. Ashcroft, the constitutional challenge to copyright extensions for existing works, much was made of the fact that extending copyright wouldn't really encourage the creation of new works. Well, now we see some of the other costs of continual extension of copyright terms. There is collateral damage on technologies of reproduction and distribution. We know the value of this copyright extension, the proceeds of greedy rent-seeking to a small number of companies, but how to measure the cost to innovation?
And I'm not sure how well copyright law has faired thanks to term extensions.
Copyright extension is beginning to look more and more like a devil's bargain for the copyright companies. Among other things, it has probably done a whole heck of a lot to reduce respect for copyright law and encourage copyright infringement. You know, when you remove three generations of popular culture from the public domain including, essentially, two entire mediums, you're going to create tensions, not only with regard to the public at large but in law as well.
One way to look at why the Supreme Court was unable to reach agreement on a reformulation of Sony was because they were unable to reconcile the inconsistency of copyright terms that are, for nearly all intents and purposes, forever, with innovation. Of course there is going to be tension. Unless it is immediately licensed by copyright holders, any innovation in publishing and distribution is going to look illegitimate when the public domain has been so crippled.
Furthermore this tension doesn't really serve anyone, not even copyright holders (assuming they can look beyond the short-term). It increases the cost of creating legitimate businesses (which fosters illegitimate businesses), and makes it more difficult to separate the true bad actors from those whose innovations are merely caught up in the ridiculousness of our current system.
Over-extended copyright terms aren't the root of all evil in our system of copyright, but they're a key source.
via Copyfight
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Posted by Ernest Miller
The Second Circuit Court of Appeals has declared that elements of Halloween costumes may be copyrightable in a unanimous decision written by the famous Guido Calabresi, former dean of Yale Law School. This appeal by plaintiff-appellant-cross-appellee Chosun International, Inc. (Chosun) poses the question of whether Halloween costumes, in their entirety or in their individual design elements, are eligible for copyright protection under federal law. The district court (Wood, J.) held that they were not. The court ruled that Halloween costumes were useful articles and hence not copyrightable under the Copyright Act, 17 U.S.C. § 101 et seq. Accordingly, the court dismissed Chosuns suit for failure to state a viable copyright infringement claim. See Fed. R. Civ. P. 12(b)(6). Because the district court failed to conduct a separability analysis prior to dismissing Chosuns complaint, we vacate the district courts judgment and remand for further proceedings. Read the 10-page decision: Chosen Int'l Inc. v. Chrisa Creations Ltd. [PDF].
The reasoning followed that in a case involving belt-buckle design: Thus, in Kieselstein-Cord, 632 F.2d 989 (2d Cir. 1980), we concluded that the plaintiffs belt buckle designs were copyrightable. Taken as a whole, the belt undeniably was a useful article which performed the service of preventing ones pants from falling down. The ornate buckle design, however, was conceptually separable from that useful belt function. The design which did not enhance the belts ability to hold up ones trousers could properly be viewed as a sculptural work with independent aesthetic value, and not as an integral element of the belts functionality. This actually seems a fairly straightfoward decision to me, particularly given the procedural posture of the case. I'm pretty sure the Court got it right.
There is actually a surprising number of intellectual property issues involving Halloween costumes. For example, Chosum International was on the other side of a lawsuit that raised similar issues in 2003. BNA's Patent, Trademark & Copyright Journal has a good discussion of the issues involved in the older case (Tiger Costume Is Protectable, But Sales of Similar Costume Can Continue). See also, this patent on weather-resistant Halloween costumes assigned to Chosun: US Patent #6,904,612: Weather and Climate Adaptive Halloween Costume.
via How Appealing
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June 29, 2005
Posted by Ernest Miller
Yesterday, I wrote about Bram Cohen's A Technological Activist's Agenda, which included quotes that look suspiciously like active inducement under Grokster (BitTorrent and Grokster: How Much Intent Does it Take?). Today, Bram has added the following text to his agenda: [This was written in late 1999, and is a parody of a cypherpunk's manifesto, which struck me as very dishonest manifesto claiming to solely be concerned about privacy. This screed is written in the exaggerated voice of a 'prototypical' cypherpunk, making much more direct declarations of his intent.] [emphasis, links in original] Good answer. Hopefully it'll be enough to convince a judge should a lawsuit be launched.
Prof. Mark Schultz of the Southern Illinois School of Law who is guest-blogging on Eric Goldman's Technology & Marketing Law Blog has a good reply to this issue, however: Shocking Revelations About BitTorrent. We must avoid this "bootstrap effect" to maintain access to innovative technology. Even if Bram Cohen had "bad intent" in developing BitTorrent (I don't think he did), all subsequent distributors of BitTorrent should not be accountable for his actions or the actions of some end users. Such a distributor should be able to avoid liability, so long as substanstatial non-infringing uses are possible and the distributor does not actively induce infringment. I agree. However, the Supreme Court seems to have left the door open to a "taint by association" for technology companies. So, if one company is found to be an active inducer, subsequent companies built on the same technology seem to have one strike against them already. And if you get one strike, the strike zone gets much bigger.
UPDATE 0715PT 30 Jun 2005
WIRED has an article on this issue (BitTorrent Whiz Extolled Piracy?).
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Posted by Ernest Miller
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June 28, 2005
Posted by JD Lasica
In the Grokster open thread below, Kevin writes in part:
>darknets and bittorrent, by their nature, would not be found guily of inducing infringement.
I'm fascinated by your conclusion here. Do others agree with this?
Much of my reading the past two days has centered not on the fine points of law but on how the Grokster decision will affect *me* as a technology entrepreneur.
I just came from a lunch where a very successful businessman and I spent 90 minutes hashing out the ideas that might be involved in forming a darknet grassroots media company - an encrypted social space where individuals could create, collaborate, communicate and share their own works of personal media, either publicly or privately. (I don't think he'll mind if I mention it here; let me know if you might be interested in taking part.)
The subject of infringement never came up, though we'll eventually have to address this central question:
Are providers of such a service *required* to put business rules into place that specifically prevents users from sharing copyrighted works? (It's a very difficult thing to accomplish in an age when hundreds of photographs, videos and mp3 files on your computer may have been created by you -- or by someone else. And, after all, you can always trade photos and mp3s and other files today by email, IM or a dozen other ways.)
Some of the darknet companies out there address this in different ways. Grouper, for example, will let you invite only a maximum of 30 people into any single social space, and it will let you exchange jpegs and video files, but not mp3s (you can, however, stream music to your peers).
What's your sense of what the rules are for technology vendors who want to provide these privacy tools and social spaces to individuals in the post-Grokster world? (And, if you offer an opinion, I won't hold you to it.)
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Posted by Ernest Miller
Following the Grokster decision there has been a lot of speculation about whether BitTorrent would be liable under the court's enunciated active inducement standard. Many think that BitTorrent is safe, in particular due to the lack of evidence of illicit intent. But what if there is evidence of illicit intent? A statement from Cohen in 2001 might be that evidence.
Prof. Mark Schultz of the Southern Illinois School of Law is guest-blogging on Eric Goldman's Technology & Marketing Law Blog. He took two close looks at the issue. First, on the simple question of BitTorrent itself: What Happens to BitTorrent After Grokster?. In response to a question of mine, he also addressed the additional questions raised by BitTorrent Search and the new, trackerless BitTorrent: More on BitTorrent and Grokster. His conclusion was that BitTorrent is protected because of its innocent intent: So, would Cohen and the other original BitTorrent developers be on the hook as inducers? Probably not. There appears to be no clear expression or other affirmative steps taken to foster infringement. Ed Felten also sees BitTorrent as the next big test case, and also thinks they'll survive: BitTorrent: The Next Main Event. The litmus test is BitTorrent. Here is a technology that is widely used for both infringing and non-infringing purposes, with infringement probably predominating today. And yet: It was originally created to support noninfringing sharing (of concert recordings, with permission). Its creator, Bram Cohen, seems interested only in noninfringing uses, and has said all the right things about infringement so consistently that one can only conclude he is sincere. BitTorrent is nicely engineered, offering novel benefits to infringing and noninfringing users alike. It is available for free, so there is no infringement-based business model. In short, BitTorrent looks like a clear example of the kind of dual-use technology that ought to pass the Courts active inducement test. [emphasis added] Perhaps Cohen is not as sincere as all that: A Technological Activist's Agenda: I am a technological activist. I have a political agenda. I am in favor of basic human rights: to free speech, to use any information and technology, to purchase and use recreational drugs, to enjoy and purchase so-called 'vices', to be free of intruders, and to privacy.
I further my goals with technology. I build systems to disseminate information, commit digital piracy, synthesize drugs, maintain untrusted contacts, purchase anonymously, and secure machines and homes. I release my code and writings freely, and publish all of my ideas early to make them unpatentable.
Technology is not a panacea. I refuse to work on technology to track users, analyze usage patterns, watermark information, censor, detect drug use, or eavesdrop. I am not naive enough to think any of those technologies could enable a 'compromise'.
Despite my emphasis on technology, I do not view laws as inherently evil. My goals are political ones, even if my techniques are not. The only way to fundamentally succeed is by changing existing laws. If I rejected all help from the political arena I would inevitably fail.
-Bram Cohen [emphasis added] History of the statement: According to Wikipedia, BitTorrent debuted at CodeCon 2002 ( Wikipedia: BitTorrent). According to the Internet Archive's Wayback Machine, Bram Cohen posted the page to his website sometime no later than Jul 10, 2001 ( Wayback Machine: http://bitconjurer.org/a_technological_activists_agenda.html : Jan 01, 1996 - Jun 28, 2005). Originally this statement was linked from his front page ( Wayback Machine: http://bitconjurer.org/ : Jan 01, 1996 - Jun 28, 2005). The link remained until at least Jul 20, 2003, but had disappeared by Jul 31, 2003. In between his homepage had been updated at least 7 times.
Question: How far will a lawsuit under the active inducement standard as articulated in Grokster go with this statement? Will this open the door to discovery? Will this make the addition of search engine (with advertisements) look like a bad act? Will it make trackerless BitTorrent look like a bad design decision?
Perhaps BitTorrent is a more difficult case than one might think.
UPDATE 1840PT
Just thought to check something else on the Wayback Machine. The link to the "activist's agenda" shows up in the very first snapshot of the homepage on Jul 6, 2001. The very first link to the BitTorrent project shows up on Jul 20, 2001. The statement and the BitTorrent project consequently seem rather close together in time.
UPDATE 1900PT
Just to note something from above (since I'm linking to so many Wayback Machine archives): the "activist's agenda" is still on Bram Cohen's website: A Technological Activist's Agenda.
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Posted by Ernest Miller
I'm not even going to try to provide a comprehensive list of links for the Grokster decision this morning, only some I thought of particular interest. I will continue to update this post through the day, as I come across more links.
Derek Slater is on a roll over at EFF's DeepLinks: - What is "Inducement"?
- Unavoidable Inducement?
However, in some ways, the decision may make it difficult for legitimate businesses to avoid inducement. - Clarifying Inducement: How Is Patent Law Relevant?
A straightforward transplant of the patent inducement doctrine might have provided technologists with some insight into what it will mean for them in the copyright context. Unfortunately, the Court's decision muddies the import of patent caselaw. - Clarifying Inducement: What's the Remedy?
If past misconduct can be used to prove that present actions also amount to inducement, the potential harm to innovators would be substantial. Finding that an action from long ago amounts to inducement could open the door to claims about all subsequent activities.
I believe that the Supreme Court has effectively pre-empted Congressional action in this area for some time. C|Net News gets reaction to the decision from Congress that concurs: Congress Applauds File-Sharing Ruling. The two top proponents of the INDUCE Act in the Senate had this to say: Patrick Leahy, the top Democrat on the Senate Judiciary Committee, said through a spokeswoman that he "is going to let the courts continue their role in reviewing the next phase of this case."
Sen. Orrin Hatch, the Utah Republican who heads an intellectual property subcommittee, said: "Prudence and respect for the role of the courts suggest Congress wait until it becomes clear how today's decision will play out in the lower courts before there is a rush to legislate." Speaking of C|Net, their Download.com website was still hosting Grokster and StreamCast clients as of this morning. I guess they don't think the ruling could apply to them, or that they would be sued. If I were them, I might think again. Although Grokster and StreamCast were not ruled illegal, if they are, I'm not sure that C|Net can avoid liability.
C|Net executive editor Charles Cooper wants EFF to come out and say, "just once", that "Grokster's business model is predicated on breaking the law" (Theft by Any Other Name). Hey, Cooper, what do you think about a company that makes money (some of the most popular downloads on Download.com are P2P programs) from companies whose "business model is predicated on breaking the law"? Why don't you say something about that?
Tim Wu thinks the Court has made a clear distinction between illicit Grokster-type filesharing and licit filesharing. - The Grokster Safe Harbor?
- Making a deal with the recording industry (iTunes)
- Encryption of content offered (also iTunes)
- A network optimized to some other explicit purposes (Freenet, privacy and anonymity, or even email -- personal communications)
- Phone home technologies -- software that is montored centrally, see Randy's paper.
- Grokster's Future
The important question is this: how does the Grokster decision affect the future of content distribution? In my view the decision will actually settle matters more than people think. To use a Lessig term, Grokster is zoning filesharing -- as between highly illegal, highly illegitimate operations on the one hand (like WASTE and some Bittorent clients), and highly respectable, legitimate operations on the other (iTunes and the new Napster).
I disagree with Tim's analysis here. The safe harbor doesn't seem particularly safe the way he has described it. You could license, but isn't the whole point of Sony that you don't have to license? You could use encryption, though what that means for filesharing legitimate files is unknown. And, isn't the whole point of Sony that you don't have to incorporate particular copy controls? Optimization is in the eye of the beholder. How long before you can file share with Skype (a pre-eminent P2P personal communications technology)?
As a commentor on Tim's second post notes, I'm not sure why Tim thinks that WASTE necessarily runs afoul of this ruling. It is basically a handy, secure P2P application for small groups, with plenty of legitimate uses.
Randy Picker wonders if, under Tim's reading, iPods can be distinguished from iTunes: File-Sharing v. File-Distribution.
Mike Godwin has a column in Reason: Don't Stop Grokkin'.
Siva Vaidhyanathan has a column in Salon (watch an ad for access): Supreme Court's Unsound Decision. This is why courts and legislatures should be very careful when regulating technological innovation and copyright: Broad rules and legal uncertainty can put a chill on, or even wipe out, really useful and important developments.
As Jim instructed Huckleberry Finn when Huck claimed Solomon was the wisest man who ever lived: "De 'spute warn't 'bout a half a chile, de 'spute was 'bout a whole chile; en de man dat think he kin settle a 'spute 'bout a whole chile wid a half a chile doan' know enough to come in out'n de rain." You can comment on Siva's column on his blog, Sivacracy, here: My Grokster Article in Salon.com.
Why should I bother doing a roundup of traditional news sources when Frank Field has done such a great job on FurdLog?: Grokster Roundup.
Prof. Mark Schultz of the Southern Illinois School of Law is guest-blogging on Eric Goldman's Technology & Marketing Law Blog. He looks deeply at the issues surrounding BitTorrent under Grokster: What Happens to BitTorrent After Grokster?. A significant omission, however, is that he doesn't address how BitTorrent Search and trackerless BitTorrent might change the equation. I could see BitTorrent search being considered enough evidence of intent so that trackerless BitTorrent becomes evidence of bad design under this decision.
Mark Schultz responds to my query and has addressed the issues of BitTorrent Search and Trackerless BitTorrent: More on BitTorrent and Grokster. Many thanks.
Prof. Michael Madison thinks the decision could have been better, but isn't too bad: Grokster Redux. That said, an Im a genuine innovator standard is much easier for mainstream technology innovators to live with than it is for cutting edge folk or iconoclasts. My relatively sanguine disposition comes from the observation that the same pattern is observed in the fair use cases, and while thats hardly a perfectly happy story in itself, judges handle innovation and evolution there better than we often give them credit for.
Prof. Susan Crawford has two posts on the question of balance in the decision: - A Balanced View
Today's Grokster opinion is a victory for content AND for technology. I was afraid that Sony would be undermined -- and it wasn't. The content guys were afraid that they wouldn't be able to go after bad guys -- and they've been given ammunition. What we've got is an opinion that is balanced and middle-of-the-road. It leaves Sony's "substantial noninfringing use" standard alone (yes, the concurring Justices snipe back and forth about what that standard means, but that doesn't matter), it doesn't adopt any formless Aimster balancing test, and it says strongly that you can't impute intent to technology. A good day for innovation. And a good day for Congressional staff, who won't have to deal with some request for Induce legislation -- we're done. - Footnote 12
I read the decision as saying that IF there is evidence of advertising AND other marketing and promotional indicia of intent, THEN failure to filter might be relevant. But failure to filter on its own (as Footnote 12 suggests) would never be enough.
Now, of course, it's not hard to do discovery and find evidence of intent. So this gives the content industry substantial ammunition. And that's why this is a balanced opinion that doesn't completely please either side. James DeLong, director of the Center for the Study of Digital Property at the Progress & Freedom Foundation, has a column on Tech Central Station: Grokster at Last!. As a first resort, it is clearly better to deal with the P2P purveyors as infringement-dependent businesses rather than infringement-enabling technologies, using the standards of evidence about the proof of evil intent that the Court put forth. The exact dimension of the Sony doctrine can wait. And, given reasonable progress in the development of technological means of protection, the issue might well wait forever, eventually joining the graveyard of unsettled issues on Moot Point. "Follow the money" has become a mantra. Well, Mark Cuban, who backed the Grokster lawsuit, follows the money and finds that no one cares: Kaboom !. In the business world, one way to evaluate the financial importance of news is by watching to see how Wall Street responds to it. If there is the slightest glimmer of hope in a news announcement, at least one person is going to think it will have some level of impact and make a bet on the stock and/or industry impacted.
There wasnt a Kaboom, there wasnt a whisper in the market. Not one buyer or seller of stocks gave a damn. Warner Music Group. probably the only public company that is a pure play proxy for the music business traded almost exactly the same number of shares as it does every day. The stock was down a nickel. He also looks at the practical business effects.
Ed Felten see BitTorrent as the next big test case, but thinks they'll survive: BitTorrent: The Next Main Event. I'm still concerned that the search engine and commercialization of BitTorrent may undermine the argument. We will have to see. Bram Cohen must remain purer than Caesar's wife.
bIPlog's Aaron Perzanowski claims the Court's test isn't really "active inducement": It's Not Active Inducement, Stupid
Does anyone else consider it odd that Grokster's homepage, as of Tuesday afternoon, still touts the Ninth Circuit's decision?: GROKSTER WINS!
THE UNITED STATES COURT OF APPEALS FOR THE NINTH CIRCUIT IN THE CASE OF MGM vs GROKSTER AFFIRMED THE DISTRICT COURT'S PREVIOUS RULING.
Today the United States Court of Appeals for the Ninth Circuit affirmed the previous District Court ruling denying the motion picture and recording industries request to shut Grokster down. via Mossback Culture
John Palfrey gets it right, I think: The Entrepreneur in a Post-Grokster World. So, its back to the courts again. The Supreme Courts decision places the responsibility to uphold Americas culture of entrepreneurship and innovation squarely in the hands of the lower courts to determine what the ultimate effect of its thread-the-needle ruling will be.
Its the next few rulings, reading the tea leaves of the opinions handed down yesterday, that matters. If the next tests of the Grokster ruling turn out in favor of the entrepreneur, then the chilling effect of the Grokster opinion on innovation will hopefully be negligible. Nice summary from David Post on the Volokh Conspiracy: Grokster Decision, Second Thoughts.
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Posted by Ernest Miller
What the heck does the Grokster decision mean for open source?
I suspect that we are likely to find out.
Up to now Hollywood has been satisfied in going after the commercial purveyors of P2P filesharing software. Undoubtedly, following the Grokster decision, they will continue to do so. However, that will not halt the use of P2P programs.
As the commercial systems are shut down, it is likely that users will migrate to open source P2P projects. Indeed, a switch to various open source programs, such as BitTorrent, is already well under way. If Hollywood desires to continue to stem the tide by taking action against certain programs, they will have no choice but to go after the most popular open source projects.
Vicarious liability would not seem to be much of an issue for most open source programs. They don't directly profit from (and I doubt a court would recognize reputational benefits for this purpose) illicit filesharing and I'm unaware of any that has the right and ability to control use. Standard contributory infringement would also be relatively difficult to prove on a number of levels, assuming the device met the Sony test.
But active inducement changes things, especially as the Court was rather unclear on how it was to be applied. The problem for many open source technologies that would meet the Sony test is that they receive contributions of code from a wide variety of sources. The most well-organized projects have a vetting process so that they do not incorporate copyrighted or patented code. However, how are they to vet for intention?
When you've got a large number of people working on a filesharing project, it is likely that one of them will say things that would be evidence of inducement. Furthermore, the Court spent a great deal of time emphasizing Grokster's lineage from the original bad actor Napster. That was plenty of evidence of ill intent for the Supreme Court. How might that logic be applied to the numerous progeny of Napster in the open source world?
I really don't know. There are a number of ways that a court could potentially handle it and it would be very fact-dependent, I think.
One possibility I do see, however, is that an open source project may ultimately force the Court to confront Sony directly.
In Grokster, the Court "kicked the Sony can down the road". They didn't address what it really meant and came up with an alternative theory of liability, active inducement. Active inducement seems well-suited to bringing down many commercial projects, but it could have difficulty with open source.
Although an active inducement case would be relatively easy to bring against an open source P2P project, I believe, I could also see a Court dismissing such a claim for a variety of reasons. Such a decision would be very fact-dependent, but having dismissed active inducement, the only chance to shut down a particular project would be to find that the program failed the Sony test.
Such a case would then force the Court to make a decision about the limits of Sony.
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Posted by Ernest Miller
A new episode of my audio series, The Importance Of ... Law and IT, is up on IT Conversations.
This show, like my first one, deals with MGM v. Grokster, although this time we're not talking about some appellate court, we're talking about the Supremes (The Importance of ... Law and IT: MGM v. Grokster). Joining me for this show were two of the leading commentators on the net and elsewhere yesterday when the decision was released: Not only do we discuss the holding in the case, we also consider the implications for publishers, software developers, hardware manufacturers, IT shops and, specifically, the outlook for BitTorrent.
Many thanks to my excellent guests.
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Posted by Ernest Miller
It was the best of times, it was the blurst of times?!
C. Montgomery Burns
Earlier today, on the Wall Street Journal's Grokster Roundtable I stated that, "I do think this may turn out to be a significant victory for technology providers in general."
Darknet author JD Lasica, who is guest-blogging here yesterday and today, has asked me to clarify what I meant (Grokster: Theory and Practice). Well, it's been a busy day, so I couldn't answer him right away. I will do so now.
Despite claims to the contrary, neither side achieved total victory in Grokster nor did either side lose. Though the case will continue in the district court, it isn't the specific fate of Grokster and StreamCast that really matters. What matters is how this decision will effect copyright law and innovation policy generally. What will the practical impact be?
Things could have been better for innovation. A lot better, in fact. But, more importantly, they could easily have been far worse.
Basically, I think that the Supreme Court did what it felt it had to do, find against Grokster and StreamCast. However, they were unable to resolve the fundamental and underlying issues involved in applying Sony v. Universal, aka "Betamax", in the internet era and so didn't decide that aspect of the case.
Copyright guru William Patry says that the court punted (The Court Punts). I prefer to think that the Court kicked the can down the road instead. Unable to reach agreement on what is actually a fairly bad set of facts for innovation promoters, the Court has basically said to come back in a few years and we'll take another look. Since time is on the side of P2P and internet innovation, this is actually a victory for technology providers.
But more on that in a bit.
The Could Have Been Better
Let's get the bad news out of the way first.
The Court has clearly revived the "active inducement" standard for secondary liability. Note I say "revived," not "created". The active inducement test has pretty much been part of copyright law for some time. It may have been hiding in the background, or being confused with its siblings, contributory and vicarious infringement, but there it was. It even got a mention in Sony, among other places. Basically, the Court has taken it out of the background and shadows and placed it front and center.
The problem is, they could have done a much better job. "Active inducement" is a pretty good test, and one that I'm not opposed to for secondary liability. However, the Court seems to have set a fairly low and confusing bar for finding the "active" part of the inducement.
There has already been much commentary on this point. See, among others, Larry Solum, Footnote 12 in Grokster; Randy Picker, The Lurking Design Issue in Grokster; and, Ed Felten, Legality of Design Decisions, and Footnote 12 in Grokster.
Without too much detail, the Court seems to be using some sort of "taint by association" with Napster. See, Eric Goldman, Grokster Supreme Court Ruling. After all, Grokster and StreamCast actually advertised to the customers of known bad actor Napster. Based on this, all sorts of otherwise legal actions (using advertising for revenue, lack of filters) took on a sinister cast, according to the Court.
This is pretty unconvincing evidence, actually. It veers pretty darn close to turning active inducement into imputed inducement. And, if courts are allowed to run with this sort of reasoning, could be very dangerous to innovation. But I don't think it will necessarily go that far. It will likely go farther than it should, but I don't think innovation is doomed.
Remember the complex procedural posture of this case. The Supreme Court was reviewing a motion for summary judgement, but they didn't directly challenge that judgement, they used a different theory of liability then was argued. All they've basically said is that the evidence in the record is enough to beat a summary judgement on an active inducement theory that hadn't been fully briefed in the district court or court of appeals. The Supreme Court remanded, vacating the earlier judgements, but not providing an awful lot of guidance for them. That's okay.
In essence, all of the analysis of the Supreme Courts on the active inducement test is pretty darn fact specific. However, as noted, the active inducement facts were never actually argued or briefed in the lower court. The Supreme Court was basically cobbling together facts briefed for a standard contributory and vicarious liability argument, not the active inducement standard that the Supreme Court ruled on.
So, basically, we have a theory of infringement that is vary fact-specific (seemingly limited to the facts in Grokster), facts which were never properly developed in the first place, and only so far as to say that these facts beat summary judgement. What the Supreme Court said on the evidence for active inducement may act as persuasive authority but is pretty close to surplusage and dicta.
The case goes back down to the district court. The court is going to have to decide on three theories of secondary liability: contributory, vicarious and active inducement (after this new active inducement claim is properly briefed, of course).
The Supreme Court gave absolutely no guidance on vicarious liability and there is a very clear split on straight-up contributory infringement under Sony. It's not clear to me that the district court can't rule the same way on the vicarious infringement. A gutsy court could even find the same way on contributory infringement, following Justice Breyer's concurrence. However, there will be no summary judgement for Grokster and StreamCast on the issue of active inducement.
A gutsy court might send the issue of active inducement and, possibly, contributory infringement to trial. On the other hand, the district court could give summary judgement to MGM on the basis of active inducement and completely ignore contributory and vicarious infringement (hey, it worked for the Supreme Court). Here's the thing,though. A smart district court would base the active inducement on other, presumably more damaging evidence, then the Supreme Court used. There is nothing that says the district court has to use the reasoning the Supreme Court did in denying summary judgement to Grokster and StreamCast. The Supreme Court was never looking at a properly briefed active inducement motion for summary judgement in the first place. Result: the Supreme Court's ruling is followed, but the ruling is narrow in recognition of the cases' strange procedural posture.
If MGM wins summary judgement, they can't do much about it. It is not like they could appeal a ruling in their favor. They could possibly appeal a decision to send the case to trial, but the burden for overturning such a ruling would be fairly high. Furthermore, if they lost that appeal and the case went to the Supreme Court again, they'd never take it.
Of course, as I said above, it isn't the specific fate of Grokster and StreamCast that is important, it is the effect this ruling will have on other cases and for innovation in general.
More Uncertainty or Less?
There has been a lot of talk about increased uncertainty for innovators, which would increase the cost of innovation, and even suppress a substantial amount. See, among others, Fred von Lohmann, Fear Mongering. Von Lohmann is right, a great deal of uncertainty does remains and it may have even increased in certain ways.
On the other hand, it may also have decreased. Grokster, the case, will continue. Depending on how the district court handles the issues in Grokster and how other courts interpret the Supreme Court's guidance here, will make all the difference in the world. As I noted above, they'll be likely to extend liability farther than a strict active inducement standard, but I don't think they'll go too far. The Court was very clear that this was "active inducement," not "imputed inducement." They pointed very clearly to patent law. And, although patent law doesn't solve all problems, it is generally better than the test the Supreme Court created for the purposes of the Grokster ruling. Furthermore, many of the facts the Court cited can easily be limited to Grokster and, once again, they were never properly briefed under a theory of active inducement in the first place. Result: it will be the lower courts that will craft the copyright active inducement standard and they are free to narrow it as compared to the expansive example the Supreme Court provided. Conclusion: give money to EFF to convince judges to use a narrow active inducement test.
The case also acts, somewhat, as a roadmap. For bad actors, of course. See, Douglas Lichtman, Hollow Victory in Grokster. Although I have to agree with C.E. Petit that bad actors frequently are careless when it comes to smoking guns, if you look hard enough (Balanced
or Evasive?). But it will also serve as a roadmap for good actors. See, Fred von Lohmann, Supreme Court Sows Uncertainty.
Is it a perfect roadmap? No, there remain plenty of unseen pitfalls. However, it is better than no roadmap at all. I will also note that this roadmap will be much more useful to large, established corporations (that can afford expensive lawyers to help avoid liability, as well as have deep pockets to scare off some lawsuits) than smaller upstarts (that are cutting edge and lack anti-lawsuit resources). This is highly unfortunate. Highly unfortuate.
But consider whether the uncertainty today is that much worse than the uncertainty that prevailed yesterday. After all, there is also some good news. The fact that the MPAA and RIAA have won a 9-0 decision in the Supreme Court means it will be pretty hard for them to convince Congress they need the even worse INDUCE Act, or any similar legislation (even such things as the Broadcast Flag). Having the INDUCE Act and the Broadcast Flag off the table reduces uncertainty a great deal more, I think, than this relatively limited ruling by the Supreme Court.
Also consider what might have happened if the Supreme Court had ruled in favor of Grokster and StreamCast. I think it highly likely that this issue would quickly jump to the front of the queue for both judiciary committees. Hollywood might not have gotten a full-blown INDUCE Act, but they might have gotten some "compromise" that worked for major corporations such as Microsoft and Apple, but not for smaller inventors. Sometimes it is better to lose a little, than to win.
This isn't a great "active inducement" test, and too much uncertainty reigns, but it could have been much, much worse.
Time Is On Our Side
This is the key to understanding the importance of the case, I think.
The Court didn't address Sony directly. There were three in favor of a narrow reading of Sony's safe harbor that would exclude Grokster and StreamCast. Three in favor of a broad reading of Sony's safe harbor that would include Grokster and StreamCast already. And three who were apparently unconvinced of the merits of either side. A perfect three-way split.
Let's look at the two concurrences. What was most apparent to me, is that Justice Ginsburg's concurrence completely ignored discussing the issue of what "capable" means in Sony. The standard view, and the one fully endorsed by Justice Breyer's concurrence is that "capable" refers to the future ability of a technology to be used for non-infringing purposes, although its present use is primarily infringing.
While Justice Ginsburg ignores the future potential for peer-to-peer, Justice Breyer revels in it. Lior Strahilevitz argues that Grokster may have erased the future potential from Sony (Is Grokster Erasing Capable from Sony?). I disagree, "capable" has always been rooted in reality. I could use a gun to hammer nails, but that does not mean that a gun is "capable" of being a hammer in the sense that "capable" is used in Sony.
Capable is something more that "could potentially be used for." It is an admonition to remember that how technology is used changes over time and that, frequently, illicit uses may dominate in the early years of a technology's development. After all, it is often easier to establish illicit markets than legitimate ones. iTunes, anyone?
Extensive quotation from Justice Breyer's concurrence follows: Here the record reveals a significant future market for noninfringing uses of Grokster-type peer-to-peer software. Such software permits the exchange of any sort of digital file -- whether that file does, or does not, contain copyrighted material. As more and more uncopyrighted information is stored in swappable form, it seems a likely inference that lawful peer-to-peer sharing will become increasingly prevalent. [citations omitted]
And that is just what is happening. Such legitimate noninfringing uses are coming to include the swapping of: research information (the initial purpose of many peer-to-peer networks); public domain films (e.g., those owned by the Prelinger Archive); historical recordings and digital educational materials (e.g., those stored on the Internet Archive); digital photos (OurPictures, for example, is starting a P2P photo-swapping service); "shareware" and "freeware" (e.g., Linux and certain Windows software); secure licensed music and movie files (Intent MediaWorks, for example, protects licensed content sent across P2P networks); news broadcasts past and present (the BBC Creative Archive lets users "rip, mix and share the BBC"); user-created audio and video files (including "podcasts" that may be distributed through P2P software); and all manner of free "open content" works collected by Creative Commons (one can search for Creative Commons material on StreamCast). [citations omitted] I can find nothing in the record that suggests that this course of events will not continue to flow naturally as a consequence of the character of the software taken together with the foreseeable development of the Internet and of information technology.
There may be other now-unforeseen noninfringing uses that develop for peer-to-peer software, just as the home-video rental industry (unmentioned in Sony) developed for the VCR. But the foreseeable development of such uses, when taken together with an estimated 10% noninfringing material, is sufficient to meet Sony's standard. And while Sony considered the record following a trial, there are no facts asserted by MGM in its summary judgment filings that lead me to believe the outcome after a trial here could be any different. The lower courts reached the same conclusion. This is a ringing endorsement of the progress of technology and, in particular, of P2P. Justice Breyer has swallowed the P2P Kool-Aid.
Here's the thing. So have I. I believe that P2P technologies have all sorts of wonderful non-infringing uses. I believe that P2P technologies will increasingly be used for these non-infringing uses and become embedded in our work and play. We'll all be making phone calls via P2P, playing games, watching TV, sharing our varied creations. I believe that five years from now the idea of living without P2P will be about as attractive as the idea of living without the internet today.
And five years is a pretty good timeframe, because it will realistically be five years, at least, before the Supreme Court decides to take another crack at Sony. By then the industry will have matured. Microsoft and Apple themselves will be deeply involved in distributing lots and lots of perfectly legal content via P2P. The content industries will have to have made further adjustments of their business plans, further legitimizing the industry. The industry itself will have more credibility and respect, and perhaps more importantly, a heck of a lot more jobs will be on the line.
When that happens, the Court will no more be interested in ruling against these technologies then they would be in taking VCR's out of people's bedrooms, or eliminating entire swaths of US industry. More importantly, Justice Breyer's concurrence will have been vindicated.
So, even if some new technology that isn't yet an itch in some programmer's head is what is being challenged, Justice Breyer's concurrence is likely to be the one that sets the path for the next Sony decision.
A lot of people talk about the potential of P2P, but I believe it. And so do three justices, apparently. If we're right, we're going to win five-ten years down the road.
So, go ahead and kick the can. Time is on our side.
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June 27, 2005
Posted by Ernest Miller
Below are just a few my observations about the decision, in no particular order.
Vicarious Infringement
Vicarious infringement is a rather messy little and unclear doctrine. It could seriously use some clarity. The question was before the Court, but they refused to address it (footnote 9): In the present case MGM has argued a vicarious liability theory, which allows imposition of liability when the defendant profits directly from the infringement and has a right and ability to supervise the direct infringer, even if the defendant initially lacks knowledge of the infringement. Because we resolve the case based on an inducement theory, there is no need to analyze separately MGM's vicarious liability theory. [citations omitted] Well, if they had analyzed the vicarious infringement liability and found that the lower courts had erred, they wouldn't have had to reach the question of inducement. It isn't as if questions about vicarious liability will be going away. Interestingly, neither concurrence even mentions vicarious liablity.
Evidence of Intent?
The evidence for Grokster/StreamCast's intent is pretty darn weak: [p. 20] Grokster distributed an electronic newsletter containing links to articles promoting its software's ability to access popular copyrighted music. What does this mean? If the New York Times profiles your product and mentions its infringing uses you can't cite that article?
The same could be said about this "evidence" of intent: And anyone whose Napster or free file-sharing searches turned up a link to Grokster would have understood Grokster to be offering the same file-sharing ability as Napster, and to the same people who probably used Napster for infringing downloads... Huh? Grokster was available on the original Napster and this makes Grokster liable? What free software wasn't and isn't available on P2P filesharing networks whether legal or illegal?
Three Main Indicators of Intent: The First is Bogus and the Next Two Bootstrap Off the First
The opinion emphasizes three main factors as "clear" evidence of intent. However, the first makes little sense and the next two are otherwise legal actions that only become evidence of intent if there is already evidence of intent.
The first is advertising aimed at Napster users. First, each company showed itself to be aiming to satisfy a known source of demand for copyright infringement, the market comprising former Napster users. StreamCast's internal documents made constant reference to Napster, it initially distributed its Morpheus software through an OpenNap program compatible with Napster, it advertised its OpenNap program to Napster users, and its Morpheus software functions as Napster did except that it could be used to distribute more kinds of files, including copyrighted movies and software programs. Grokster's name is apparently derived from Napster, it too initially offered an OpenNap program, its software's function is likewise comparable to Napster's, and it attempted to divert queries for Napster onto its own Web site. Grokster and StreamCast's efforts to supply services to former Napster users, deprived of a mechanism to copy and distribute what were overwhelmingly infringing files, indicate a principal, if not exclusive, intent on the part of each to bring about infringement. Of course, this is limited by the fact that future creators will avoid such a thing, but why should it be considered "evidence" in the first place. After all, there is one company that is uneqivocally going after former Napster users, Napster itself. Why is it that Grokster cannot go after former Napster users, but Napster 2.0 can? Is it the technology? But I thought inducement was about intent, and not the tools.
This brings up the point I raised on the Wall Street Journal's Grokster Roundtable: Imagine that Sony had been a nefarious group of active inducers when they brought out their Betamax. Suppose that there was ample evidence that Sony fully intended and explicitly encouraged Betamax users to infringe copyright with their videotape recorder (ads, internal emails, business plans). Consequently, under this standard, sales of the Betamax were shut down. What happens when VHS comes along? What will the makers of VHS have to do in order to avoid liability thanks to the bad actions of Sony? Should VHS be punished for going after the Betamax market? It would have been hard for VHS not to go after the Betamax market, that's where the buyers of VCRs are. As I asked in the roundtable, "What would StreamCast and Grokster have to have done in order to avoid liability for following in the footsteps of bad actor Napster? What will the next developer of P2P have to do if Grokster and StreamCast are found liable in the lower court?" This decision leaves the issue fairly uncertain.
Next, the infamous, footnote 12 and questions of design. First the paragraph it is attached to: Second, this evidence of unlawful objective is given added significance by MGM?s showing that neither company attempted to develop filtering tools or other mechanisms to diminish the infringing activity using their software. While the Ninth Circuit treated the defendants'failure to develop such tools as irrelevant because they lacked an independent duty to monitor their users' activity, we think this evidence underscores Grokster's and StreamCast's intentional facilitation of their users? infringement. And, footnote 12, itself: Of course, in the absence of other evidence of intent, a court would be unable to find contributory infringement liability merely based on a failure to take affirmative steps to prevent infringement, if the device otherwise was capable of substantial noninfringing uses. Such a holding would tread too close to the Sony safe harbor. What the heck does this mean? No one seems to know. Rather contradictory, actually.
Honestly, this doesn't make a lot of sense. Imagine the VCR scenario again. Imagine that Sony was a bunch of infringement inducing scum with the Betamax. Now, the VHS standard comes along and they seem to be going after the Betamax market (sort of hard to avoid, actually). Suddenly, it is evidence of illicit intent that the VHS was built without broadcast flag technology?
I suppose it will end up turning on how big one thinks the Sony safe harbor actually is. The Court really punted this one.
The bootstrapping continues: Third, there is a further complement to the direct evidence of unlawful objective. It is useful to recall that StreamCast and Grokster make money by selling advertising space, by directing ads to the screens of computers employing their software. As the record shows, the more the software is used, the more ads are sent out and the greater the advertising revenue becomes. Since the extent of the software's use determines the gain to the distributors, the commercial sense of their enterprise turns on high-volume use, which the record shows is infringing. This evidence alone would not justify an inference of unlawful intent, but viewed in the context of the entire record its import is clear. "[I]ts import is clear?" Clear? I think not.
The Supreme Court points to three main reasons by Grokster and Streamcast intend infringement. The first is that they went after Napster's users. That's pretty darn weak evidence by itself. Everyone wanted to capture Napster's market, legitimate and illegitimate services alike. Why do you think Napster 2.0 is still around? The Court then boostraps this weak evidence into turning what the Court admits would be otherwise lawful conduct, into evidence of illicit intent.
So, bascally, the Court has said that you don't have to design your software to avoid infringement. Feel free to earn advertising revenues (gee, thanks), but once you pass some unknown threshold of intent (what? an internal email, an ambiguous advertisement, what?), these two otherwise lawful acts will be held against you. Apparently, the Court wants a balancing test of some sort. How this is balanced is going to be key. I almost want some terribly incriminating statements from Grokster and StreamCast to be entered into evidence in the district court, as they're doomed at its best that we don't get a narrow reading of Sony in the context of this threshold for intent argument.
The conclusion of the opinion is a bit defensive of this argument, I think: If liability for inducing infringement is ultimately found, it will not be on the basis of presuming or imputing fault, but from inferring a patently illegal objective from statements and actions showing what that objective was. One man's imputing is another man's inferring, presumably.
Ginsburg's Concurrence
The less said about the Ginsburg concurrence the better. I think, though, that the concurrence is fairly limited to the facts developed in this particular case and to a record that wasn't fully developed through trial. Furthermore, there is very little explanation of what "capable" means in Sony. The concurrence seems firmly rooted in a fixed timeframe and reflects Justice Kennedy's questions about free riding on copyrighted works to get a technology off the ground.
Breyer's Concurrence
Ah, sweet reason, three Justices who get it. Here, there is a discussion of what capable means, revealing a view of technology that develops over time. Here the record reveals a significant future market for noninfringing uses of Grokster-type peer-to-peer software. Such software permits the exchange of any sort of digital file -- whether that file does, or does not, contain copyrighted material. As more and more uncopyrighted information is stored in swappable form, it seems a likely inference that lawful peer-to-peer sharing will become increasingly prevalent. [citations omitted]
And that is just what is happening. Such legitimate noninfringing uses are coming to include the swapping of: research information (the initial purpose of many peer-to-peer networks); public domain films (e.g., those owned by the Prelinger Archive); historical recordings and digital educational materials (e.g., those stored on the Internet Archive); digital photos (OurPictures, for example, is starting a P2P photo-swapping service); "shareware" and "freeware" (e.g., Linux and certain Windows software); secure licensed music and movie files (Intent MediaWorks, for example, protects licensed content sent across P2P networks); news broadcasts past and present (the BBC Creative Archive lets users "rip, mix and share the BBC"); user-created audio and video files (including "podcasts" that may be distributed through P2P software); and all manner of free "open content" works collected by Creative Commons (one can search for Creative Commons material on StreamCast). [citations omitted] I can find nothing in the record that suggests that this course of events will not continue to flow naturally as a consequence of the character of the software taken together with the foreseeable development of the Internet and of information technology. That's what I'm talking about!
I would continue to cite from it, but I would end up copying the whole thing. I imagine that it will become one of the most popular concurrences written, cited for its wisdom and insight into issues of innovation and the promises of communications technology. Its a great foundation, anyway.
UPDATE 1900PT
Welcome Instapundit readers! If you've made it this far, you obviously are very interested in the Grokster decision. Here are some more links:
I live-blogged the two main, opposing press conferences on the decision today:
Notes on the RIAA / MPAA Press Conference
Notes on the Pro-Grokster Press Conference
Lots of links and analysis here:
Grokster Loses - Unanimously - Inducement Test?
I participated in the Wall Street Journal's Grokster Roundtable.
Darknet author JD Lasica is guest-blogging here today and has these posts:
Grokster: Theory and Practice
Grokster Open Thread: Your Views
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Posted by JD Lasica
I've been reading the opinions of experts all day long at SCOTUSblog, at the Wall Street Journal roundtable, at copyfight blogs, and so on.
But I'm wondering what the (well-informed) readers of this blog think. Do you think the court struck a reasonable balance in its ruling today? Will innovation suffer, as the Consumer Federation of America, Consumers Union and Free Press maintain?
Will file-sharing taper off as more people are driven to legitimate digital marketplaces like iTunes, or will this drive kids and digital denizens deeper into the Darknet?
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Posted by JD Lasica
Ernest was kind enough to let me add my two cents here as a guest blogger over the next couple of days. I'm a writer (author of the new book Darknet: Hollywood's War Against the Digital Generation) and executive director of Ourmedia.org.
As I was driving my car this morning and news came of the Grokster decision, a knot tightened in my stomach. Now that I've had a chance to read most of the decision and the accompanying commentary, the knot has loosened a bit.
It looks like I come down somewhere in the middle of all the opinions flying about. I don't quite see it as the sweeping victory for content and technology that Susan Crawford suggests, nor do I see it as the setback for innovation as the EFF's Fred von Lohmann posits.
I think we need to look at the High Court's ruling (the theory), but also its potential impact in the real world (the practice).
The balancing test laid out by Justice Souter strikes me as reasonable. In Darknet, I criticize companies like Grokster and Kazaa, whose business models are built on copyright infringement. A test that sets a standard for making companies responsible if their business model actively induces infringement seems to strike the right balance.
But:
We know how Hollywood plays this game. It doesn't need to win in court in order to achieve its ends. What's unsettling is that, as we've seen time and time again, Hollywood merely has to file enough lawsuits to send a startup's legal bills into the stratosphere in order to muscle it into abandoning cutting-edge technologies that the studios don't like. Remember ReplayTV, which let people share a copyrighted program with 15 other people for one time only?
We're already beginning to see some fallout: In a Washingon Post chat today a reader asked: "Should I now turn off the music sharing option on iTunes? We have a network in my office with about a dozen regular users."
This is the danger, that we'll all be forced to use our devices on terms dictated by Hollywood. Apple has already made its iTunes music sharing service much less useful and user-friendly since it was introduced about two years ago. It may now dumb it down even more.
I'd like to ask Ernest what he meant earlier today when he wrote: "I do think this may turn out to be a significant victory for technology providers in general." Those who invest in future p2p startups may be a bit more reluctant to do so this morning, regardless of the court's language.
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Posted by Ernest Miller
Later this afternoon, I'll be recording a podcast for IT Conversations on the Grokster decision with Denise Howell of Bag and Baggage and C. E. Petit of Scrivener's Error. Use this post to submit any questions you have about the decision or topics you'd like covered. I can't guarantee that we'll answer all of them, but I'll make an effort to see that we cover the best ones.
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Posted by Ernest Miller
I missed some of the beginning statements due to the difficulties in connecting to the conference call, but here are my notes on the RIAA/MPAA press conference. I didn't catch the names or affiliations of those providing the opening statements or answering the questions. No exact quotes, just the gist:
Parents will come home and say there is a right way and a wrong way. That is what this is all about. Today is not a panacea. It represents a new day, it is a pivot point. Those who encourage and profit from infringement will be held liable. This means the legitmate market has the ability to take off. Fans and musicians won. We want to work with P2P, embrace technology, start filtering we can enter a better digital age together.
I can't stress enough that a unanimous Supreme Court issued a victory for the rule of law. The other parties in this case created systems that were made for the purpose of facilitating copyright infringment, the taking of music and movies. Taking from the people who put their sweat into making things we enjoy. The constitution protects this, It is in the constitution because they knew we needed this incentive to create something that we might all enjoy. This is a ruling that everyone who creates music, books are entitled to protection under the Constitution. When people create a product to help people take this content, they will be liable for it. All nine justices agree with this principle.
Three fundamental points taken to the court. First, the underlying activities, the downloading of copyrighted works is simply unlawful, plain and simple. Court called it "Garden variety theft." The unanimous decision speaks to the culture. Second, it can't be right under law to build a business on the basis of taking someone's property. You can't build a business that the point is to take other people's property. Unanimously vindicated. Third, it was all about balance. In Sony, the Court sought balance between copyright and technological innovation. Court rejected that Sony was a free pass for technology. Terrific result.
Q: What does it mean for millions of American who use iPod?
A: They're doing it the right way, they're ahead of their peers. There will be more of them.
Q: It is not the technology that the Court was targeting but the business model?
A: Precisely. There is technology out there (Audible Magic, Shawn Fanning) that will make P2P part of this market.
Q: [unintelligble]
A: If you look at the last paragraph of opinion. Court ought to look at summary judgement in favor of Hollywood.
I think the same principles that lead to Grokster and StreamCast will lead to similar decisions against other providers.
Q: If you prevail in lower court, what happens?
A: We're still entitled to full range of equitable relief as well as damages. The point is to migrate this technology to a place where it works with legitimate providers. The infringing has to stop. Audible Magic, Shawn Fanning provide such technology.
A: This is a story that evolved over six years. The last couple of years we've seen the emergence of a legitimate market and clarity about what the law is. We're going to see a transition in the market place. Two years ago there was no legitimate source, today 4% of households use legitimate. That will increase.
Q: What about illegal tech dragging industry into legitimate market?
A: That is exactly backwards. Legitimate alternatives were thwarted by illegitimate options. This decision will change that climate and help legitimate thrive.
Hassle-free, reasonable cost access to content is where we're going. We can be leaders, provided it isn't for free. We can provide these options in the future.
Q: Have you addressed whether you're going to take this back to Congress and what you might do?
A: This decision was rendered today. This was a 9-0 decision, they don't agree what to have for lunch. They've agreed that our content is worthy of protection. I think it is doubtful that this will be rushed back to Congress. There will be hearings, there might be bills proposed, but unlikely anything will happen.
Q: [unintelligble]
A: In a corporate world, folks will respond to this decision and turn to legitimate avenues.
Q: [unintelligble]
A: I'm not sure I know the answer to the question, exactly what the scope of the damages will be?
Q: What about off-shore companies? Do you expect filesharing to go away?
A: No. We have a goal that is reasonable, the legitimate market place will outpace illegitimate marketplace. There will be offshore companies, but our laws have strong international enforcement. And there will be other reasons (spyware, viruses) people will want to switch.
Q: What about designing anti-piracy features up front.
A: What the court is doing is setting a commonsense standard. If you're Apple, you're fine. If you're Grokster and Streamcast, it is clear from any number of things that they are inducing, you're not going to be fine. We don't think it will be difficult to determine what is an illegitimate or legitimate business.
Q: How will you go about going about the process of the message integrated in the culture? How do you speak to the parents or their kids?
A: We are doing this right now, you report on this decision. This is an obligation that we all have. The industry, parents, teachers, Congress, AGs everyone has to do this. We need to band together, work together. We'll go wherever folks want.
Clarity is important. This ruling is about as clear as can be. The ubiquity of the internet has confused people about what is property to be protected and what is not. This decision is so precise that it should have a very powerful impact and disincentive on illegal behavior.
Q: Will there be any difficulty in establishing in district court that Grokster/StreamCast met inducement standard?
A: The opinion speaking for all nine, makes this clear. The district court should reconsider whether summary judgement should be revised. The Court's view of the evidence is that this is a powerful case.
Q: Will this have a chilling effect on new technology or innovation?
A: This will inspire new technology because it is clear about what is right and wrong. This will be a foundation for new creativity on the artists side. They can make music, write screenplays because they know they won't be stolen on the internet.
Some of our friends on the other side like to engage in fear. This is fear-mongering. To say this is a threat to innovation is a gross hyperbole.
Q: The whole Grokster/Napster mentality was payback for ripping off consumers?
A: If you think about buying single tracks, that is an improvement. The fundamental point is that you paid for the thing.
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Posted by Ernest Miller
The pro-Grokster side held a press conference on the decision. Here are my notes. These aren't direct quotations, but my quick notes on what people were saying.
UPDATE 1320PT
The audio is now avaible as an MP3: Pro-Grokster Press Conference [MP3] or Pro-Grokster Press Conference [MP3]. Watch for this to quickly jump on the filesharing nets.
- Richard Taranto, Farr and Taranto, argued the case before the Supreme Court
A few words, two different aspects to think about this case. What this means for the future of this litigation and how Grokster and Streamcast will fair under the remand directive. The decision is multi-faceted and the evidence burden is unclear so that it We think we will have the evidence to dispell the inference that the entertainment companies have the right to prove that there is sufficient evidence for liability. We were not in the Supreme Court of the unavailability of a theory of inducement for copyright liability.
The second and much more important aspect of what the courts did today was to write a set of standards, the most notable feature of which is the lack of clarity. Promoting infringement and knowledge of how technology will be used. The Court has provided a very difficult roadmap to follow. We have a multi-factored standard that you can't be sure how will be applied to you. The immediate impact for technology industry will be a ... one? - Fred von Lohmann, Senior Staff Attorney for EFF, with Cindy Cohn
Will unleash an era of legal uncertainty for America's innovators. When we see the evidence in District Court, Streamcast will not be held liable. There is a new theory of copyright liability. Didn't clarify Betamax, didn't clarify vicarious liability. It will take courts some time to clarify this. By focusing on intent, the Supreme Court has opened the door to see the notes of engineering meetings, marketing plans, emails of executives. This is a high burden for technology companies. - CEO of Streamcast
Another hurdle for this company. We are confident that Streamcast did not go beyond the letter of the law. We look forward to our day in court. We're staying in this fight. - Gigi Sohn, President and Co-Founder of Public Knowledge
I see positive things for technology companies and consumers. The court reaffirmed the basis for the Betamax case. P2p as a technology can be The court focused on affirmative acts. We will see if there is enough evidence to prove viability. Sony has been preserved. There has been a lot of debate as to whether Congress will have to act to protect Hollywood's rights. It is clear that there is no need for Congress. There is nothing that Hollywood should want or need for Congress. Technology and consumers can be somewhat optimistic about this decision. - VP of Technology Policy, of the Consumer Electronics Association
Still digesting decision. Quite concerned about a new theory of liability will be harmful. Quite conscious about a very competitive world, such as companies in China and India that do no The legal clarity has decreased. The risk of litigation has increased. From a competitive point this is not a good thing. With the INDUCE Act litigation introduced in last Congress, this makes the legal landscape less clear. We seek a pro-technology, pro-innovation landscape. - Michael Page of Keker & Van Nest, attorney for Grokster
Good things and bad things. Court decision to uphold Sony is a good thing. I'm disappointed that the Court didn't address vicarious liability at all. Active inducement is part of contributory infringement, but the discussion of what it means to induce leaves a number of conflicting standards. If you replace a prior p2p software that was inducing with another, you can be held liable. Conflicting signals looks to litigation. The vagueness of the court's discussion of inducement will cause problems down the road. - Edward Black, President and CEO of the Computer and Communications Industry Association
We agree more time to read it all over. This is a very dangerous decision for technology and innovation. It is big victory for lawyers. Sony upheld. But if you consider Sony an umbrella and shield, it is now full of holes. Hollywood to a large extent, has achieved what it wanted.Time for them to change to new business models. We have seen a greater trend to regulatory encroachment, this is an unhealthy trend for everyone who cares about the internet. This decision does uphold the fundamental decision in Betamax. - Charles Baker of Porter & Hedges, representing StreamCast
I've been representing StreamCast for sometime. We will be back before the district court, we look forward to litigate this issue. We believe very strongly that under this new standard StreamCast will not be held liable. This is a confusing new standard. This can lead to expensive litigation, a very fact intensive standard. If you think about inducing, you could be liable. This will not slow down, but only intensify litigation. It will hamper technology innnovation. - GC for StreamCast
Decision seems Orwellian. Hollywood become thought police. People in their garages will have to be concerned about everything they think, everything they say to others.. have to be very Full lawyer employment outcome. Lawyers will be pulled into every aspect of business. Innovation and American public will suffer.
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Posted by Ernest Miller
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Posted by Ernest Miller
via SCOTUS Blog The Supreme Court ruled unanimously that developers of software violate federal copyright law when they provide computer users with the means to share music and movie files downloaded from the internet. The decision when it appears. Unanimously. That's harsh.
UPDATE 0810PT
And here's the decision (from the AP): No. 04-480, MGM Studios v. Grokster, reversed 9-0, in an opinion by Justice Souter [24-page PDF]. Justice Ginsburg concurred [8-page PDF], joined by the Chief Justice and Justice Kennedy; and Justice Breyer concurred [18-page PDF], joined by Justices Stevens and O'Connor.
From the opinion: We hold that one who distributes a device with the object of promoting its use to infringe copyright, as shown by clear expression or other affirmative steps taken to foster infringement, is liable for the resulting acts of infringement by third parties. Active inducement it is.
Perhaps not so bad from the AP via Yahoo News! (Court: File-Sharing Services May Be Sued):
Internet file-sharing services will be held responsible if they intend for their customers to use software primarily to swap songs and movies illegally, the Supreme Court ruled Monday, rejecting warnings that the lawsuits will stunt growth of cool tech gadgets such as the next iPod.
The unanimous decision sends the case back to lower court, which had ruled in favor of file-sharing services Grokster Ltd. and StreamCast Networks Inc. on the grounds that the companies couldn't be sued. The justices said there was enough evidence of unlawful intent for the case to go to trial.....
"We hold that one who distributes a device with the object of promoting its use to infringe copyright, as shown by the clear expression or other affirmative steps taken to foster infringement, is liable for the resulting acts of infringement by third parties," Justice David H. Souter wrote for the court. ...
But in Monday's ruling, Souter said lower courts could find the file-sharing services responsible by examining factors such as how companies marketed the product or whether they took easily available steps to reduce infringing uses.
"There is substantial evidence in MGM's favor on all elements of inducement," Souter wrote. Sounds like an inducement test. How strong is it? We will have to wait for the decision to see.
UPDATED - Links to Discussion Continuously, throughout the day
For masochists: Slashdot: Your Rights Online: Supreme Court Rules against Grokster
Public Knowledge statement from their president Gigi Sohn: Today's Court decision in the Grokster case underscores a principle Public Knowledge has long promoted -- punish infringers, not technology. The Court has sent the case back to the trial court so that the trial process can determine whether the defendant companies intentionally encouraged infringement. What this means is, to the extent that providers of P2P technology do not intentionally encourage infringement, they are exempt from secondary liability under our copyright law. The Court also acknowledged, importantly, that there are lawful uses for peer-to-peer technology, including distribution of electronic files 'by universities, government agencies, corporations, and libraries, among others.'
The Court is clearly aware that any technology-based rule would have chilled technological innovation. That is why their decision today re-emphasized and preserved the core principle of Sony v. Universal City Studios -- that technology alone can't be the basis of copyright liability -- and focused clearly and unambiguously on whether defendants engaged in intentional acts of encouraging infringement. The Court held expressly that liability for providing a technological tool such as the Grokster file-sharing client depends on 'clear expression or other affirmative steps taken to foster infringement.' What this means is, in the absence of such clear expression or other affirmative acts fostering infringement, a company that provides peer-to-peer technology is not going to be secondarily liable under the Copyright Act. Douglas Lichtman: Lichtman: Hollow Victory in Grokster.
He is disappointed that the Court didn't follow the liability rule that he supported, inducement can be difficult to prove.
Larry Solum makes an excellent point about the concurrences and their two very different takes on the Sony standard (Solum: The Grokster Concurrences).
More Solum: Solum: A Legal Engineering Failure. Each of the important P2P filesharing cases has involved a failure of "legal engineering"--the legal design of the P2P business. In the Napster case, the failures were the most egregious--with "smoking gun" memos indicating that the purpose of Napster was to faciliate copyright infringement. In Grokster, the failures were almost as bad. C.E. Petit extends Solum's point and responds to Susan Crawford: Balanced or Evasive?.
Lior Strahilevitz: Grokster and Bongs. 'nuff said.
Me, from the Wall Street Journal Grokster Roundtable I would like to pose some questions. Imagine that Sony had been a nefarious group of active inducers when they brought out their Betamax. Suppose that there was ample evidence that Sony fully intended and explicitly encouraged Betamax users to infringe copyright with their videotape recorder (ads, internal emails, business plans). Consequently, under this standard, sales of the Betamax were shut down. What happens when VHS comes along? What will the makers of VHS have to do in order to avoid liability thanks to the bad actions of Sony? In this decision, the Court emphasizes that StreamCast and Grokster followed in the wake of Napster and wanted to capture Napster's users. But, heck, iTunes wants to capture Napster's users as well. What would StreamCast and Grokster have to have done in order to avoid liability for following in the footsteps of bad actor Napster? What will the next developer of P2P have to do if Grokster and StreamCast are found liable in the lower court? Ed Felten, Freedom to Tinker: Business Model as Evidence of Intent and Legality of Design Decisions, and Footnote 12 in Grokster.
More attention for footnote 12 from Randy Picker: The Lurking Design Issue in Grokster.
Kathleen Sullivan has a good summary on SCOTUS Blog: Hollywood Beats Grokster But Not Silicon Valley
EFF press release: Supreme Court Ruling Will Chill Technology Innovation. "Today the Supreme Court has unleashed a new era of legal uncertainty on America's innovators," said Fred von Lohmann, EFF's senior intellectual property attorney. "The newly announced inducement theory of copyright liability will fuel a new generation of entertainment industry lawsuits against technology companies. Perhaps more important, the threat of legal costs may lead technology companies to modify their products to please Hollywood instead of consumers." William Patry : The Court Punts. Must reading, of course. I need as most do, more time to sort through this, but my first read through is negative. We have two very different visions, Ginsburg's camp, which focuse more on what the hard evidence is now, and Breyer's, which focuses on the promise of technology, with three votes uncommitted to either camp. Regardless of whose side you favor, that kind of split is not helpful. Indeed.
Hilary Rosen in the Huffington Post: The Wisdom of the Court , Part 2. But knowing we were right legally really still isn't the same thing as being right in the real world. We had that euphoria with the first Napster decision. I hope my former colleagues remember that. Derek Slater on DeepLinks: What is Inducement?. Indeed, the Court harped on the companies' mere decision to market to Napster users. Because some Napster users infringed, advertising themselves as new Napsters indicated "a principal, if not exclusive, intent on the part of each [company] to bring about infringement." Even use of the -ster suffix drew the Court's ire. (Friendster, you're on notice.) Yeah, this is a real problem. You have to remember that the technology in Grokster is substantially dissimilar. Yet, by aiming for the same market as the original Napster, they get in trouble. What of the new Napster, which even retains the same name?
Rebecca Tushnet on SCOTUS Blog: More Questions than Answers. This leads into my big questions: What would this opinion really have meant for the VCR? Would See any TV show you want to, anytime you want to see it or build a library count as enough obvious encouragement of librarying which was not found to be fair use to justify a finding of contributory infringement? (Im still looking for a copy of the build a library ad, unfortunately.) What about any TV show in the context of pay cable, which again was not analyzed as fair use when the Court looked at time-shifting free broadcast TV? See the question I asked above, as well. Tushnet is more concerned about this decision than I am. I don't think SourceForge needs to worry too much. But there are others who will.
Eric Goldman has an excellent summary: Grokster Supreme Court Ruling. Really good stuff.
Fred von Lohmann discusses points he made before the decision and how they apply after the decision: Supreme Court Sows Uncertainty.
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Posted by Ernest Miller
Where I'll be reading about the decision:
This post will be updated ...
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June 26, 2005
Posted by Ernest Miller
Larry Lessig responds to my comments on his statements about the Copyright Office's proposed reforms of 17 USC 115 (Wow -- I Said That?). My original response here: Lessig on the Proposed 17 USC 115 Reform. Another follow-up incorporting Joe Gratz's thoughts here: Gratz on Lessig on 17 USC 115 Reform.
Larry argues that neither Joe nor myself respond directly to the point he was making: But my criticism was quite local and specific, and not really addressed by either Joe or Ernie. My criticism was about the potential for discrimination. The Register is almost exactly right to say "But in determining public policy and legislative change, it is the author - and not the middlemen - whose interests should be protected." Almost exactly right, because in my view, we should be determining not just "the author" but "the authors" -- the ecology of creativity enabled by copyright's rules. The wonderful and powerful claim in the 1967 testimony is that granting fewer derivative rights to composers than we grant to, say, book authors, produces a wider range of music creativity. I find this argument to be compelling. [emphasis, links in original] I'm not quite sure that I didn't address this issue, though perhaps not explicitly. It may very well be that limiting the derivative work right produces a wider range of music creativity. But as I said in my reply, this comes at the expense of those whose creativity is in tools for distribution not to mention the social networks that through those tools.
One of the problems with 115 is that it creates a mandatory license for the composition, but no corresponding requirement for the sound recording to be similarly licensed. As I noted, the recording companies get the best of both worlds. Complete access to any composition and the ability to exclude similar use of their sound recordings. I would probably have a much different take on 115 reform if the record labels had a "share-alike" requirement to take advantage of the compulsory.
The consequence of this is that the artists and creators who want to make further use of sound recordings have to get permission from the record label and the rights holder for the composition. These creators face the potential for discrimination from two sources. More musical creativity comes at the cost of less potential creativity in other realms. These aren't simply transaction costs.
How do we weigh these issues? What is more important? Covers or new distribution communities or derivative works that can't use the compulsory? I don't think we really can determine this, and even if we could, technology and society change over time rendering old laws not well suited to new situations. After all, the compulsory was originally for the creation of player piano rolls, not sound recordings. I imagine that Congress believed one player piano roll was probably as good as the next. And limited to player piano technology, the legislation probably worked well. But the technology changed. And what is good for player piano rolls may not be good for digital sound recordings in the age of the internet.
Due to these issues, I believe that the ecology of copyright should remain neutral as possible with regard to technology and to medium. We should treat authors and composers the same.
Now the Register's proposal doesn't do that exactly. However, by moving the law closer towards unification of rights, it is an improvement over 115.
Larry anticipates this objection: That will of course invite the question -- "why should composers have fewer rights than authors"? (Joe criticizes the "massive and ongoing wealth transfer from song writers to record companies.") My answer -- which I've blathered on about elsewhere -- is that this has it backwards. The restriction on speech -- which every derivative right is -- should have to justify itself. And that "justification for private rights," as libertarian law professor Richard Epstein puts it, "has to be social." The particular difficult justification presented by this extremely odd "private right" is framed well by Professor Rubenfeld. That work, and of course the work of many others, should lead us to ask again and always: how broadly should the law secure "derivative rights" â” remembering again that copyright was born with no derivative rights. To a certain extent, I've already answered this. But I want to note that I couldn't agree more that we should further limit derivative rights. In my view, they are far too broad. I believe that the First Amendment does have something more to say about copyright law then is current doctrine. I've also considered the notion (for a number of reasons, including the First Amendment, I won't go into here) that what I call the public distribution right should be limited to non-discriminatory terms. Not necessarily reasonable, but non-discriminatory.
But I also think that we have to justify why performing musicians get their rights at the expense other creators, and the social communities that they create and of which they are a part. If as policy, or constitutional interpretation, we should limit derivative rights, I don't think we should do so simply for one group of artists, particularly at the expense of another.
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Posted by Ernest Miller
The pre-Grokster commentary continues. Boy will I be glad when we finally get a decision.
Hilary Rosen weighs in from the Huffington Post, arguing that the marketplace is where the issue will really be settled: The Supreme Wisdom of Not Relying on the Court: This is a big case with lots of money poured into it from all sides. It is said that the Supreme Courts decision will be one of the most important copyright cases ever on the books. I think it has all the makings of being famous for another reason. Because while the victory of whoever wins maybe important psychologically, it just wont really matter in the marketplace. The article is also interesting in that Rosen now self-identifies as a consumer. As if. And, yes, the marketplace will create a solution, but the law creates the marketplace. Does Rosen think the marketplace would be the same no matter the decision?
Chris Nolan looks at the meta-commentary in eWeek (Preparing for the Grokster Watershed). No matter what the decision, the lawyers and lobbyists win as the case will move from the judiciary to the legislature. The fight to change copyright law isn't going to be cheap, short or sweet for anyone.
Scrivener's Error continues to get a jump on the competition (Another Advanced Note on Grokster). Another change in rhetoric that I'd prefer to see is eliminating the purported distinction between contributory and vicarious copyright infringement; instead, I prefer the term "indirect", which is less inflammatory, more accurate. and a better description of the general class of behavior without getting bogged down into questions of "fault." Copyright is, after all, a strict liability statute; importing fault into it should concern only the remedy (or perhaps highly limited defenses), not liability. However, that would require a wholesale rewriting of the law of indirect infringement by Congress, which Congress explicitly refused to do when adopting the DMCA. [emphasis in original] UPADATE 0810PT
For post- Grokster commentary see here: Grokster Loses - Unanimously - Inducement Test?.
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June 25, 2005
Posted by Ernest Miller
Joe Gratz takes Larry Lessig to task for his critical statement regarding the Copyright Office's proposed reform of 17 USC 115 (Lessig Gets It Wrong On Registers 115 Reform Proposal). I was similarly critical yesterday, though my comments focused on the benefits of elimination of Section 115 (Lessig on the Proposed 17 USC 115 Reform). Joe, instead, focuses on the positive aspects of the proposed reforms: The practical effect of the Registers proposal is to force ASCAP, BMI, and SESAC (now referred to as Music Licensing Organizations or MROs) to offer blanket licenses for reproduction and distribution along with the blanket licenses they already offer for public performance. Access to all works licensed by the three MROs remains unhampered, and even becomes easier. ....
So, the practical effect of the Registers proposal would be to institute a system of unified blanket licensing for the public performance, reproduction, and distribution of substantially all non-orphan musical works, especially by digital means. Thats what the Register is trying to do, I believe. The proposal also appears to be motivated by a feeling that the 115 compulsory enacts a massive and ongoing wealth transfer from songwriters to record companies a feeling I share.
This is the right way to fight piracy by making it as easy as possible for digital music services to license the rights they need. The collateral damage to small-time users of musical works will be minimal, and the benefit to consumers will be enormous. I'm still not ready to endorse the reform, but this is what it looks like to me too.
Part of this, of course, is my belief that there should be only three aspects to copyright: scope (what qualifies for copyright and derivative works), term and the right of public distribution. I don't believe in reproduction as a right, something I've said time and time again. By forcing the MROs to license reproduction, distribution and public performance together, you begin to see the outlines of what a right of public distribution might look like. After all, "performance" and "display" are just means of "distribution".
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A Slew of Articles from INDICARE
INDICARE (The INformed DIalogue about Consumer Acceptability of DRM Solutions in Europe) has a number of interesting articles regarding the copyfight from a European perspective: - Copyright - Complexity - Confusion - An interview with Till Kreutzer [German], editor of iRights.info [German] and a lawyer and partner in the "Office for Information Law Expertise" in Hamburg.
In fact I think that the basic approach of copyright needs rethinking. - Personal Feelings About the Creative Commons Licenses - by Dr. Péter Benjamin Tóth, legal counsel at the Hungarian musical collecting society ARTISJUS [Hungarian] and a member of the Hungarian Copyright Expert Group.
For me, there is something fishy about the idea of Creative Commons (CC). The hawkers of this "solution" present the very nature of classical copyright as an alternative solution. And they forget to inform the creators about the side effects. - Contractual Balance in Digital Content Services - by Timo Ruikka, Vice President, Industry Initiatives at Nokias technology platforms unit.
Alongside copyright balance, the question of contractual balance will gain in relevance as consumption and contract practices change with the evolution of new services. Using the analytical distinction of "consumption use" and "copyright use" the paradigm shift is demonstrated between the "legacy model" of book/CD purchase and new services like iTunes music store and 48-hour online "video rental" services. Admittedly the new focus on contracts goes together with new challenges.
There are many more articles of interest at INDICARE and be sure to check out the INDICARE Blog.
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Fred's Friendly Fathomable Guide to the Grokster Decision
EFF's Fred von Lohmann provides a reader's guide to the Grokster decision (Grokster Reader's Guide). Main Event #3: Inducement? There has been much talk about whether any such thing as "inducement liability" exists in copyright law and, if it does, what its scope might be. Justices Ginsburg and O'Connor asked several questions about the idea during the oral argument; Justice Scalia expressed skepticism. Don Verrilli, arguing for the entertainment industry, said that inducement liability would not be enough to address the concerns of copyright owners. What will the Court have to say about this uncharted territory? via Copyfight UPDATE 1405PT Scrivener's Error also has some suggestions on reading the decision ( A Short Reminder About Grokster).
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June 24, 2005
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Goldman on Copynorms: Is Infringement Theft?
Eric Goldman notes a news report on a study that found the British didn't equate copyright infringement with "theft" (Is Copyright Infringement "Theft"?). If this attitude holds true in the US as well, it would represent a colossal failure of the movie/music/software PR machine. For years, the copyright owner groups have tried to shape public perception of copyright infringement by using value-loaded words to describe infringement: "pirate," "theft" and "just like shoplifting" are among the standard lingo of the lobbying/PR efforts. Yet, to the extent Americans can distinguish copyright infringement and "theft"/"shoplifting," then a major axis of the copyright owners' efforts will have failed. Goldman then considers some of the implications and the effect of copynorms, though he doesn't use that term. He also points to a paper of his I'll have to read when I get a chance: A Road to No Warez: The No Electronic Theft Act and Criminal Copyright Infringement. Despite the extended criminal boundaries, a review of the post-passage developments suggests that the Act has been unexpectedly ineffective. To fully understand why, this Article focuses on a group of infringers known as warez traders. While Congress did not specifically reference warez trading in the Act, warez traders were its prime target. Yet, Congress did not fully understand this sociological group or their motivations, resulting in a law poorly tailored to conforming their behavior. But in drafting a broad law to cover warez trading, the Act overstates the harm experienced by copyright owners. This expansive standard for harm covers activities necessary to function in a digital society, unnecessarily turning too many average Americans into criminals. Corrective legislation is required to more precisely distinguish between truly culpable behavior and socially beneficial conduct.
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Pre-Grokster Weekend Reading
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Posted by Ernest Miller
Larry Lessig takes a swipe at the Copyright Office for suggesting reform of 17 USC 115 if by reform you mean "eliminate" (The Register Wants Reform). More on the important proposal here: Forget Grokster? A Recording Industry Bombshell from the Copyright Office.
Lessig cites a discussion of the provision in 1967 House Judiciary Report: [T]he record producers argued vigorously that the compulsory license system must be retained. They asserted that the record industry is a half-billion-dollar business of great economic importance in the United States and throughout the world; records today are the principal means of disseminating music, and this creates special problems, since performers need unhampered access to musical material on nondiscriminatory terms. Historically, the record producers pointed out, there were no recording rights before 1909 and the 1909 statute adopted the compulsory license as a deliberate anti-monopoly condition on the grant of these rights. They argue that the result has been an outpouring of recorded music, with the public being given lower prices, improved quality, and a greater choice. Larry writes: Apparently the Registrer believes performers no longer "need unhampered access to musical material on nondiscriminatory terms." What progress. I don't necessarily see the issue this way. While I'm still haven't come to any conclusions about the proposed reforms, I remain a critic of 17 USC 115 and would be happy to see it eliminated on general principles. And it's not because I'm against unhampered access to music. I'm all in favor. The question is how best to achieve this.
I believe that it would ultimately be easier to achieve through proper unification of rights and a voluntary collective license. I believe a voluntary collective license will be easier to acheive without the artificial split in rights created by Section 115. Heck, mandatory collective licensing would probably be easier to implement without 115.
It would simplify licensing issues for new technologies immensely. Under 115, unhampered access for artists comes at the expense of further hampering developers and users of new technologies, such as webcasting and, now, podcasting. One might frame the argument in favor of 115 reform as not one of hampering artists, but unhampering technological innovators.
Arguably, 115 has actually been harmful to creators on a whole. Not only has technological innovation suffered, but by taking the songwriters essentially out of the equation, the record labels have comparatively greater power as against the interests of the performing artists.
And, maybe, more musicians (and record labels) might favor less copyright if they didn't have such easy access to making covers. They might be a bit more sympathetic to other artists who don't have similar privileges and might want to clear rights for snippets of audio in a documentary, for example. I mean, why should record labels care about copyright reform? They've got their mandatory license and complete copyright control over the rest. They've got the best of both worlds. They get to copy what they want and stop people from copying their stuff.
There are a number of other benefits that would flow from elimination of 115. Copyright would be simpler, for one. We're all creators and publishers today. We shouldn't all have to be copyright lawyers as well. "You see, Suzy, there is a composition right and a recording right ..."
And, hey, I'll say it again. 17 USC 106(1), the right of reproduction, should just go away. Copying is such a 20th century concept. Copyright should be about distribution of information, not "copies." Section 115 essentially embeds the concept of "copies" in copyright. So we have these crazy arguments about whether a dual-pressed CDs, with two versions of a sound recording in two different formats counts as two "copies" or not. Copies, schmopies. Let's talk distribution, instead. Getting rid of 115 helps that, just a bit.
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Posted by Ernest Miller
Prof. Michael Madison points to the debate over Brand X that is starting on Picker MobBlog (MobBlawg LiftOff). [Btw, Picker calls his site MobBlog. I like Madison's MobBlawg better.] Michael agrees with one of the MobBlawggers that Brand X may ultimately be a more important decision than Grokster. Furthermore, Michael points to a Dec 2004 post of his that looks at the conceptual connections between the two: they both are means of regulating communication (On Grokster and Brand X). Abso-posi-lutely! It's all about the distribution man! It's freedom of the press, it's telecomm, it's copyright. It's Network Law. It's All About the Distribution, Stupid. It's Freedom of the Press, Stupid. We're going to need analytic tools that work similarly in all these areas of law and treat them as one whole system of regulating communication.
Anyway, for a very nice discussion of how to frame some of these issues, see Randy Picker's post, Framing Openness and the response from Phil Weiser here: Making Sense of Openness.
In response to, or perhaps, just going off on my own tangent I would like to bring in the traditional concept of common carriage as part of the openness conversation, as that is yet another way we've framed openness issues in the past.
For example, Picker makes an interesting comment: I am comfortably in the camp of those who believe that an author should have some rights associated with her work and indeed dont believe that even most of the copyright left favor eliminating all of the attributes associated with copyright. Well, airlines are common carriers. But advocating common carriage for airlines doesn't necessarily mean that one wants to completely socialize airlines. I see the copyfight similarly.
Weiser notes: Notably, in some cases, there will be alternative platforms (such as cell phones or video games), creating powerful incentives for some providers to voluntarily provide "open access" to their platform. Heck, yes. But I'll note in reply that in the case of common carriage, we apply it despite the fact that there are many alternatives. There may be many airlines servicing a particular airport, some even duplicating routes, but we still regulate them as common carriers. Furthermore, airlines have competition from trains and buses. One might say "there are alternative platforms" for airlines, so why regulate them as common carriers? Yet, we do. Interesting, that.
Just some random thoughts on a beautiful Friday afternoon.
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Democratizing Video Distribution with DVDs
My last post, Clearing Rights for a Mad Hot Documentary, was the difficulties that independent documentary makers have in clearing rights for the visual and audio works that appear (even exceedingly briefly) in their films. Earlier this week, the LA Times wrote about the boon that DVDs are for independent filmmakers distributing their wares (The DVD: Democratizing Video Distribution). Small filmmakers can go direct to DVD, bypassing studio gatekeepers and the relatively high costs and limited returns for arthouse distribution. Though the article doesn't mention it, this makes a lot of sense given recent surveys showing that DVD and the home theatre is the preferred means to see films for an increasing number of people. Especially given the inconvenience for vast swaths of America to see a very limited run arthouse release, DVD more than makes sense. But getting back to the question of clearing rights: In it [the film Tarnation], Jonathan Caouette creates a portrait of a dysfunctional American family through a psychedelic mélange of snapshots, Super 8 home movies, answering-machine messages, and snippets of pop culture. Bringing the audience inside his head, the director's goal, required only $218 the cost of videotape and photocopies. (That sum, however, rose to $500,000 after the visual quality was upgraded and rights were cleared for "Tarnation's" theatrical release.) It isn't clear how much of the $500,000 was for rights clearances and how much was for upgrading visual quality, but I'm sure the rights clearances would be more than your average joe could afford. Again, I say, the costs of production are going to continue to decrease. Increased scope for fair use and reduced clearance costs need to follow. via CinemaMinima
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Clearing Rights for a Mad Hot Documentary
Two great posts on fair use and clearance rights on the Stay Free! Blog. The first is an interview with the director of the favorably-reviewed documentary Mad Hot Ballroom, which is about public school kids in ballroom dance competitions. The interview goes into many of the headaches that citizen creators face if they want to distribute video of scenes of real life (How did Mad Hot Ballroom Survive the Copyright Cartel?). [W]e had to watch out for billboards and Frito-Lay trucks all the time. But I usually didn't care, we would just shoot. The biggest danger with clearances is when they interfere with documenting real life. Something spontaneous like a cell phone ringing is different than a planned event. If filmmakers have to worry about these things, documentaries will cease to be documentaries! What happens when the girls go shopping and there's music playing in the stores? We were lucky because in our movie the music wasn't identifiable, but otherwise what are we supposed to do: walk up to the store manager and say, "Excuse me but can you turn off your radio?" The follow-up post is a ringing argument in favor of pushing fair use rights, though, being the risk-adverse type that I am, I certainly couldn't recommend it ( Fair Use: Use It or Lose It). It cost $140,000 to clear rights for the documentary, about 45% of the cost of making the film. The costs of production are going to continue to decrease. Increased scope for fair use and reduced clearance costs need to follow.
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Reason's Nick Gillespie on the Copyfight
Neofiles interviews Reason Magazine's Editor-in-Chief, Nick Gillespie, on a variety of issues relating to libertarianism (Right On!). The article is a good look at a more nuanced vision of libertarianism then some may be familiar with. The article is a worthwhile read just for that, but about half-way through there is an extensive discussion of intellectual property rights and libertarianism. Very good stuff. Recommended. For libertarians specifically, I suggest remembering that the question about IP is not, first and foremost, about "property rights." It's really an issue about maximizing output and innovation and minimizing restraints on expression. via Hit and Run, natch
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June 23, 2005
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Creative Commons and the Videogame Webcomic
The Creative Commons Weblog has a nice example of a webcomic that is adopting a Creative Commons license (Fantastic (CC)omic). No biggie do you say? Well, perhaps not, but the webcomic is based on the Castle Marrach videogame. They had this to say: We've got some of our own methods to protect joint creativity at Skotos. In our Terms of Service we define what we call "Participatory Content" and "Public Content". If Creative Commons had been around when we launched in 2000, I think we might have incorporated their licenses instead, to protect the joint work that people do at Skotos. Pretty cool.
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Through the Looking Glass with the MPAA
Constitutional Code has been all over a, at best, misleading, MPAA press release on a copyright infringement raid at a DVD plant in Southern California (Machiavellian Picture Association of America). The MPAA was forced to correct itself, including its estimate of the amount of infringement: The trade group said the $30 million figure was reached by estimating the value of the DVDs that could be produced by the stamping machines that were seized. By that standard I'm capable of hundreds of thousands of dollars of infringement with the couple of DVD and CD burners I have. Of course, we're supposed to, you know, believe the MPAA when they make claims about the damages they suffer from copyright infringement. "When I use a word," Dan Glickman said, in a rather scornful tone, "it means just what I choose it to mean - neither more nor less." "The question is," said Alice, "whether you can make words mean so many different things." "The question is," said Dan Glickman, "which is to be master - that's all."
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Slater on Mercora's Legal Hacks
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Grokster: The Waiting is the Hardest Part
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Summary and Analysis of the Proposed 21st Century Music Licensing Reform Act
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June 22, 2005
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The State of Movie Copyright Infringement in Nairobi
CinemaMinima has a report on movie copyright infringement in East Africa (Thanking the Pirates, from East Africa). My point is how the world of Hollywood blockbusters had changed. Even a few years earlier, a city like Nairobi was an “outpost” where blockbusters trundled in after doing the rounds of cinema theatres elsewhere. Now, hey, we felt wired into the global village, after all we saw REVENGE OF THE SITH the same week as Time magazine had it on its cover. Oh — we weren’t hick-towners anymore. [links, emphasis in original] Read the whole thing.
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Posted by Ernest Miller
Forget waiting around to read SCOTUS on Grokster. This is a grenade thrown right into the bunker that is the music publishing establishment while announcing to the record companies that they will finally have to really negotiate rates in a sort-of open market and simultaneously giving the Internet music services a huge boost.
So says an anonymous commentator who is very familiar with the legal and business aspects of the music publishing industry.
What is he talking about? Joe Gratz was one of the first with the news (Register of Copyrights to House: Repeal The Mechanical Compulsory, Restructure Music Rights Collectives). The Register of Copyrights testified this morning before the House Subcommittee on Courts, the Internet, and Intellectual Property, urging them to repeal the section 115 compulsory license for the making and distribution of phonorecords of musical works and to restructure the collective licensing of performance and reproduction rights in musical works. Wow. My jaw dropped when I read the announcement. Essentially eliminate 17 USC 115. Did I already say, "Wow"? This would be a radical and, in my view, welcome change in copyright law. I have long been a critic of the mechanical reproduction compulsory.
Read the full testimony here: Statement of Marybeth Peters, The Register of Copyrights, before the Subcommittee on Subcommittee on Courts, the Internet, and Intellectual Property, Committee on the Judiciary.
I had noticed that the Register of Copyrights, Marybeth Peters, was to testify earlier this week (Marybeth Peters to Testify on Music Licensing Reform). However, my brain had conveniently forgotten it and allowed me to miss the streaming version. [Wouldn't podcasts for this sort of testimony be great? (Podcasts for Congress: Good Idea or Premature?)] As regular readers know, I'm not fan of the Register (Senate Judiciary IP Subcommitee Hearing On Int'l Copyright Infringement). But really, this may be quite a progressive change.
I say "may be" because what the Register is advocating is a huge and technical change in copyright law. I'm still trying to get my mind around all its possibilites (and potential pitfalls). There are like to be many unintended consequences, but the gist of the proposed reforms seem right. EFF's Fred von Lohmann has many questions, but seems cautiously optimistic. He asks: whether the MROs envisioned by the Copyright Office's proposed legislation would be able to grant blanket licenses to P2P end-users for file sharing? I haven't had time to parse it carefully, but this might well create the architecture to make voluntary collective licensing for P2P a very real possibility. (And, on the sound recording side, SoundExchange may become the relevant collective licensing solution for more than just noninteractive webcasting.)
I'm sure Marybeth had intermediaries in mind as licensees, but so long as direct blanket licensing of end-users isn't foreclosed, this could be a step in the right direction, no? This could be a step in the right direction, yes.
Derek Slater summarizes some of this potential well (Register of Copyright Proposes Revision to Section 115 Compulsory). Peters wants to dispose of the compulsory license for numerous reasons, but particularly because free market negotations would be preferable. But she doesn't view the free market in a wholly simplistic way, in which efficient outcomes would be reached if only we granted broad entitlements and got out of rights holders' way. Rather, in her proposal, she recognizes that carefully structuring and allocating rights can be crucial to achieving efficiency.
The proposal is aimed at engineering the market to reach a particular outcome. Its explicit purpose is "to foster a consolidated licensing structure," in which music rights organizations (MROs) would act as a "one-stop shop" for performance, reproduction, and distribution licenses. However, Silicon Valley Media Law is quite right that caution is necessary and the public interest must be clearly taken into account ( Register of Copyrights Advocates Repeal of Compulsory Licensing Under Section 115). This proposal needs careful review. Peters indicates in her testimony that: "As always, my focus is primarily on the author. The author should be fairly compensated for all non-privileged uses of his work." However we hope that the public interest side of the copyright equation is being considered by the Copyright Office in this proposal. Gratz does note one way in which it will be taken into account, citing Peters testimony on copyright infringement: The increased transactional costs (e.g., arguably duplicative demands for royalties and the delays necessitated by negotiating with multiple licensors) also inhibit the music industrys ability to combat piracy. Legal music services can combat piracy only if they can offer what the pirates offer. I believe that the majority of consumers would choose to use a legal service if it could offer a comparable product. Right now, illegitimate services clearly offer something that consumers want, lots of music at little or no cost. They can do this because they offer people a means to obtain any music they please without obtaining the appropriate licenses. However, under the complex licensing scheme engendered by the present Section 115, legal music services must engage in numerous negotiations which result in time delays and increased transaction costs. In cases where they cannot succeed in obtaining all of the rights they need to make a musical composition available, the legal music services simply cannot offer that selection, thereby making them less attractive to the listening public than the pirates. Reforming Section 115 to provide a streamlined process by which legal music services can clear the rights they need to make music available to consumers will enable these services to compete with, and I believe effectively combat, piracy. This is spot on.
SVML also notes one of Peters' conclusions: Except for the consent-decree issues with the public performance societies, a collective licensing approach could ostensibly be done today without legislation -- this proposal appears to focus on eliminating the assurance that a license can be had, as well as the statutory rate for same. According to Peters: "I recognize that if the proposal is enacted, some current music industry participants may have to adjust their business practices to maintain their current levels of profitability without the artificial rate ceiling afforded by the statutory license." Adjust their business practices, indeed.
Let the debate begin!
UPDATE 1120 PT
GrafoDexia has some thoughts ( Summary and Some Analysis of Peters' Testimony). Read the whole thing.
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June 21, 2005
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The Daily Patry - Independent Creation
Another day, another link to the Patry Copyright Blog, which should be required reading in law schools and law firms across the land. Today's lesson: independent creation and its use as an infringement defense (Independent Creation: A Bulwark of Copyright). One way independent creation is threatened is procedural, the misdescription of it as an affirmative defense. It is not; it is instead a denial of copying. Read. Learn. Become wise in the ways of copyright.
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Posted by Ernest Miller
Variety (watch ad for free access) reports that Fox and Marvel Comics have launched a copyright infringement lawsuit against Sony Pictures and Revolution Studios for their film adaptation of Zoom's Academy for the Super Gifted, to star Tim Allen (Fox Lowering a 'Zoom' Boom). The alleged infringement is that Zoom is too similar to X-Men. Frankly, I wouldn't care that much, except that Tim Allen was pretty good in Galaxy Quest and the claims in this case seem rather odd, according to Variety. In an unusual move for a copyright infringement suit, Fox and Marvel are making the release date a key part of the complaint.
" 'Zoom's' release in May 2006 immediately before the release of 'X3' (or any release in proximity to the release of 'X3') is an unfair attempt by Sony and Revolution to manipulate the market and trade off the time, energy, resources and effort Marvel have invested in 'X-Men,' " the lawsuit states. Yeah, that would seem pretty unusual in a copyright case. Sounds more like trademark dilution.
Of course the copyright infringement sounds particularly weak: But based on a recent version of the script, Fox and Marvel allege the pic rips off "X-Men" with elements including teenage mutant super-heroes, an underground training facility, and a sinister government program. Yeah. Uh huh. Those basic concepts are copyrighted. Right.
The truth is that this is just a strategic release date game that these mega corporations are playing in our court system: Lawsuit seeks an injunction barring further work on "Zoom" and monetary relief, though Fox and Marvel would likely be satisfied with a new release date and moderate script changes. And the film studios are upset that consumers don't respect copyright law. Here it's just a game for them.
via Cinematical
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Seth F on Blizzard v. BnetD Oral Argument
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June 20, 2005
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Download the Blizzard v. BNETD Oral Argument
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Geist on Canada's New Copyright Bill
Ubercanadiancyberlawprof Michael Geist on Canada's proposed new copyright law (Canada Introduces New Copyright Bill). There is simply no denying that the lobbying efforts of the copyright owners, particularly the music industry, have paid off as they are the big winners in this bill. The bill focuses almost exclusively on creating new rights for this select group including a new making available right, legal protection for technological protection measures, legal protection for rights management information, the ability to control the first distribution of material in tangible form, new moral rights for performances, a reproduction right for performers, and an adjustment in the term of protection for sound recordings....Anyone who has followed copyright reform history will not be surprised to learn that individual Canadians are the big losers today. Of course.
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Posted by Ernest Miller
Yesterday, the LA Times ran an article on a copyright crackdown on makers of piñatas, or piñateros (Got a License for the Pinata?). Disney and the other companies, in what experts said was an understandable move to protect their popular cartoon and character properties, filed copyright and trademark infringement lawsuits against Santoyo and another nearby shop owner for allegedly selling the counterfeit pinatas. Are they really counterfeit piñatas, or merely unlicensed? In any case, Berkman Center chief John Palfrey, who was quoted in the article, provides his own take ( Suing the Piñateros). But far from thinking that these executives are compelled to make such a decision, I think it's absurd to have filed them. See for yourself: two examples of these complaints are here (Viacom v. El Cora Produce) and here (Viacom v. Saavedra's Produce). These huge entertainment companies using their muscle to stop people from making pinatas of their characters that are the star of the show at a five year old's birthday? One of the claims is "unfair competition." There's obviously a legal meaning of that term. It's certainly an unfair fight between a storefront business with margins at or near zero v. the likes of Viacom -- but not in the direction that the complaints allege. There has got to be a better way to handle these disputes than these lawsuits. [links in original] I grew up with piñatas in Southern California and I still rather enjoy their colorful and festive appearance in the many small markets that sell them. They are really a form of folk art that is cheap, transient and 2-feet tall.
My family never used the licensed piñatas, we stuck with the traditional sort (stars, horses, snowmen for Christmas). However, I still look at the piñatas to see what is popular with the kids. Of course the blockbuster movies are always, but you could tell how popular a movie really is by how long its piñatas continued to be sold. Nowadays you also see videogame piñatas, and the occasional fairly obscure cartoon character as well. It is too bad that Hollywood can't see to license, cheaply and easily, these characters, which would serve more as a marketing device than anything else.
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Marybeth Peters to Testify on Music Licensing Reform
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Posted by Ernest Miller
At the beginning of the 1800s, the Elgin Marbles were removed from Greece for Britain. The outrage over this cultural theft continues. "The request for the restitution of the Parthenon Marbles is not made by the Greek government in the name of the Greek nation or of Greek history. It is made in the name of the cultural heritage of the world and with the voice of the mutilated monument itself, that cries out for its marbles to be returned."
Evangelos Venizelos, Greek Minister of Culture Today we face a similar theft of our cultural heritage.
The coverstory of the June 2005 edition of Communications of the Association for Computing Machinery deals with the difficult question of DRM for 3D images (Protecting 3D Graphics Content). In particular, the authors, David Koller and Mark Levoy, are concerned with preventing "piracy" of hi-resolution 3D models of cultural heritage works such as Michelangelo's David. For example, our Stanford Digital Michelangelo Project has developed a high-resolution digital archive of 10 of Michelangelo's large statues, including the David. These statues represent the artistic patrimony of Italy's cultural institutions, and our contract with the Italian authorities permits distribution of the 3D models only to established scholars for noncommercial use. Though everyone involved would like the models to be available for any constructive purpose, the digital 3D model of the David would quickly be pirated if it were distributed without protection; simulated marble replicas would be manufactured outside the provisions of the parties authorizing creation of the model.
Digital archives of archaeological artifacts are another example of cultural heritage 3D models that could require piracy protection. Curators of such artifact collections increasingly turn to 3D digitization as a way to preserve and widen scholarly use of their holdings, but they often want strict control over the manner of that use of the 3D data and to guard against theft. An example of such a collection is our Stanford Digital Forma Urbis Project (formaurbis.stanford.edu) we've undertaken with Italian archaeological officials to digitize more than a thousand marble fragments of an ancient Roman map and make them publically available through a Web-based databaseprovided the 3D models have adequate protection. [sidebar, footnotes omitted] Piracy!? Theft!? I do not blame the authors of the paper, who are forced to agree with the relevant authorities in order to gain access to the works in the first place (and it is better that the works are scanned than not at all). I do blame the cultural authorities who dare to claim a gatekeeper function to the digital reproductions of these works that are the cultural heritage of the world.
These works are not "owned" by their representative cultural institutions, but held in trust for all mankind: a position of responsibility with a duty to preserve our common cultural heritage.
A secondary duty is to provide open access to these works, consistent with the duty to preserve. It is this right of access that these claims of "piracy" and "theft" abrogate.
When digital scans can provide everything but physical access, the true pirates and thieves are those who would deny such access. They may do so out of a misguided belief that they require such control in order to fund themselves, but this only means that they are essentially holding access to our cultural heritage hostage.
Elgin's justification for removing the Parthenon Marbles was to preserve them. Those who would use the same arguments to justify preventing open access to digital reproductions of our common cultural heritage are not much better.
See also, DocBug, Owning David.
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+ TrackBacks (0) | Category: Copyright | Culture
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Hey, That's My Handbag (Design)!
Good article in the New York Times on small fashion creators and how the big manufacturers knock off their designs (That Looks Familiar. Didn't I Design It?). How creativity and intellectual property work in the fashion industry is fascinating and this article provides some of the reasons why. I particularly like the conclusion: Many designers adapt by simply withdrawing from the public eye. After a particularly traumatic knockoff experience, said Amanda Keidan, a jewelry designer in New York, she did just that. She now primarily designs jewelry for private clients. Not Ms. Dreyfuss, however. She says she has added a larger bag with a circular handle to her collection. In the next few months, she said, she will invest much time marketing her latest creation - and not worry about possible knockoffs.
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Canadian Politicians Answer Questions on Copyright
Russel McOrmand wrote to some potential political candidates in Canada about their views on copyright and has actually gotten non-form-letter-looking answers from two (Ottawa Centre NDP Nomination Candidates Write on Copyright). Hi Russell, thank-you for bringing Lawrence Lessig's trenchant article to our attention. Copyright is a fascinating area and one that needs our immediate attention. What is transpiring in Brazil is not that much different from what many media and communications workers face here in North America. Witness JonathanTasini taking on the New York Times and Heather Robertson's $100,000,000 class action suit against Thomson Corporation. Writers want to be in the position to choose whether or not their work is reproduced, whether verbatim or in derivative form, and they certainly want fair remuneration.
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Although the Supreme Court did not issue decisions in Grokster or Brand X today, it did agree to hear a patent tying case (SCOTUS Blog | Court Turns Aside Booker Sequel). One case, Illinois Tool Works v. Independent Ink (04-1329) tests whether a company that has a patent on a product, and ties the sales of another unpatented product to it, is to be determined to have market power sufficient to restrain trade under antitrust law. Read the 20-page Federal Circuit Decision here: Illinois Tool Works v. Independent Ink.
Basically, the case involves tying a patented ink jet printing device to unpatented ink. The question is whether there is market power sufficient to meet an antitrust claim. The district court said there had been no showing of market power and issued a summary judgement in favor of the patent holder. The Federal Circuit reversed, holding that there is a rebuttable presumption of market power when tying occurs.
The Federal Circuit's decision is based on a number of Supreme Court precedents (including a copyright tying case) that have been heavily criticized by academics. I would assume the Supreme Court is taking this case to reinforce or more likely, overturn, the precedents. However, I don't know enough about the issues here to really understand why the Supreme Court has taken the case.
UPDATE 0835PT
Patently Obvious has more: Supreme Court to Reexamine the Interplay Between Patents and Unlawful Tying Agreements.
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Posted by Ernest Miller
So, there I was, sitting in hot standby to blog the heck out of decisions in Grokster and/or the Brand X case, but the Supreme Court has held those decisions once again. From SCOTUS Blog (Court Decides Six "Second Tier" Cases): The Supreme Court, on a day on which it issued six decisions, released none of the major controversies still to be decided -- the Ten Commandments displays cases, music and movie downloading and copyright, government seizures of private property for private re-development, and access to cable companies' broadband lines for high-speed Internet connections.
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+ TrackBacks (0) | Category: Copyright | File Sharing | Telecomm
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Patry on the More Discerning Observer Test
William Patry on the More Discerning Observer Test. Basically, what do you do when the two copyrighted works being compared both have large amounts of public domain materials in them. These are fascinating questions and much more difficult to deal with theoretically (and practically) then it may seem. I get lost contemplating various empyrean realms.
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June 17, 2005
Posted by Ernest Miller
GloFish are fluorescent fish that were originally bred to help detect environmental pollutants. Read the GloFish FAQ: About GloFish. Of course, who wouldn't want a flourescent fish for the dull, unexciting fish tank at home? So, they are now available for sale to the general public (Buy GloFish Fluorescent Fish). But be aware. These fish are licensed (GLOFISH FLUORESCENT FISH LICENSE NOTICE): The GloFish fluorescent ornamental fish are intended solely for visual enjoyment as aquarium fish by end users who have purchased these fish from authorized resellers, and not for commercial reproduction. These fish are the subject of various intellectual property rights owned or controlled by Yorktown Technologies, Inc. (Yorktown), both in the U.S. and internationally. These rights include (1) patent rights, including published patent applications (2) copyrights; and (3) trademark rights, including slogans and service marks.
By accepting these fish, and as part of the consideration therefor, the recipient agrees: (1) not to, breed or propagate these fish, permit or encourage others to breed or propagate these fish, or otherwise intentionally engage in any activity that may result in or lead to the breeding or propagation of these fish by anyone without the express written consent of Yorktown; (2) not to sell or transfer these fish to anyone in the State of California, or to possess or otherwise engage in any activity that results in the possession of these fish in the State of California. These fish are copyrighted? And why aren't Californians allowed to have any?
via Ed Foster's Gripe Log
UPDATE 1255PT A commentor notes that the fish were banned in California. CNN with an AP wirestory (California Blocks Sales of 'Glofish' Pets).
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+ TrackBacks (0) | Category: Copyright | Oddities | Patent | Trademark
Posted by Ernest Miller
Yesterday, Kevin Marks made a good suggestion in this comment to my post, Even Copyright Infringing Spammers Deserve Free Speech Protections. His comment: An earlier suggestion I made regarding spam was for some enterprising law firm to facilitate class actions against spammers:
When you get spam, you forward it to a special email address, which aggregates it and keeps your address. When there are enough copies to justify a case, the lawyers track down the spammer and file a class action, using whichever spam laws apply. They disperse the damages back via PayPal, keeping a percentage themselves.
Copyright-violating blogspam could be similarly handled. Isn't the going rate $150,000 per infringement? This is not a bad idea. Such lawsuits might quickly put some of the blogspammers out of business.
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The Patry Copyright Class Continues
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June 16, 2005
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Birthday Cakes are Nature's Way of Telling Us to Reform Copyright
BoingBoing passes along a story about how a bakery is now refusing to produce edible images for cakes that come from outside sources, presumably due to copyright concerns (Copyright Cops Crack Down on Cooks Over Cakes). It would be funny if it weren't so sad. As Wendy Seltzer notes, "But at the end of the day, no one's rights are threatened by 'unauthorized' cake decorating" (Of Copyrights and Cakes). In any case, perhaps the most interesting thing is the long discussion, in which numerous false statements about copyright law are made that really express the various views people have of what copyright law should be. Concludes Jason Schultz: It is this battle for control that is at the heart of the copyright wars and little else. From the perspective of consumers and fans, characters like Dora have become part of our lives and we shouldn't be ashamed or intimidated from enjoying that fact, even if it involves putting their image on a birthday cake. From the perspective of the Copyright Maximalists, however, even a "Let them eat cake" policy is far too lenient and infringing of their rights. Read the whole thing.
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June 15, 2005
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Australian Federal Court Justice Rips Copyright Term Extension
Justice Ronald Sackville of the Federal Court of Australia, an "old-fashioned, even Luddite" judge, rips into extension of copyright for pre-existing works as well as other expansions of copyright law (Cultivating the Creative Commons). Despite the [US] Supreme Courts ruling and the willingness of Australian negotiators to accept the position of the US, it is extremely difficult to understand the policy justification for a further extension of the term of copyright, let alone the application of the extension to subsisting copyright. Read the whole thing. via Open Access News
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GAO Issues Testimony Regarding Int'l IP Enforcement
Loren Yager, Director of International Affairs and Trade for the Gov't Accountability Office, has released a report on efforts to protect US intellectual property overseas. Read the 1-page highlights: Highlights of GAO-05-788T [PDF]. Read the 23-page testimony (if you've got nothing better to do): Intellectual Property: U.S. Efforts have Contributed to Strengthened Laws Overseas, but Significant Enforcement Challenges Remain [PDF]. U.S. efforts have contributed to strengthened foreign IPR laws, but enforcement overseas remains weak and U.S. efforts face numerous challenges. Competing U.S. policy objectives may take priority over protecting intellectual property in certain countries. In addition, the impact of U.S. activities overseas is affected by countries domestic policy objectives, which may complement or conflict with U.S. objectives. Further, economic factors, as well as the involvement of organized crime, pose additional challenges to U.S. and foreign governments enforcement efforts, even in countries where the political will for protecting intellectual property exists. These economic factors include low barriers to producing counterfeit or pirated goods, potential high profits for producers of such goods, and large price differentials between legitimate and counterfeit products for consumers. Nothing particularly noteworthy thay I noticed, but I only skimmed. via beSpacific
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Barnett Blogs the AALS Contracts Conference
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June 14, 2005
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Darknet Excerpt: The Future of DRM
JD Lasica has another excellent excerpt from his new book, Darknet: Hollywood's War Against the Digital Generation (Story: Your Locked-Down Digital Future). Hollywood is adding such little-known weapons to its arsenal as certification and renewabilitynew forms of copy control that are about to enter the living room by stealth. (Another feature, called "selectable output control," allows copyright owners to turn off a viewer's set-top box's outputs under certain circumstances, as when a copy protection scheme has been hacked. But consumer groups and electronics companies say honest viewers shouldn't be prevented from, say, playing HDTV movies or recording high-def television just because someone somewhere else foiled the industry's copy control system.)
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Posted by Ernest Miller
Jeff Jarvis is attending the Annenberg Foundation Trust at Sunnylands' Institutions of Democracy and discussing the First Amendment and government support for media with mass communications professor Timothy Cook (Gov Giveth and Gov Taketh Away). Various ideas were raised by respondents that made my spine shake: taxing ads to support publications with fewer ads, giving postal subsidies only to publications below a circulation threshold, government search engines. As Jeff responds, "Arrrgh."
There is insight here: the government shapes our communications environment far more than we realize. However, these ideas for direct subsidy seem to do both too much and too little. Too much in that they invite all sorts of governmental decisions about what sort of content and media should be subsidized and too little in that they don't address the structural and architectural elements of our communications infrastructure.
Telecomm (and I'm not talking about the distraction about "media ownership") and copyright law are the real powers that shape our communications environment. You want to talk about government helping media, that is where you have to look.
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June 13, 2005
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Geist on Motivations for Copyright Reform in Canada
More must-reading from Canadian Ubercyberlawprof Michael Geist on the "motivations debate" setting the stage for Canadian copyright reform (Groundhog Day). My motivations are pretty transparent. I am concerned about the impact of potential copyright reforms advocated by CRIA that have been shown elsewhere to have a negative impact on privacy, free speech, creativity, security, and research. I am concerned with policies that do little to benefit Canadian creators while sending increasing royalties to large multinational corporations based outside the country. I am concerned by public rhetoric that seeks to label as "theft" activities that may be permissible under Canadian law. I am concerned that Canadian copyright laws are not focused on policies that could genuinely foster greater Canadian creativity and access to Canadian culture. I would argue that CRIA's motivations are also pretty transparent. Consider the development of the private copying levy in Canada and the ongoing debate on file sharing. Read the whole thing.
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Beastie Boys Sampling Infringement Case Ends
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June 12, 2005
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Joe Gratz Enjoys Copyright Infringement
Joe Gratz went to a live electronica show that likely featured copyright infringement after copyright infringement (Meat Beat Manifesto). Apparently he enjoyed the blatant thievery: And it all had to be illegal. Thousands upon thousands of individual infringements each sample from a movie or TV show, each uncleared photograph and film clip, without which the music would have fallen flat and the visuals would have disappeared.
The evening strengthened my belief that fair use should privilege this sort of transformative art, even though I dont think its privileged under current law.
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Brief Interview with David Nimmer
Silicon Valley Media Law Blog has a short interview with David Nimmer, he of the famous copyright treatise, Nimmer on Copyright (Catching Up with David Nimmer). I have analysis there [an article of his] of the Napster case, in which I concluded that the 9th Circuit got it wrong, that Napster should not have been liable. In terms of outcome of the investor liability case, as a treatise writer I deal with a deluge of decisions, so I focus on predicting the past, not the future.
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June 10, 2005
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463 Communications Looks at CDT's Copyright Policy Paper
463 Communications takes a look at CDT's new copyright policy paper and the blogospheric reaction (Bridging the Digital Content Divide). STILL, what is lost on many outside of Washington, is that this is not always about reality (especially a reality seen through the prism of technologists), its about politics. And, and as hard as it is for some to recognize, the center simply wins in business policy debates (especially on an issues that isn't naturally partisan). CDT is working in a Washington environment that is vastly different from Silicon Valley's or or any tech-savvy center. Put simply and wrong or right, most members of Congress (Democrats and Republicans) believe that P2P equals theft. Many also understand that technology mandates don't work. Still, without reinforcement from those in the tech industry, current theft could lose to possible, unknown innovations. See also, CDT's David Sohn respond to Freedom to Tinker's criticisms: Comments on CDT Closes Eyes, Wishes for Good DRM.
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Denise Re: Copyright Reform and Participatory Law
On Between Lawyers, Denise Howell calls for "participatory law" in copyright reform: Denise Re: Fair Use and the Future. Copyright law is like an aging house. Though it may still serve its central purpose of providing a roof overhead for its owners, its infrastructure and plumbing have reached the end of their useful lives, and need to be updated if the whole structure is to remain sound for decades to come. ... Who are the general and sub-contractors of this remodel? We all are. Participatory journalism gets a good deal of attention, but with the kind of unprecedented, unmediated, and distributed influence on the lawmaking process becoming possible today, "participatory law" is just as important, if not more so. Conversations like this one can become part of the analysis, and so can ideas generated around Creative Commons, collective licensing, and collaborative editing of scholarly texts. Keep hacking and hammering folks, and just maybe our children will inherit fewer constraints and uncertainties, and a better world. [links in original]
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Irony, Thy Name is Warhol
The Washington Post runs an AP wirestory reporting that the Andy Warhol Foundation has sued a company that makes hand painted reproductions of any artwork (Warhol Foundation Sues Online Service). On its Web site, Arts-Studio.com offers hand-painted reproductions of Warhol works, ranging in price from $209 to $329. They are among copies of more than 2,000 works by more than 60 well-known artists advertised by the service, which also offers to copy any oil painting desired by a customer. Okay, this is almost certainly copyright violation (the website appears to be down), and is not cool. But it is the Warhol Foundation that is first to sue? Warhol?
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Brazil Threatens to Ignore US IP Rights
The LA Times reports that Brazil is threatening to void US intellectual property rights in retaliation for subsidies provided to US cotton growers (Trade Battle With Brazil Threatens U.S. Copyrights). Angered by subsidies to U.S. cotton growers, Brazilian lawmakers said Thursday that they were considering suspending the intellectual property rights of American products in their country if the U.S. government did not explain how it intended to change subsidy programs by July 1. ... "Essentially, the Brazilian position would be, 'We're going to have state-sanctioned piracy,' " said Neil Turkewitz, an executive vice president of the Recording Industry Assn. of America, the music industry's largest trade and lobbying group. Read the whole thing. This could get interesting.
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June 09, 2005
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The Grateful Dead and Fair Use (And It's Not About the Music)
Over on the Trademark Blog, Marty Schwimmer takes a look at a fair use copyright case that involves the Grateful Dead (Please Don't Dominate The Rap, Jack). Authors of a history of the group, Grateful Dead: The Illustrated Trip, had attempted to get permission to use reproductions of concert posters but, unable to come to an agreement with the copyright holder, used thumbnails without permission and were sued. Of particular interest, says Schwimmer, is the fourth element of the court's fair use analysis regarding the effect on the market. I think it's helpful that the Court is trying to give contours to what types of lost licensing opportunities count as harm under the fourth factor. However, looking to whether the use is "transformative" may be the wrong inquiry, and probably proves too much. For instance, turning a 60 page play into a 2 and a half hour feature movie is highly transformative, but that doesn't mean that making a movie is a fair use of the play, or that it isn't taking away from the copyright owner's "traditional" market for the work." So the court found that 'the transformative nature of the use is outside the ambit of lost licensing opportunities' and this there was no negative effect on plaintiff's market. Fair use. Personally, I like to consider derivative works that strive to adapt a work from one medium to another (book to film, for example) as translations.
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Posted by Ernest Miller
Comments (3)
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Re: iPods Re: Australian Law
Kim Weatherall has been following the discussion regarding personal use copying and copyright (here, here, here and here) and considers it from the point of view of Australian law (Fair Use - Should It or Should It Not Cover Private Copying?). [I]nsofar as the personal copying issue matters - the problem here is that the law just looks stoopid. Ultimately, a law that makes thousands of ordinary acts by ordinary people using ordinary consumer technology infringements makes no sense - especially when it looks meaner and nastier than US law. But I don't get the sense that anyone denies we have a problem here. The real issue is whether we can reach sufficient agreement on how to fix it. Now there's a challenge and a half. [italics in original]
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Samuelson's Berkeley Students Offer Potential Solutions for 'the P2P Problem'
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Darknet's Jack Valenti Interview
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Posted by Ernest Miller
William Patry writes another highly educational piece, this time about the history of one of the most technically complex aspects of copyright law, the right of termination for works whose term has been extended (Do Termination of Transfers Matter?). For those unfamiliar with this aspect of copyright law, termination means that if you licensed your copyright to some person or entity, you (or your heirs) can get the copyright back to take advantage of the new, extended term, if you comply with some complex formalities.
Patry writes that the inalienable aspect of the termination right is due to a failure of the renewal requirement (28years of copyright, then you have to renew in the last year of the original term for another 28 years) to let artists have a second bite at the apple. Patry writes about the original renewal term: The purpose of this arrangement was (hard as it is to believe) to give the author a second bite at the apple: because it was believed difficult to calculate the market value of a work at its inception, it would be hard to calculate what an assignment of the renewal term was worth. Congress therefore considered the renewal term to be an opportunity for the author or his or her heirs to renegotiate the terms of an assignment made during the original term. But that plan worked only if the author was not permitted, during the original term, to also convey the renewal term. If the author could convey the renewal term along with the original term, the plan failed. Patry writes that the Supreme Court's decision in Fred Fisher Music Co. v. M. Witmark & Sons, 318 U.S. 643 (1943), shot this down by permitting the artist to convey the renewal interest before the renewal had taken place. Patry thinks the case wrongly decided, "Whether one agrees with this or not (and great judges like Judge Pierre Leval do agree with the policy expressed by Frankfurter), the Court should not have ended up where it did, since it conceded the statute was plain and plainly to the contrary."
Of course, all this complexity would easily have been avoided if Congress (and the Constitution) would permit only prospective change to copyright terms, rather than change in term for subsisting copyrights.
Moreover, the whole concept behind renewal, that it is essentially impossible for the artist to properly calculate the future value of their work and thus need an opportunity to renegotiate with licensees, seems rather inconsistent with the claim in the Sonny Bono Copyright Term Extension Act (CTEA) that extending the term of copyright another twenty years will incentivize creativity. If calculating the value is so darn hard, how in the world will that change my incentives? It isn't even as valuable as a lottery ticket, since I can calculate precisely the expected value of a lottery ticket. Heck, how will the possiblity that a future Congress might increase the term down the road provide any cognizable incentive, if I can't properly calculate the present value anyway? Why have a termination right? Why didn't artists take into account the possibility that Congress would pass the CTEA and figure it into their original licensing agreements?
Subsisting copyright term extension is simply windfall rent seeking.
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June 08, 2005
Posted by Ernest Miller
Johan Redström has written an intriguing paper, Technology as Material Design: When introducing new kinds of objects, such as new technologies, there is not as much in terms of traditions, expectations and interpretations to lean on and react against. In fact, such a framework must often be developed along with the object itself. This places the designer in a rather difficult position, since not only the object but also all aspects of its eventual use need to be envisioned. Methods such as probing into possible use scenarios and user expectations become a way to get to know the object to be designed and help us build the framework needed for understanding the design problem, i.e., that characterising practical function the object will be designed around.
Here, our need for a practical function to govern the design easily transfers into a concern for how the thing will be used. A main problem, however, is that while we can determine the design of a thing, we can only predict its use. And this is where we risk fixating its functions and to some extent also ways of using it confusing the two different tasks, that of designing the object with that of predicting its use, we try to determine its use the way we determine its design. In practice, this confusion might lead to a focus on the capacities, needs and desires of people as a basis for design on one side, and the technology itself on the other. In the extreme case, design therefore risks becoming a question of how to package a given technology in a way that makes sense to a specified user group.
Of course, projecting what it will mean to use an object is something that is, to various extents, always present in design. However, when introducing not only new objects, but new object categories, these questions become central. Further, whereas it can be argued that the design of things such as the table, the chairs, or the dinnerware at a dinner party will shape the social interactions taking place (especially if significantly deviating from what we have come to expect from such objects) such changes are subtle compared to the rather dramatic effects of new communication technologies on how we relate to one another. [emphasis in original, endnotes omitted] The relevance of this passage to secondary liability in copyright and innovation in general is quite clear. Though the paper is written in an academic style, it is well worth reading.
via Purse Lip Square Jaw
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Posted by Ernest Miller
Prof. Michael Madison notes the appointment of Janice Brown to the DC Circuit Court of Appeals bench (CNN: Senate Confirms Brown to Federal Judicial Post), and one of her opinions that copyfighters would be interested in (Janice Brown Confirmed). The case he cites is Intel v. Hamidi, in which Brown dissented from a majority ruling holding that Intel could not prevent a former employee from sending mass emails to current Intel employees. Her dissent shows quite the fondness for property metaphors: Those who have contempt for grubby commerce and reverence for the rarified heights of intellectual discourse may applaud today's decision, but even the flow of ideas will be curtailed if the right to exclude is denied. As the Napster controversy revealed, creative individuals will be less inclined to develop intellectual property if they cannot limit the terms of its transmission. Similarly, if online newspapers cannot charge for access, they will be unable to pay the journalists and editorialists who generate ideas for public consumption.
This connection between the property right to objects and the property right to ideas and speech is not novel. James Madison observed, "a man's land, or merchandize, or money is called his property." (Madison, Property, Nat. Gazette (Mar. 27, 1792), reprinted in The Papers of James Madison (Rutland et al. edits., 1983) p. 266, quoted in McGinnis, The Once and Future Property- Based Vision of the First Amendment (1996) 63 U. Chi. L.Rev. 49, 65.) Likewise, "a man has a property in his opinions and the free communication of them." (Ibid.) Accordingly, "freedom of speech and property rights were seen simply as different aspects of an indivisible concept of liberty." (Id. at p. 63.)
The principles of both personal liberty and social utility should counsel us to usher the common law of property into the digital age. Yeah, free speech is exactly like a property right. Sure.
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The Spread of Creative Commons
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Two Positive Reviews of CDT's Report
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Posted by Ernest Miller
In the ongoing discussion concerning iPods, personal use copying, and copyright, Marty Schwimmer originally asked why we should worry about this stuff. Both I and Dennis Kennedy responded (A Reply to Dennis Kennedy, Michael Madison and Marty Schwimmer on iPods, Distribution and Copyright). Now Marty responds once again (Dennis Re Marty Re iPod Etc.). My real point to Dennis is - is that if he were leaning in the doorway of my office, worrying whether various personal activities were copyright infringements, I would say, yes, copyright law is uncertain, as is the tax code. However the copyright cases that are presented to us as being egregious (City of Heroes and the 'RIAA sues dead grandmother' cases leap to mind), are (in my anecdotal perception), those that involve people performing some public act with regard to the copyrighted work. In other words, if they were wronged by the copyright holder, it wasn't because of intrusion upon seclusion.
I acknowledge that the Internet may be blurring the distinction between personal and public acts, but the copyright cases that are getting the headlines are, to my mind, not unclear on this point. This isn't private (using private to mean solitary) behavior. Absolutely. In my original response to Dennis, I emphasized that copyright should focus on distribution, not reproduction. What I didn't emphasize was my belief that type of distribution we should be concerned with is public distribution, not private distribution.
In my view private distribution shouldn't be illicit. There are a number of reasons for this, one of which is what Marty alludes to, the difficulty in enforcing against it. However, even though Dennis doesn't have to worry on a practical level about personal use copying, that doesn't mean the question isn't important to ask.
For example, if private, personal use copying is technically illegal, that can be used to justify laws like the Digital Millennium Copyright Act. It may also make a huge difference with regard to questions of secondary liability. If personal use/private copying is perfectly legitimate, then many technologies have a clear and obvious legitimate use. If personal use/private copying is illicit, even if unenforced, then many technologies are much more likely be used for illicit purposes.
Finally, from an ethical point of view (and lawyers should always be ethical, right?), one should obey a just law regardless of the risks of punishment. Dennis has many good reasons to ask if what he is doing is legal. And, because I don't want Dennis to be live in a morally nebulous state, I think we should make clear that private copying (if not distribution) is perfectly legitimate. This way Dennis doesn't go to hell because he engages in "normal use."
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Copyright North of the Border
I realize I'm a bit late in blogging this, but if you haven't, you really should read ubercanadiancyberlawprof Michael Geist's most recent column on the status of lawsuits against file sharers (The State of File Sharing and Canadian Copyright Law). The differences between Canadian and US law are illuminating. See also his post on the likely introduction of a very content industry-friendly copyright "reform" bill (Fact and Fiction).
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Felten on CDT's Report
Below, I reviewed CDT's new copyright policy report (CDT's 'Balanced Framework' for Copyright Completely Unbalanced). Ed Felten thinks I am too harsh on the report, but also thinks CDT neglected the fact that we are all content creators now (CDT Closes Eyes, Wishes for Good DRM). What they really mean, of course, is that some producers are more equal than others. Those who are expected to sell a few works to many people or, given the way policy really gets made, those who have done so in the recent past are called producers, while those who produce the vast majority of new copyrighted works are somehow called consumers. Read the whole thing.
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Posted by Ernest Miller
Holy cow! How could I have missed this? Yesterday, the consumer VCR celebrated its 30th birthday here in the USA, according to the Cedar Valley Courier (On Its 30th Birthday, the VCR Begins Its Goodbyes). Actually, I'm not sure where they got that date. There seem to be several different possibilities for dating the first consumer VCR in the US. The 1975 debut of the video cassette recorder forever changed American television viewing habits, but with the advent of new technology, the VCR may be entering its final decade. And, had a tremendous impact on copyright law, innovation, consumer expectations, Hollywood, you name it. Mark Johns, professor of communication studies at Luther College in Decorah, says the time-shift idea of watching shows at one's leisure is here to stay. And while technology will continue to improve the way we do that, the VCR lit the match that sparked the home entertainment fire. Yep, whatever the actual birthday is.
via PVR Wire
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June 07, 2005
Posted by Ernest Miller
Got an email from a traditional press reporter today. She wanted to know if I could handicap the Supreme Court Justices with regard to the soon-to-be-decided Grokster case. I had to respectfully decline as I am particularly bad in these Justice guessing games, particularly when the decision cuts across so many ideological lines. I did give her a list of names of people much wiser in this area than myself. I'm making no predictions for Grokster, other than it is likely to be extremely important.
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Posted by Ernest Miller
The Center for Democracy and Technology has released a report today arguing on behalf of a balanced approach to copyright enforcement, a carrot and stick (CDT Proposes Balanced Framework for Online Copyright Protection). via Constitutional Code, which has many worthwhile comments
Read the 14-page report: Protecting Copyright and Internet Values: A Balanced Path Forward: Version 1.0 Spring 2005 [PDF].
Note: I've long favored the carrot and stick approach. See this interview with GrepLaw in September, 2003 (Ernest Miller on DRM, Privacy and Hemingway). (You know, I think my answers stand up to the test of time pretty well.)
However, I think the CDT report favors the stick a bit much, treats citizen/creators as mere consumers, doesn't consider structural reform of copyright law, and doesn't provide much in the way of a carrot, among other flaws.
Read on for a more detailed take on the report...
...continue reading.
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+ TrackBacks (0) | Category: Broadcast Flag | Copyright | Digital Millennium Copyright Act | Digital Rights Management | File Sharing | Freedom of Expression | INDUCE Act
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Equitable Estoppel Successfully Used as Defense in Copyright Case
posted by Ernest Miller |
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Posted by Ernest Miller
My friend, Prof. Beth Noveck, has written (not for the first time) about the need for a progressive political agenda with regard to cyberlaw on her Cairns Blog (Positive Cyber-Progressivism). I say "as usual" not because I am playing social critic again but because cyberlaw so predictably tends to focus on negative liberty rather than positive rights. In other words, how can I be free from abuse? Free from constraint? Free from censorship? This reactive stance has characterized cyberlaw for the last decade of its existence. Our agenda is full with staving off excesses of intellectual property "protection" and privacy-violating snoops. Far too little attention is paid to positive prescriptions. How can we use law and technology to enable greater innovation, creativity, productvity and freedom? Being free from the law and free from intrusive code is not the only way to deepen human happiness. Rather, the legal code as well as software code -- designed right -- can promote the same shared values. Part of this is, of course, because even negative liberty has been under constant attack for the past decade. We copyfighters have barely fought off things like the INDUCE Act and Broadcast Flag, which doesn't leave much time for focusing on positive goals.
Which isn't to say that there haven't been a number of positive goals put forward. In the copyright realm there have been several alternative compensation schemes for filesharing put forth, from prominent law professors (Neil Netanel and William Fisher among others) and organizations such as EFF. I keep deluding myself that it's all about the distribution, and copyright reform should follow along those lines, most recently: A Reply to Dennis Kennedy, Michael Madison and Marty Schwimmer on iPods, Distribution and Copyright. Larry Lessig has called for shorter terms and a return to some copyright formality. There are other examples. Unfortunately, however, none has really caught on for a variety of reasons, not least that there is much disagreement.
And, actually, I'm not even sure what "negative liberty" means in the context of copyright law. Most copyfighters, myself included, are intent on finding the right level of copyright, not freeing us from it entirely. That seems to me a very progressive goal itself.
The main problem, I think, is that most people really don't care about copyright; they don't realize how important to a democratic culture it is. We don't lack for potential progressive prescriptions. We lack agreement on them and we lack the marketing.
The issue of free speech, which Beth also raises, is also an interesting one. Free speech is a funny sort of negative liberty. It is a negative liberty that is, in part, justified by its positive purposes. According to Mill, the best way to approach truth is by allowing, almost encouraging, error. Accepted truths will be strengthened through battle with error. Error will be overthrown by truth. And, as is most likely the case, both sides have a little bit of truth to them and we move to a better synthesis. Free speech may be a negative liberty we cherish, but even were it not, it would be a progressive policy goal.
Be that as it may, there are also a number of progressive free speech policies out there - particularly for what I call "freedom of the press", the role of government in regulating distribution of information. For example, there are those who want stricter control over media ownership and claim a progressive mantle. I disagree with them (as I disagree with Netanel and Fisher), but it is a positive platform. There are many in the copyfight who argue for open access and open standards in order to free distribution. This seems to me a positive, progressive goal. Unfortunately, these two groups seems somewhat opposed and, among other reasons, very little is accomplished along these lines.
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More Copyright Photo Inanity
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More No Personal Use Exemption Copyright Inanity
Well, I just blogged my belief that making personal use copies of professionally-taken family photos should be perfectly legal (Do Copyrighted Wedding Photos Even Make Sense?). Now BoingBoing publishes another copyright injustice that could be easily solved by judicious application of a personal use exemption (No Recording Your Kid's Tap-Dance Recital Cos of Copyrighted Music): My daughter had her tap dance recital at the Lincoln theater in DC on sunday (6/3). Despite the fact that I paid for the lessons, paid for the costume, paid for the tickets to the show, and am the father of the child I could NOT videotape my daughters performance because of 'copyright issues' with the background music. The issue magically went away apparently if I purchased the DVD they making of the show for $25. Of course, it sounds as if copyright law is merely the pretext. Reportedly, the year before they banned still cameras. Why not simply explain that too many cameras might disturb those just there to watch and the price of the DVDs helps offset some of the costs?
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Posted by Ernest Miller
Below, I wondered why it makes sense to hold 3rd party copy centers liable for the copyright violations of their customers (Does It Make Sense to Hold WalMart Responsible for Reproducing Photos its Customers Want Copied?). The particular issue is whether photofinishing labs should be held liable when someone brings in that Olan Mills family protrait to be copied. Mnemonic Technology writes about this and accuses people who try to make copies of ripping off the photographers (Wal-Mart Refusing to Print Suspect Professional Photos). Im familiar with the business that larger print shops( Wal Mart, Walgreens ) and smaller print shops experience. There are a lot of unscrupulous types that will try using the do-it-yourself kiosks to make copies of their Olan Mills photos with the gold watermark half scratched off. People do attempt to cheat professional photographers when they ask labs to copy photos done on Kodak professional paper when they cant produce the negatives. ...Unfortunately there are still countless amounts of negatives of beloved memories
which professionals own the rights to, and there are individuals who try to take advantage of the professionals and the labs by making, what is essentially a facsimile of a facsimile. This got me thinking ... why the heck is it illegal for you to make copies of the photos of your own wedding in the first place? I'm a big fan of personal use copying being perfectly legal. If you can rip a CD to an MP3 so that it is more convenient to listen to, why can't you make a copy of your own baby pictures for personal use?
Does copyright even really make sense in these cases? The purpose of copyright is to spur creation and distribution of new works. Is anyone seriously going to argue that without copyright there would be no wedding photos industry? Or strip mall portrait shops? Heck, the point of most of these photos isn't that they'll be distributed at all, but that they'll be stored by the family for personal use. That doesn't really seem to be the point of copyright.
Making personal use copies of family photos shouldn't be illegal. Period.
I understand that photographers built their business model on the fact that it was difficult to make copies of photographs without access to the negative, but technology frequently forces business models to change. It's time for a change.
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Posted by Ernest Miller
Corante's Between Lawyers has an questioning post by Dennis Kennedy about the problems with current copyright law in handling typical consumer uses of copyrighted works (iPods and Time-shifting: Fair Use, Personal Use and the Digital Copyright Morass). We now live in an amazing time when I can listen to a song on a variety of players, indoors, outdoors, in the car, on a network, wirelessly, and many other ways. Increasingly, especially after I own an iPod, I want to listen to my music where I am, in the most convenient way possible. I do not to become a licensing or copyright specialist.
Heres where the difficulty lies. I believe that what I am doing is playing my music and listening to it. Unfortunately, in our digital world, what is also happening is that we (or our computers, other hardware and software) are making many, many copies of the digital information carrying the song as we listen to our music in many ways and in many places. And thus, we enter the realm of copyright law, and how it doesn't seem to make a lot of sense quite often. Leading Kennedy to conclude: My thought, and what prompted the title of this post, is that we are overdue for a reconsideration of the practical meaning of copyright law for real people in a digital world and that the subject of defining a personal use exception to copyright infringement that reflects the way people normally behave that would be separate from fair use should be considered and debated, while leaving the fair use doctrine in place to cover what it was intended to cover. In a sense, Im advocating something in the spirit of what my friends at rethink(ip) raise in the title of their blog. Welcome to the discussion, Kennedy! This is something that we copyfighters have been talking about for quite some time.
Others have different views, but I'll try to provide my perspective on how we should resolve some of these issues. First, as I've said time and time again, "copying" is no longer a meaningful (if it ever was) fundamental aspect of copyright. Kennedy: Copyright law deals with reproductions and copies. What copying is allowed and what is not? Is automatic copying as part of the normal mechanical or computer process (e.g., your browser caching a copy or two of this page while you read it) an infringing kind of copying? There certainly have been court decisions that would lead you to that conclusion, even though thats a very unexpected result. Why in the world should we think that copyright is about copying? No one is harmed by mere copies. It is only when those copies are distributed that there is an issue. One million bootlegs at the bottom of the ocean cause no harm; it is only when they are distributed that the copyright holder has any cognizable right to complain. Trying to figure out whether copies cached on a hard drive, or stored in RAM (is that persistant or nonpersistant RAM?) is only asking for trouble. What does it mean to say that something is an exclusive right and then carve out so many exemptions in the "exclusive right" that more copies are exempt than are actually infringing?
If we focus on the question of distributions, many of these problems simply go away.
Most of the questions Kennedy raises about personal use copying would never even come up under a distribution-focused regime because copying, by itself, would no longer be an exclusive right of the copyright holder. If the copy is for personal use, there is no distribution, and copyright doesn't become an issue.
Kennedy also discusses the typical fair use defenses to personal use copying under the current regime. Historically, we have looked at fair use to cover the normal, expected ways that someone might make use of a creative work without infringing the copyright. Theres a well-known four-part test for determining whether a use is a fair use. One of them is the extent of the copying. .In a digital copy of a song, you have a perfect copy of 100% of the work. You fail that part of the fair use test every time and you have to make your stand on the other factors, which, frankly, dont relate to playing your favorite music wherever you want to play it. Well, actually, that isn't really the history of fair use. Fair use was an outgrowth of fair competition law and governed whether one might use parts of one work in another, such as for review and commentary. Uses by the consumer were considered "normal uses" since they didn't involve competition with the copyright holder publisher. This actually illuminates that the original understanding of copyright as involving distributions to the public, not private uses. Of course, with the codification of fair use as well as the right of reproduction, we suddenly find fair use attempting to do things it was never meant to protect. Ive lately started to feel, as have others, that there is a certain common sense approach to the use of digital copyrighted materials that (1) reflects our normal expectations about what we should be able to do with a copyrighted work just to use it in ordinary ways that do not seem to hurt the author of the work and (2) recognizes that the more we try to stretch the notion of fair use to cover these normal uses, the more we risk fracturing the protections that the fair use doctrine does provide. Precisely.
These are points I've been harping on for years. Michael Madison wonders if they're really all that helpful (Currency): Ernie is down on Julie Hilden for focusing on last centurys theme copying and overlooking the meme of the new century information distribution and circulation. Im not persuaded that copyright-in-information-as-current-that-flows is superior to copyright-in-work-that-gets-reproduced as an organizing theme. Information becomes the analytic fiction of the 21st century, just as the work was the analytic fiction of the 2oth century. We still have to look inside the thing dynamic or static as it may be and work out what were trying to do, or say, via the law. Ultimately, copyright is about controlling information. We can debate what we're trying to do with copyright til the cows come home, but we're still dealing with controls over information. It makes sense to apply analytic tools that are consistent with this fact.
Furthermore, there are other areas of law that also deal with the flow of information, for example the First Amendment and telecommunications law. One of the great problems we are having today in copyright law is reconciling First Amendment interests and copyright. Might be handy if we could use a similar analytic framework (it's all about the distribution). The same goes for telecommunication law and its intersection with the First Amendment and copyright.
Finally, analytic frameworks make a difference in trying to decide what it is "we're trying to do, or say, via the law." Our view of the what the law should be is inevitably shaped by our view of what analytic tools are available to law. Setting legal goals does not take place in a vacuum that ignores the analytic tools at our disposal. Personally, I think my framework will help us achieve a better understanding of what it is we are trying to do: spur creation and distribution of information. If what we are trying to do is ensure better distribution of information, makes sense to think in terms of distribution, does it not?
The above also answers, I think, Marty Schwimmer's question to Dennis (iPods and Timeshifting): Why do you worry about this sort of stuff? Because it is important to a proper understanding of copyright law.
UPDATE 1230PT
Kennedy, ahem, Dennis, has a few additional comments (Dennis Re Marty on iPods and Time-shifting).
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Posted by Ernest Miller
SignOnSanDiego.com reports that many photofinishing labs are increasingly reluctant to reproduce "professional-looking" photos for fear of copyright infringement liability (Snap Judgments). There are a growing number of stories of amateur photographers being turned away by photofinishers for having photos that looked, at least in the eyes of a store clerk, too good to have been taken by anyone other than a professional.
Their photos have become collateral damage in the war on digital copyright infringement. The problem is that photocopy centers, photofinishing labs and other 3rd party copying centers have been sued and intimidated into compliance with the wants of the copyright cartels. While such centers should certainly be held liable when they are part of the decision as to what to copy, or get permission for, I've never understood why they should be held liable for simply copying what someone brings them.
Though it is certainly convenient for the copyright holders to sue such centralized centers, the result is entirely predictable that these centers will overprotect.
First, these centers have neither the expertise nor the incentive to limit protection. Seriously, does it really make sense to train minimum-wage employees to engage in a complicated four-part analysis of fair use, or the myriad other details of copyright law? The rules are going to be simplified. Moreover, because of the potential liability, bright-line rules will inevitably be drawn well away from what copyright law permits. Certainly these centers have no incentive to vigorously defend the rights of those who use them; they're essentially engaged in commodity copying.
What this article recounts is simply the expected outcome of our current copyright system.
Does this make any sense when personal reproduction technology is so readily available?
There are other solutions. For example, photographers can change their business model. Some professional photographers have even changed the way they charge for their work.
"There's been quite a bit of change in the business model over the last 10 years," Hopper said.
Photographers used to take photos and then charge clients for copies of the images, he said. Now, more and more professional photographers are charging for their time spent taking the photos. Imagine that. Imagine people being able to readily make copies of their wedding photos twenty years down the road without having to locate the photographer for permission. Imagine studio photos of children that can be freely reproduced long before the child has reached adulthood, grown old and died. Imagine walking into a WalMart and not being treated as a putative thief.
via BoingBoing
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JD Lasica Guest Blogging on Copyfight
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June 06, 2005
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Fair Use and the DVD Fan Audio Commentary
JD Lasica continues his Darknet mini-book, with an excerpt about a home-authored DVD featuring copyrighted work and original audio commentary (Story: Fair Use in a Digital Age). This is actually very close to one of my favorite concepts for annotation. Buy the Casablanca DVD and then download Roger Ebert's (or similar expert) audio commentary. Of course, the DMCA makes this extraordinarily difficult. And, did I mention this excerpt quotes yours truly?
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Posted by Ernest Miller
Earlier, I responded to Prof. Michael Madison's conjecture about the distinction between a "licensed" work and one with built-in DRM. Basically, I didn't get the distinction (DRM: Add On or Integral Part?). Madison has replied, trying to clarify his point (Tom Waits and Creative Commons). Theres nothing in copyright law (even pre-DMCA copyright law) that says that the author cant produce, and sell, a thing characterized as a DRM-enabled-CD. You cant license a book, but so far as I know, and aside from vague prohibitions on equitable servitudes in chattels, theres no clear rule holding that you cant sell a restricted use book. I still don't get it. What is the difference between a "restricted use book" and a licensed book as far as copyright is concerned? You can embed technical protections in a book, for example, using red print in order to thwart photocopiers. Does this, should this, change our copyright analysis if someone does photocopy a portion of the book? I would say, no, we're still looking at some sort of implied contract, covenant, negative easement, what have you and I don't think that flies with copyright, which should essentially exhaust all implied contracts regarding copyright. Suppose the digital download service characterizes the product that you buy (not license) as a DRM-enabled-CD. Suppose further that the point of the DRM is to limit playback to you and you alone. You can move the file from device to device, but it will play only on your devices (say, your iPod) set aside the technical reality that this wont actually work. Now, run the DRM-enabled-CD through the Section 106 rights, with the Section 107, etc. limitations, and ask: What happens when you loan your iPod to a friend? Are you liable for copyright infringement? What if the characterization (not license) for the DRM-enabled-CD is that the point of the DRM is to prevent quotation. You can do anything, except quote from the CD. Has this effectively vitiated fair use rights? What if the seller sold the one with the DRM for $1, characterizing it as the anti-fair-use-rights version and the one without the DRM for $10. Should this make a difference in the analysis if someone does manage to quote from the DRM-enabled-version? I don't think it should or how one could successfully make the legal argument for a distinction, absent a contract. And before this sounds too fanciful and metaphysical, consider the Creative Commons license. No one assents to CC licenses the legal code versions of the CC deed purport to constitute a sort of CC-wrap, but that language is so far removed from ordinary CC license notices that it really stretches the shrinkwrap fiction beyond the breaking point. I cant imagine a court enforcing a CC license on a contract theory. So, suppose a user of a CC-licensed work violates the license. Does the author of the work have a remedy? Id like to think so. But I suspect, also, that the only legitimate way to get there may be to argue that the user accessed a CC-licensed work, no assent to terms involved, rather than a work. The question of Creative Commons license enforcement is a very involved one that I don't want to address right now. However, there is a distinction. Creative Commons licenses purport to give people rights above and beyond existing copyright law. For example, normally, reproduction and distribution would be infringement, but Creative Commons licenses frequently allow people to do this. On the contrary, DRM-enabled-CDs purport to take away rights that copyright law reserves to the public.
UPDATE 1000PT
Madison responds (More on CC and Things). With regard to Creative Commons: [T]hat depends on the relevant CC license and the relevant term. CC licenses give authors some rights that copyright doesnt most importantly, attribution/non-attribution rights. (Also, the commercial/non-commercial distinction maps only imperfectly to the commercial dimension of fair use.) CC doesn't give authors any rights that copyright does not. If you want to make fair use of my works, there is nothing that CC can say on the matter. However, if you wish to infringe copyright, then CC provides the terms under which one may do so.
There seems to have been a misunderstanding on some of the other disagreements: More generally, Ernie argues (I infer) that copyright law means that you cant design information goods in ways that defeat statutory rights, so my DRM-limited-CD is no different, really, than a book wrapped with a no fair use label (my simplifying example, not his). That's not what I'm arguing at all. It should be perfectly legal to sell DRM-encumbered books, CDs, what have you. However, it should be just as perfectly legal to circumvent these restrictions. There might be exceptions, antitrust is one possibility, copyright misuse another, but in general, I have nothing against DRM-encumbered items. I oppose legally enforcing that DRM.
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DRM: Add On or Integral Part?
Writing about the royalties lawsuit involving Tom Wait's music, which I've written about (here and here), Prof. Michael Madison considers the distinction between DRM as add on and DRM as integral part of a product (Downloads and Licenses). iTunes downloads come with DRM. So, given the accompanying DRM, if were buying the download, what we buy isnt really the equivalent of a CD or vinyl. And its not recording + DRM, either. DRM is integral, rather than a legal or technical add-on. Its designed in. The DRM-limted-iTunes-download is a new and different thing, not the equivalent of a CD but the equivalent of a DRM-limited-use-CD. I don't see the distinction. Is there some contract involved? If not, why can't I do whatever I want to do with the recording, so long as it doesn't violate copyright law?
posted by Ernest Miller |
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June 05, 2005
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Patry: Bridgeport Music Wrongly Decided
Last Friday, June 3rd, I posted about a Sixth Circuit panel that reaffirmed a ruling holding that there was no de minimis exception for copying any portion of a sound recording (6th Cir. Reaffirms - No De Minimis Defense in Copying Sound Recordings). Now, copyright scholar William Patry weighs in, and he doesn't like it too much either (The Sixth Circuit Reaffirms Controversial Sound Recording Opinion). Bridgeport is policy making wrapped up in a truncated view of law and economics, shorn of analysis of all the public interest factors and harm to derivative creators that nuanced exponents, such as Judge Posner, engage in....But in the end, it is creators of new sound recordings who build, transformatively on the works of predecessors who will suffer the most, and thereby all of us. Hopefully cert. will be granted, and the 6th Circuit reversed.
posted by Ernest Miller |
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UK to Extend Copyright for Pop Songs
News.Scotsman.com reports that the UK is planning to extend copyright protection beyond its current 50 years in order to keep rock 'n' roll classics from entering the public domain in the UK (Long-Playing Plans for Music Copyright Ownership). [James Purnell, the minister for creative industries] thinks the extra revenue for record companies will allow them to find new acts and develop their talent. Gee, why stop with the proposed 95 years? Why not develop new acts and talent forever with an infinite extension? Just think of all the playwrights who never were because Shakespeare entered the public domain.
posted by Ernest Miller |
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Posted by Ernest Miller
They haven't come out and said it directly, but that would appear to be what Warner Music Group is claiming according to statements they made to the music publishing company Third Story Music. I wrote about this story last week (Licensed Music May Backfire on Recording Company). Basically, Tom Wait's publishing company is suing WMG for additional royalties, since they get more for third-party licenses as opposed to sales and DRM-encumbered downloads are licensed, not sold.
However, I missed this reply from WMG: The action says that in February, Third Story sent a formal notice questioning the accuracy of royalty statements to WMG. The music company replied in March that downloads "are sold to customers such as iTunes and Listen.com just as physical product is sold to...Best Buy and Virgin." Whoa nellie! If WMG is merely selling the equivalent of physical product to iTunes and Listen.com, that doesn't give iTunes and Listen.com the right to make additional copies and distribute them (for sale no less!) via the internet. Heck, the music industry is quite clear in its position that there is no first sale doctrine for digitally downloaded goods, so even that won't protect iTunes and Listen.com.
If WMG's claim is true (and they should know, shouldn't they?), this is the biggest case of blatant, willful, criminal copyright infringement I've ever heard of. Someone should call the Feds.
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June 03, 2005
Posted by Ernest Miller
I often talk about a copynorm that I support and think should be explicitly legal, sharing with friends, not strangers. I support private distribution as opposed to public distribution. Well, here is a report from PSFK on the type of sharing I think should be encouraged (Face To Face P2P). Maybe its out of fear of prosecution for illegal downloads or maybe its to avoid tech-imposed exile but there may be a different type of music sharing on the rise. Recently while hanging out in a Salt Lake City coffee spot, some University of Utah students were spotted having a face to face music sharing session. Instead of a digital gathering with countless unseen strangers, about half a dozen students got together for one of their regular swap sessions. Each person was responsible for bringing a couple of cds they thought the others might like or might benefit from exposure to. The music ranged from the Zombies to David Bowie and even a random Billy Joel disc. Each person also carried the discs they had borrowed from other members last time.
The group took turns talking about the new music they brought and some spoke about the new music they had been exposed to. One or two also distributed burned copies of the most popular cds from past gatherings. Another key element seemed to be an overt attempt to be fair about grabbing the most potentially desirable discs from the collective stack. Participants who had gotten really interesting things last time passed up the current potential best items so others had a chance. Now, in this case, such swapping is perfectly legal under the first sale doctrine. But I'm not so sure it would be all that bad or different if they were ripping copies.
via Mobile Technology Weblog
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Posted by Ernest Miller
The Free Expression Policy Project reports that a Sixth Circuit Court of Appeals panel has reaffirmed their decision in Bridgeport Music v. Dimension Films that there is essentially no de minimus exception to copyright infringement for sound recordings; even copying of two notes from a sound recording is infringement (Appeals Court Reaffirms Its Tone-Deaf Approach to Music Sampling). Read the whole thing, but here is the summary: Under the court's latest ruling in Bridgeport Music v. Dimension Films, even two notes sampled from a sound recording is automatically copyright infringement. (The court acknowledged that taking one note probably would not amount to infringement, since copyright law defines a sound recording as "the fixation of a series of musical, spoken, or other sounds.")
The case involves a two-second, three-note guitar riff sampled from the song "Get Off Your Ass and Jam," which was changed in pitch and "looped" into another song, "100 Miles." "100 Miles" was used in the soundtrack of a movie, I Got the Hook Up. The moviemakers were the defendants in the case. A federal trial court ruled that the copying was de minimis and therefore not actionable under copyright law. The Sixth Circuit reversed last year, but then agreed to grant "rehearing." [italics in original] Read the 16-page decision here: Bridgeport Music v. Dimension Films [PDF].
Part of the problem seems to be the funky way Congress has dealt with sound recordings as opposed to musical works. The copyright laws attempt to strike a balance between protecting original works and stifling further creativity. The provisions, for example, for compulsory licensing make it possible for creators to enjoy the fruits of their creations, but not to fence them off from the world at large. 17 U.S.C. § 115. Although musical compositions have always enjoyed copyright protection, it was not until 1971 that sound recordings were subject to a separate copyright. If one were to analogize to a book, it is not the book, i.e., the paper and binding, that is copyrightable, but its contents. There are probably any number of reasons why the decision was made by Congress to treat a sound recording differently from a book even though both are the medium in which an original work is fixed rather than the creation itself. None the least of them certainly were advances in technology which made the pirating of sound recordings an easy task. The balance that was struck was to give sound recording copyright holders the exclusive right to duplicate the sound recording in the form of phonorecords or copies that directly or indirectly recapture the actual sounds fixed in the recording. 17 U.S.C. § 114(b). This means that the world at large is free to imitate or simulate the creative work fixed in the recording so long as an actual copy of the sound recording itself is not made. That leads us directly to the issue in this case. If you cannot pirate the whole sound recording, can you lift or sample something less than the whole. Our answer to that question is in the negative. [footnotes omitted] Congress thought it was being clever when it created a mechanical compulsory license for the creation of phonorecords in order to solve the potential monopoly problem in player piano rolls. But then technology changed, and one could record sound recordings and not simply holes in a roll of paper. This changed the industry even more dramatically (not to mention the advent of broadcast radio), and things got messy. States rushed in with common law copyrights for sound recordings, which Congress had to later straighten out without upsetting existing industrial interests. Consequently, any new music distribution technologies/business models have a heck of a time struggling to deal with licensing distinctions based upon technology and business models prevalent at the turn of the 20th century.
In other words, we wouldn't have this problem if Congress hadn't screwed up copyright law in the first place.
And now for some annotation: This analysis admittedly raises the question of why one should, without infringing, be able to take three notes from a musical composition, for example, but not three notes by way of sampling from a sound recording. [Indeed it does.] Why is there no de minimis taking or why should substantial similarity not enter the equation. Our first answer to this question is what we have earlier indicated. We think this result is dictated by the applicable statute. Second, even when a small part of a sound recording is sampled, the part taken is something of value. [Here comes the circular reasoning - it's valuable because we're going to give people the right to sue.] No further proof of that is necessary than the fact that the producer of the record or the artist on the record intentionally sampled because it would (1) save costs, [This is a variation of the "sweat of the brow" theory. It would save me money to make a copy of an existing phonebook rather than collect all the names and numbers myself, but so what? That doesn't make the phone book copyrightable.] or (2) add something to the new recording, [That addition may simply be the pleasure of knowing the origin of the original, a call out if you will. Therefore, I'm not sure what this has to do with whether something is de minimis or not.] or (3) both. [This is merely redundant.] For the sound recording copyright holder, it is not the song but the sounds that are fixed in the medium of his choice. When those sounds are sampled they are taken directly from that fixed medium. It is a physical taking rather than an intellectual one. [It's a physical taking? Huh? Someone broke in and physically took something? I must have missed that part of the case.] This case also illustrates the kind of mental, musicological, and technological gymnastics that would have to be employed if one were to adopt a de minimis or substantial similarity analysis. [Yeah, that whole "de minimus" doctrine has got to go, since "de minimus" is always a difficult one to analyze, there is no reason to think it is particularly more difficult in the context of sound recordings. After all, "de minimis" rulings in video cases have to take into account length, focus, whether it was emphasized, etc.] The district judge did an excellent job of navigating these troubled waters, but not without dint of great effort. When one considers that he has hundreds of other cases all involving different samples from different songs, the value of a principled bright-line rule becomes apparent. We would want to emphasize, however, that considerations of judicial economy are not what drives this opinion. [Could have fooled me.] If any consideration of economy is involved it is that of the music industry. As this case and other companion cases make clear, it would appear to be cheaper to license than to litigate. [We're doing this for you're own good.] [footnotes omitted] A number of policy considerations were also part of the decision. For example, Finally, and unfortunately, there is no Rosetta stone for the interpretation of the copyright statute. We have taken a literal reading approach. The legislative history is of little help because digital sampling wasnt being done in 1971. If this is not what Congress intended or is not what they would intend now, it is easy enough for the record industry, as they have done in the past, to go back to Congress for a clarification or change in the law. This is the best place for the change to be made, rather than in the courts, because as this case demonstrates, the court is never aware of much more than the tip of the iceberg. To properly sort out this type of problem with its complex technical and business overtones, one needs the type of investigative resources as well as the ability to hold hearings that is possessed by Congress. Hello? Public choice theory? Sure, if it is unclear, kick it back to Congress. But who should you give the precedent to? Those with a concentrated interest in extending copyright, or those with a diffuse interest in sampling? Public choice theory would recommend reversing this decision, because if it was that big a deal those with a concentrated interest should have no problem getting Congress to do something that is opposed simply by a diffuse interest.
That's all for now. Read more about the original decision from Joe Gratz (6th Cir.: Theres No Such Thing As De Minimis Sampling).
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Continue the Discussion About Copyright Leakage on Copyfight
posted by Ernest Miller |
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Waiting for Grokster
posted by Ernest Miller |
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Posted by Ernest Miller
Furdlog is on a roll today. Among other things, he notes the clever legal argument that the publishing company that has the rights to publish musician Tom Waits' music is making in a lawsuit against Warner Music Group. According to a Reuters wirestory on Yahoo! News, Waits' publishing company is suing WMG for not paying enough royalties on downloaded music (Publisher sues Warner Music over Waits tunes). According to the suit, under the terms of the two contracts, Waits was entitled to royalties of either 25% or 50% from revenues derived from third-party licenses. Third Story maintains that digital music downloads constitute a form of third-party license, and that Waits is entitled to payment at that level. You see, when you download music from a service like iTunes, or similar, you don't actually "own" the music. You only "license" the music. In 2003-04 royalty statements to Third Story, WMG computed royalties from Waits' digital download sales at the same (and much lower) rate as royalties from the sale of physical product. Under the terms of the '70s Asylum contracts regarding album sales, Waits would be entitled to either 9% or 13% of the 67 cents received by WMG from each 99-cent download. I'm a big fan of ownership ( Rental Nation Deja Vu). Too bad the recording companies don't believe in it.
Of course, they'll just ensure that all future contracts close this possible loophole.
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June 02, 2005
Posted by Ernest Miller
Rush Limbaugh starts his podcast tomorrow, Friday, June 3rd (El Rushbo Answers Your Podcast Questions). The shows will be available approximately 2 hours after the broadcast ends. In order to get the RSS feed, however, you'll need to be a subscriber to the website which costs ~$60. [Correction: A commentor says the cost is $34.95] Perhaps he might want to consider a teaser 5-10 minute daily show excerpt that is free.
Interestingly, Rush explains to his listeners that he can't include any music in the show due to licensing issues: Now, a number of people -- and you people know who you are -- you are writing me caustic and vicious notes about the fact there will be no music on these MP3s. We will not be able to download with you the theme song, the opening theme. No parodies will be downloadable. We might be able to get away with the bumper music because it's only ten to 15 seconds; it would qualify under fair use, but many of you are saying, "Well, I don't think you know what you're talking about." Right. I don't know what I'm talking about. I run the show and I don't know what I'm talking about. "You don't what you're talking about. Other shows, other shows have MP3s, download, music on them. You can do it." Ladies and gentlemen, (ahem) there's a little bit of a difference between this show and some others -- and that difference is size. Let me tell you why we can't. Really a lot of people are writing me, "Why can't we get the music? I don't understand! The parodies are some of the greatest
" The reason is the music industry is forbidding, unless an exorbitant fee is paid, you cannot essentially copy music for nothing, and that's what would be happening here. If we put the music like the theme song and we put these parodies which are based on existing copyrights that we don't own... You know, we can parody them here on the radio, but that's a one-time usage, but if we then distribute that and allow virtually our MP3 files for all that to be copied we are essentially giving away somebody's product. And it would be one day, and the music industry would be all over us for doing it and we would have to stop it or fight them or whatever, and we couldn't win. We looked into it.
You know, we pay a rights fee every year for the opening theme song, but it does not include the privilege of copying it hundreds of thousands of times for free so that people can have it on their computers. We don't have that license. The same thing goes with the parodies. Now, if other shows are doing it, it means they're either ignorant of the law or they're small enough they don't think they'll get caught or they're small enough that they don't think it will be a big deal if the music industry notices. I don't have that luxury -- and besides, folks, I'm not going to break the law anyway. There's no point in it. Now, at some point I expect this to change. I don't know when, but there will be a way to make this happen at some point. But for now, starting out tomorrow, the legalities are clear -- and if you understand that it's nothing more than copying songs and distributing them for free. You can't do that yourself for your own computer. You can't do it with movies legally. You can't do it with any video legally, but as an individual if you do it, if you get caught, you've seen the FBI warnings on the front of these DVDs that you go out and rent or buy. You get caught, I'm not they're going to come after you. The music industry is dead serious. Hollywood is dead serious about piracy and unauthorized duplication, and that's essentially what we would be doing. So the short answer is our mammoth size makes it impossible for us to do this on a stealth basis like some of these others are apparently able to do because they've been doing it along or either nobody knows or nobody cares. I don't have that luxury. I wonder if Rush would be interested in using music that has the appropriate Creative Commons license?
In any case, if this is successful I can imagine quite a few other radio personalities will jump on it. It could also open up the market for others. We shall see.
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Copyright Leakage Convinces Labels to Make Most of Their Libraries
Reuters reports that several major record labels are opening their vaults and inviting DJs to create mashups (Music labels Open Their Vaults to Remixing DJs). They take on classic -- some would say unimprovable -- soul, jazz and R&B songs including "Heard It Through the Grapevine," "We Are Family," "Let's Get It On" and "Superfly." Previous major-label efforts in a similar vein have included Jay-Z's collaboration with Linkin Park, and several Blue Note remix albums. There will likely be more to come as music companies seek to extract maximum value from their libraries and to combat the unauthorized "mash-ups" that have become increasingly popular. Thank goodness for copyright leakage, otherwise the potential of this new form might not have been noticed by the major labels. via BillboardPostPlay
posted by Ernest Miller |
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Posted by Ernest Miller
Yesterday, Judge Patel issued her order regarding a motion for summary judgement in the Napster investors case. The defendants are being sued for investing in and controlling the original Napster, and thus are claimed to be liable for secondary (some would say tertiary) copyright infringement.
The motion essentially argued that the plaintiff record companies had failed to make a case of direct infringement, which would mean they could not make a case for secondary liability. The court dismissed one argument for direct infringement, that the index hosted by Napster was, itself, directly infringing as an offer to distribute.
The other arguments, that uploading and downloading by Napster users violated federal copyright law as well as various common law state copyright claims with regard to pre-1972 sound recordings, were not dismissed. However, the court did not rule that there was direct infringement, only that there were material facts in dispute as to whether plaintiffs had demonstrated direct infringement by Napster users, which is enough to beat a motion for summary judgement.
Read the 16-page decision: Capitol Records v. Bertelsmann, Memorandum & Order, Re: Defendant's Motion for Summary Judgement [PDF]. Defendants summary judgment motion focuses primarily on plaintiffs third theory of direct infringement. As noted above, this theory posits that Napster itself directly infringed plaintiffs distribution rights by maintaining a centralized indexing system listing the file names of all MP3-formatted music files available on the Napster network. This is the theory the court shoots down. The case the plaintiffs most relied upon was Hotaling v. Church of Jesus Christ of Latter-Day Saints, which found that libraries which had infringing copies of a work in their collection violated the distribution right when there was evidence of indexing (the infringing copy was listed in the card catalog), but there was no evidence that anyone had actually checked out the particular work. The court found a pertinent distinction: The instant plaintiffs seize upon the cataloging or indexing system in Hotaling and argue that Napsters indexing system is akin to that in Hotaling. There is, however, more to Hotaling than that. In that case the library had a copy of the copyrighted work in its collection. Napster did not have works in its collection; it did not have a collection of recordings. The infringing works never resided on the Napster system. Instead, plaintiffs here seek to establish copyright infringement based on the mere fact that the names of their copyrighted musical compositions and sound recordings appeared in Napsters index of available files. This might constitute evidence that the listed works were available to Napster users, but it is certainly not conclusive proof that the songs identified in the index were actually uploaded onto the network in a manner that would be equivalent to the way in which the genealogical materials at issue in Hotaling were copied and distributed to the churchs branch libraries. The court also notes that the suggestion in Hotaling "that a mere offer to distribute a copyrighted work gives rise to liability under section 106(3) ... is contrary to the weight of [the] above-cited authorities" (see the case for the various cites) and is also inconsistent with the text and history of the Copyright Act of 1976. Judge Patel also dismisses reliance upon the Artists Rights and Theft Prevention Act of 2005, similar to her dismissal of a similar argument in an earlier ruling ( Judge Patel Shoots Down Notion That the Right of Distribution Includes "Making Available"). The court's conclusion on this count: Applying this standard to the case at bar, it is apparent that plaintiffs indexing theory falls well short of meeting the requirements for establishing direct copyright infringement. Rather than requiring proof of the actual dissemination of a copyrighted work or an offer to distribute that work for the purpose of its further distribution or public performance, plaintiffs theory is premised on the assumption that any offer to distribute a copyrighted work violates section 106(3). This is not sufficient to satisfy plaintiffs burden of proving that Napster or its users directly infringed their copyrighted musical compositions and sound recordings, as they must do if they are to hold defendants secondarily liable for that infringement. Accordingly, the court holds that defendants are entitled to summary judgment on this issue. A minor victory for the investors, but the case will go on.
via Silicon Valley Media Law Blog
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June 01, 2005
Posted by Ernest Miller
Derek Slater notes that the music subscription service, Rhapsody, sometimes has particular tracks available and other times, not (Rhapsody's Incredible Shrinking Catalog). I had been listening to the album for a few weeks, when, today, I noticed that I can no longer play "URAQT" off the Universal release, and that the single version is only available for sale and not for streaming. Same goes for "Bucky Done Gone", though I can play it off the Beggar's Banquet release. What gives? Well, this seems to be a problem for the subscription services. Joe Gratz had the same problem a year ago ( The Danger of Subscription Music Services). My comment on Gratz's experience here: No Guarantees with Content Subscriptions.
I'm still rather concerned about a world in which we can lose access to content at any time (Rental Nation). Under subscription services, everyone will have access to everything, until someone decides that no one will have access. With all our history of groups that have aimed to destroy various elements of culture at one time or another, I have to worry about a system that will allow works to be taken away from nearly everyone with a keystroke.
In a previous post I discussed Slater's concept of leakage (The Benefits of Copyright Leakage). Leakage can also protect elements of culture from being disappeared.
Ownership is and will remain an important element of freedom.
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Posted by Ernest Miller
Derek Slater responds to my post on lawsuits against filesharers at UCLA (Whiny Bruins Have a Point) and expands upon one of the points I make regarding the RIAA's responsibility for the success of the original Napster (Ernest on Lawsuits and Leakage). Slater argues that "leaks" in copyright (whether infringing or not), can perform a positive role in creating competition and driving innovation. With respect to this constructive role, it's also worth setting it within the context of a broader viewpoint about copyright: a leaky copyright can be a good copyright. That's not just the case in file-sharing. It's a crucial aspect of fair use. Allowing copying and copying technologies ultimately can help create new markets for copyrighted works, provide people with greater access, more flexibility and more enjoyment in how they use copyrighted works, and in total improve social welfare. If the screws of copyright were tighter, if it did not leak in this way, we wouldn't benefit from the flood of benefits from various copying technologies. Absolutely. Textbook publishers may not like used bookstores, but they function to keep the cost of textbooks at least somewhat in check. Thank you, first sale doctrine!
So, copyright "leaks," even illicit leaks such as much filesharing, can have a positive effect. The rise of P2P likely pushed members of the RIAA to adopt legitimate filesharing much sooner then they otherwise would have. But Slater asks, however, how far should we acknowledge/tolerate this positive effect of filesharing? "Perhaps a part of the reconcilition is a sense that, whatever may have been the meritorious effects of file-sharing during Napster's birth, now competition in legitimate services can become good enough that it's time to call off the dogs."
Well, blatant copyright infringement was never cool. Yet, I don't think that were filesharing to go away, copyright would be in balance. For example, I'm a big fan of eliminating the right of reproduction and focusing on the public/private distribution distinction; "share with friends, not strangers." Part of my argument in favor of the public/private distribution distinction as the focus of copyright law is that it provides a clear means for "leaks." If the RIAA keeps music prices too high, people will engage in more private distribution. When prices are reasonable, there will be less private distribution.
Similarly, I think that the DMCA shifts the balance for leaks in ways that are counterproductive.
I will continue to counsel against infringing public distribution via filesharing systems. Yet, I don't believe that there can be true reconciliation until copyright law is better balanced.
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Public Good Problem Overestimated, Rent Seeking Underestimated
Mike Linksvayer has some interesting things to say about public goods and rent seeking (Public Goods Rent Seeking): Copyright is (should be) the textbook case of wildly overestimating the public goods problem while ignoring rent seeking problems (NB “how can an artist make a full time living doing only art” is not a public goods problem). Witness massive production of art where expected profit from sales of copies and licensing is nil, both outside the content industry and where restrictions on copying are not enforced. Consider who benefits from perpetual copyright — not the public. [links, emphasis in original]
posted by Ernest Miller |
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Rights and Int'l Law
Eugene Volokh brings up an old post of his arguing that we should be wary of international law trumping constitutional protections for free speech (International Law and the First Amendment). Good points. We've clearly seen how international treaties can be used to ratchet up copyright time and time again. It would seem this is particularly a danger in realms where public choice theory holds sway. If it is difficult for dispersed interests to organize on a national level, how much more difficult is it to do so on an international level? How much more difficult is it to fight inefficient policies that have been adopted due to governmental failure in particular nation states in the interest of "harmonization"?
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May 31, 2005
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Patry on the Supreme Court and Sony
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Posted by Ernest Miller
UCLA Law Professor Stephen Bainbridge spanks the editorial board of UCLA's Daily Bruin just like Trojan Football has spanked Bruin Football their last 6 meetings (Aww, the Poor Babies). I suspect the basic problem is that you're still just deeply narcissistic. Nobody's ever told you no. Not your parents. Not your schools. Nobody. You've been taught to expect a slap on the wrist at most and, indeed, think you're entitled to getting off easy. So when somebody finally does hold you accountable, your delicate little psyches can't handle it.
Well, it's time to grow up. He is responding to a Daily Bruin editorial attacking the RIAA's lawsuits, which have, for the first time, snagged seven Bruins: Punishments Dont Fit the Crime of File Sharing.
Long time readers of this blog know that I have no real problem with the RIAA's lawsuits (though it would be nice if we could ensure they were enforcing equitably, for example, suing in zip code 90049 as elsewhere [correction: changed zip code to neighborhood I actually mean to refer to]). Unless you go with some government-mandated licensing scheme (something I oppose in favor of voluntary licensing schemes), lawsuits are going to have to play an element in maintaining the system. Without lawsuits or the threat of lawsuits, enforcement would crumble.
Moreover, deterrence is going to require that the penalties be serious and will likely greatly outweigh the actual losses. In other words, If you're infringing 100 albums, in order to deter, the civil penalty is going to have to be greater than $1,000 - $2,000, which is what the albums would have cost had you simply bought them.
Nevertheless, the students, despite their narcissism, have a point. The current statutory penalties are far in excess of what deterrence would council. When the minimum statutory damages for typical filesharing cases are in the hundreds of thousands of dollars, that doesn't really seem particularly reasonable to me. I believe that deterrence can be served by a lesser amount.
Furthermore, while I oppose copyright infringement via filesharing services and council against it, the students do have a point about the music industry doing more to fight it with incentives for legitimate purchases than merely punishing filesharing. Originally, the movie studios priced videotapes at $70-$100+. They didn't believe there was a market for consumers to buy videotapes. Had they continued that pricing policy, they would have encouraged the creation of a thriving black market in infringing videotapes. Such a market may be regretted, but would have been the expected outcome. Similarly, the RIAA is partially at fault for making the original Napster so attractive because there were no real legitimate avenues to meet customer's wants. I'm not saying they're entirely at fault, but anyone could have predicted that without legitimate avenues to download music, more people would use illegitimate avenues. This is not rationalization, not justification, merely acknowledging the facts.
Does the RIAA have a legal right to rely solely on deterrance through punishment? Sure. Is this the smartest move they can make? No.
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+ TrackBacks (0) | Category: Copyright | File Sharing
May 30, 2005
Posted by Ernest Miller
William Patry points to another rather interesting but obscure aspect of copyright law (Is There a Hole in the First Sale Doctrine?). In this case, Patry is looking at the intersection of 17 USC 109, the first sale doctrine, and 17 USC 602, parallel imports. Following Quality King, first sale is a defense to a claim of infringement for copies lawfully made in the United States, exported, and then re-imported against the copyright holder's permission. The Court reached its decision by holding that "lawfully made under this title" in Section 109 means lawfully made according to title 17, which is not extraterritorial: thus, Section 109 is limited to copies made in the U.S. But here is the potential loophole created by this straightforward construction of that langauge. Copies made overseas are not subject to the first sale doctrine. People usually limit this principle to parallel imports, where its application is non-controversial.
But why is it so limited? Let's say someone in the United States buys, through Amazon.com in the United Kingdom, the next installment of a hot series, like the Harry Potter books, released in the UK, but not in the U.S. The copies come into the country without the U.S. distributor knowing about it. They are then advertised for sale once in the U.S. The importation right isn't helpful because the copies are already in the country. Does the first sale doctrine excuse the sale, or does it not apply because, as Quality King held, "lawfully made under this title" applies only to copies made in the U.S.? Since these copies were made in the UK, they weren't made under title 17, and thus fall outside Section 109. The first sale doctrine thus doesn't apply, and as a straight statutory matter it would appear the copyright owner could bar the sales. In other words, it is perfectly legal under 17 USC 602 to buy a copy of a work that was lawfully made overseas and bring it back to the United States for personal use. Feel free to buy that UK Edition Harry Potter during your vacation in London and bring it home to the US. However, under a straightforward reading of Quality King, the first sale doctrine would not apply to that copy. If, once finished with the book, you sold it to a used book dealer, that could be a violation of copyright. Heh.
As for me, I wonder why we have a parallel imports law at all. Why should 17 USC 602 apply to lawfully made copies? Sure, there is an economic argument for international price discrimination, but why must it be part of copyright law? Why not simply expect copyright holders to rely on modern technology and contract law with their overseas producers/distributors? If the price differential is great enough to incentivize parallel imports then that should pay for the use of technology (such as RFID) to track the origins of copies and take appropriate action via contract law. If the cost of tracing copies is too great compared to the price differential for parallel imports, I'm not sure why parallel imports would be all that big a problem anyway. Parallel import problem solved (though that first sale loophole would remain).
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Feeling Guilty About Free-Riding
Economics Professor Bryan Caplan discusses human reaction to people who give away free stuff on EconLog (Don't Do Me Any Favors). How is this relevant to copyright? Public goods problems are less of a problem than we usually think because people are inherently uncomfortable with free-riding. Our emotional constitution urges us to repay favors. This is one of the reasons I think the the private/public distribution distinction in copyright can work, if properly reinforced. It is this behavior that will help to shape appropriate copynorms. Read the whole thing.
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Copyright and Aliens
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May 29, 2005
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Sing, O Goddess, the Muse of Mashups
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Where Does Fan Fiction End and Copyright/Trademark Begin?
Scrivener's Error posts a coda to what has been a long and very illuminating discussion about what place fan fiction should play in copyright law. His conclusion? Basically, it should be part of trademark law: Fan Fiction: The End (of the Beginning). Must reading, can't wait for the article, though I wish someone would organize and index the entire blog discussion. UPDATE 20 May 2005, 0930PT. A rough draft of the essay is up: Fan Fiction.
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May 28, 2005
Posted by Ernest Miller
Findlaw's Julie Hilden looks through a mirror, darkly, at copyright law issues of the future (Will the Future Bring Even More Important Copyright Issues Than The Ones Raised by Online File-Swapping?). Hilden is writing in response to the 8-minute web presentation, Evolving Personalized Information Construct. If you haven't seen this bit of futurism, please do.
In any case, Hilden is responding to this (Summary of the World: Googlezon snd the Newsmasters EPIC): Googlezon finally checkmates Microsoft with features the software giant cannot match. Using a new algorithm, Googlezons computers construct news stories dynamically, stripping sentences and facts from all content sources and recombining them. The computer writes a news story for every user. [emphasis in original] The question is whether such a service would violate copyright. The fact-stripping is clearly legal under Feist, but I'm not really sure why this technology would have to strip sentences. If the system is smart enough to recognize facts, likely it'll be smart enough to produce rudimentary text in which to embed those facts. After all, isn't that the promise of the semantic web? Frankly, I don't think this will be a big concern.
Heck, you could probably do something pretty sophisticated with weather data today. I propose a variation on the Turing Test for weatherpeople. How long before virtual weatherpeople can produce what seems to be a live weathercast, based solely on the data fed to the system from the National Weather Service?
But Hilden is right that copyright law is still on a collision course with the internet. I'll say it again. Google Print is now giving us complete access to every book in the public domain, fully searchable, fully linkable, what we always imagined the Heavenly Library would be like. Unfortunately, everything in the public domain means everything published before 1923, because there is no easy and efficient way to figure out whether something published in 1923 or later is out of copyright. The transaction costs are too high and will remain incredibly high, especially for those works in the long tail (which doesn't mean they aren't valuable, and certainly are quite valuable in the aggregate). Anything except fixed copyright terms, or some sort of formalization will be necessary to resolve this god awful mess, so that we can continue to input the work of humanity in to Google Print and all the archive family.
Hilden focuses on copying, the right of reproduction: The issues are as simple and fundamental as they are troubling: Exactly how much content may be copied on the Internet - and of what kind -- before copyright is infringed? And more deeply, when is content "copied" in the first place when it comes to the Internet? Does the fact that the copying is done via a machine editor - not a human editor - make a difference? Copies, copies, copies. That is sooo 20th century. Computers make copies, that is what they do. I imagine, but don't know the technical details, that Google's ginormous database of books has numerous complete copies of the works stored, and not just as backups, either. So what?
We can waste all our time trying to figure out how many angels dance on the head of a pin as develop archane rules on when copies are made and whether those particular copies violate copyright, or we can think about information as a flow, as a transfer, as a distribution. The question shouldn't be whether particular "copies" are illicit, but whether particular distributions of information are illicit. Information exists in a transfer or potential transfer, not as a static thing. "Copies" are static things. "Distribution" is about transfer or potential transfer of information.
We can imagine copyright as voltage and current. When thinking about electricity, we don't think about static electricity, we think about circuits, about regulating the flow of current, arranging for particular potential differences. We don't think of current as a thing to be copied.
Does information want to be free? Yes, but only in the same way that all potential differences want to be in balance. We can get some work out of this fact.
Hilden is completely right in her conclusion, however: Copyright is meant, in large part, to protect the market for a given work, and thus to protect incentives to create new works. Yet allowing people to read (for free) a fact-stripping bot's compilation of news might undermine the market for newspapers and their online outposts. And that may lead newspapers to fight back in Congress for a broader version of copyright that would end, or limit, the reign of fact-stripping bots. Copyright holders are going to fight any rationalization of copyright tooth and nail, if it hurts their interests.
via Copyfight
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+ TrackBacks (0) | Category: Copyright | Network Law
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Google Print Review
A brief review of Google Print from Insider Reports in which Google's latest is compared to Project Gutenberg (Googles A Librarian? You Betcha! Google Print Goes Live). Once again, fixed term copyright would seem to be the only real solution to the problem of being able to distribute anything out of copyright but not written before 1923. via Teleread, which has this to say: Google Print is potentially an extremely useful service, especially if publishers understand this is a help, not a threat. Books in most cases will benefit if included. If a book is already in the database and metions a phrase of interest, you can find it lickety-split. The famous Google interface works great.
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May 27, 2005
Posted by Ernest Miller
There has been all sorts of controversy about Google's decision to scan and digitize university libraries and make full-text search of the works available, see, Google's Library Digitization Plan Runs Into Opposition, but it is now live (though I am sure many more books are still to be added): Google Print: Beta.
Read About Google Print.
It is definitely beta, it is definitely rough, but the potential is obvious. One thing I would really like would be to search only through works that are out of copyright, such as those printed before 1923. Of course, this just goes to show what a transactional mess not having fixed-term copyright creates. How the heck is Google supposed to figure out which books published after 1923 are in copyright? Stupid copyright law.
via PaidContent.org
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+ TrackBacks (0) | Category: Copyright | Internet
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Creative Commons Now Part of Yahoo! Search
posted by Ernest Miller |
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Posted by Ernest Miller
C|Net News reports on testimony before Congress regarding links between criminal copyright infringement groups and terrorism (Terrorist Link to Copyright Piracy Alleged): "Some associates of terrorist groups may be involved in IPR crime," Stedman said. "During the course of our investigations, we have encountered suspects who have shown great affinity for Hezbollah and its leadership." [emphasis added] Well, you could pretty much say the same about the entire French left-wing.
The real issue here is not whether terrorists are involved in criminal copyright infringement, they undoubtedly are, just as they are involved in many other legitimate and illegitimate businesses (the oil business comes to mind), but whether rhetorically tying copyright infringement to terrorism will become an excuse to pass draconian copyright measures that have nothing to do with stemming terrorism. Filesharing, for example, doesn't really help terrorists since it is so difficult to make money from people sharing copyrighted works. Even though Stedman's evidence is circumstantial, his testimony comes as Congress is expected to consider new copyright legislation this year. An invocation of terrorism, the trump card of modern American politics, could ease the passage of the next major expansion of copyright powers. Prediction: Expect to see a lot more mentions of "combatting terrorism" in statements from the MPAA, RIAA and/or similar organizations. They may not explicitly link it to their fight against filesharing, but they would sure love to confuse the issue and get it linked in people's minds.
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Ian Ayre's New Book: Optional Law
Law Prof. Ian Ayers announces the publication of a new book, Optional Law: The Structure of Legal Entitlements, that will be of interest to copyright geeks. Read more about the book here: Optional Law. Lots of people in the intellectual property field have pointed out that the law has gone overboard in extending property rights. In lots of contexts, we would do better with mandated licensing fees that give non-owners the option to use and pay a fee. Ive just published a book that not just formalizes the advantage of optional licenses but also shows theres a dizzying array of optional entitlement structures that can dominate traditional notions of property. Theres even experimental results showing that people bargain more efficiently in the shadow of optional regimes than in the shadow of property rules.
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May 26, 2005
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Whither Copyright in Canada?
Ubercybercanadianprof Michael Geist has written a brief article for the layman on the ongoing evolution of copyright law in Canada (The Upcoming Copyright Clash [PDF]). He counsels against following the United States' expansion of copyright law and suggests creating a national digital library and commons for CBC, among other things.
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Posted by Ernest Miller
The LA Times (reg. req.) provides a report about a class-action lawsuit against two music clubs that may result in a mind-boggling settlement (Static Builds Over Music Club Accord). What the heck is going on here? All this talk about licensing difficulties for the internet and podcasts and suddenly some record clubs have the right to license at lower than the statutory right as long as the artist doesn't object? What has really caused a fuss, however, is how the proposed settlement would change the permissions process. Instead of contacting a songwriter directly, the clubs would list the songs they intend to distribute and the rate they intend to pay on a website for 30 days. Hearing no objections, clubs would automatically receive a one-year license. [emphasis added] The music clubs could set whatever rate they want and it is up to the artists to object. Geez.
via FurdLog
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May 25, 2005
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Restore the Old Republic
Matt Rolls a Hoover notes that Star Wars: Episode IV: A New Hope was originally released 28 years ago, precisely the original maximum length of a copyright term (I Have a Quick Observation...): Under the original terms of copyright, Star Wars would enter the public domain next year, giving fans the ability to watch the version they want. Under current law, relying on illegal bootlegs or accepting the changes Lucas has made are the only alternatives.
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Posted by Ernest Miller
Well, I listened to the nearly two hours of generally dull testimony for today's Senate hearing on intellectual property (Notice of Subcommitee Hearing: Piracy of Intellectual Property). I suffered so that you didn't have to.
The hearing was chaired by Sen. Orrin Hatch (R-UT), who heads the Intellectual Property Subcommitee of the Senate Judiciary Committee. Sen. Patrick Leahy (D-VT) also attended most of the hearing.
The focus of the meeting was on international copyright infringement, particularly in China and Russia. Flash! There is lots of infringement in these two countries and something must be done about it, such as keeping Russia out of the WTO. And we're really going to get upset with China pretty darn soon. Any minute now, in fact. Just you wait, we'll do something major to China, you'll see.
Read on ...
...continue reading.
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+ TrackBacks (0) | Category: Copyright | INDUCE Act
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Madisonian Creative Commons
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Virtual Worlds Fear Copyright Liability
Ed Felten relates the story of an MMORPG that didn't provide virtual music instruments to the participants for fear they would use the virtual instruments to make copyrighted music and get the company that ran the virtual world in deep trouble (A Land Without Music). Ridiculous? Companies have been sued for providing the ability to create superheroes in a virtual world when players create versions of copyrighted comic book characters. See, EFF, Marvel v. NCSoft. Yes, there is something wrong here.
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Senate Hearing Today on 'Piracy of Intellectual Property'
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May 24, 2005
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Patry on the History Behind Luck's Music Library v. Gonzalez
William Patry addresses the history of the GATT restorations behind the dispute over restored foreign copyright in Luck's Music Library v. Gonzalez (The Constitutionality of GATT Restoration). What can I say? If you're interested in a deeper understanding of copyright law you have to read it.
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