Roy Lichtenstein, Image Duplicator (1963)

Girl Talk: If they passed out paints on the street for free, I’m sure there’d be a lot more painters.

Joy Garnett Lectures on Painting, Mass Media, and the Art of Fair Use

The motion picture and music industries won’t give up trying to protect their money-making models even if they are obsolete.

Bill McGeveran in the Guardian makes clear that the film and music industries aren’t going to go away, but that there are ways to to address legitimate copyright concerns without PIPA and SOPA’s utter inadequacies:

At the end of a Hollywood blockbuster, when the vanquished villain declares that he should have won and that we haven’t seen the last of him, we all know what it means: the sequel is coming.

So, Hollywood’s top lobbyist, former Senator Chris Dodd, followed a familiar script last week after sweeping online protests derailed the Stop Online Piracy Act (Sopa) and Protect IP Act (Pipa), a pair of legislative proposals backed by movie and music distributors. Dodd snarled that his opponents had misled the public and vowed to continue pressing for new laws to combat unauthorized copying of intellectual property. Coming soon to a congressional hearing room near you, it’s Sopa II: Revenge of the Content Industries.

. . . . Even Dodd’s enemies acknowledge that these sites pose a problem, though many question industry estimates about its scope.

Those of us who opposed the excesses of Sopa and Pipa need to prepare for the next round. . . . At a minimum, Congress must address three other problems as well.

First and foremost, Sopa II needs to take due process seriously. . . .

Second, the standards for judging infringement must be clear and must be consistent with existing intellectual property law. . . .

Finally, these bills cannot shift IP owners’ duty to safeguard their own rights onto innocent bystanders like Google, eBay or Facebook. Open online forums enable millions of daily communications from ordinary people. Intermediaries cannot examine every post searching for links to pirates. That’s why federal law exempts them from liability for nearly everything their users post independently – even fraud or defamation. IP already gets special treatment, because intermediaries must remove infringing material if rightsholders complain.

Building knowledge in the digital age; the transition continues — science this time.

I have made the point on this blog that the digitization of information and the internet have made the old ways of doing business with information (be it entertainment, news, science, or art) obsolete and that efforts to force the new media into legal forms that evolved with the ways businesses had organized the old technologies are doomed to failure or to killing the innovation those laws are supposed to promote.

But the struggles inherent in the transition from old and established ways of doing business are ongoing and will continue to be. Today’s example comes from the world of science. As the New York Times reports, “For centuries, [scientific] research [was]cdone in private, then submitted to science and medical journals to be reviewed by peers and published for the benefit of other researchers and the public at large.  . . . Peer review can take months, journal subscriptions can be prohibitively costly, and a handful of gatekeepers limit the flow of information. It is an ideal system for sharing knowledge, said the quantum physicist Michael Nielsen, only ‘if you’re stuck with 17th-century technology.’”

But Dr. Nielsen and others argue that science can happen much more quickly and accurately using the new technologies, and reality is catching up to their ideals (even as established institutional players such as universities and grant-makers still depend on the “traditional published paper” as their exclusive criterion of judgment):

Open-access archives and journals like arXiv and the Public Library of Science (PLoS) have sprung up in recent years. GalaxyZoo, a citizen-science site, has classified millions of objects in space, discovering characteristics that have led to a raft of scientific papers.

On the collaborative blog MathOverflow, mathematicians earn reputation points for contributing to solutions; in another math experiment dubbed the Polymath Project, mathematicians commenting on the Fields medalist Timothy Gower’s blog in 2009 found a new proof for a particularly complicated theorem in just six weeks.

And a social networking site called ResearchGate — where scientists can answer one another’s questions, share papers and find collaborators — is rapidly gaining popularity.

Editors of traditional journals say open science sounds good, in theory. In practice, “the scientific community itself is quite conservative,” said Maxine Clarke, executive editor of the commercial journal Nature, who added that the traditional published paper is still viewed as “a unit to award grants or assess jobs and tenure.”

Clay Shirky on why SOPA & PIPA won’t go away: the old media companies want to make it too expensive for you (artist, consumer, teacher, etc.) to use copies even in legitimate ways

Off Book: The Evolution of Music Online (a/k/a progress SOPA would end)

Off Book: The Evolution of Music Online from PBS Arts on Vimeo.

The Evolution Control Committee will sue you if you listen to their new album, but at least they can host a Saturday night horror flick they’ve mashed together the soundtrack for.

From the Evolution Control Committee, which :”began in 1986 and continues to risk millions in copyright violation fines for what The ECC calls ‘music’”:

We’re very pleased to announce that our new album is now finally and officially released! All Rights Reserved is now available as a double CD, on vinyl, or download.

It’s just a shame you can’t listen to it.

“The lawyers had concerns,” ECC’s TradeMark Gunderson explains. “Although we felt tracks like our ‘What Would You Think If I Sang AutoTune’ were clearly parody as well as Fair Use, the legal types thought they were lawsuit-bait.” To give the label and the band an extra line of legal defense, the album includes a Listener License Agreement, a set of terms and conditions like those required in order to install computer software. “Fair Use or not, a track like’Stairway To Britney’ could easily offend a litigious party,” says Seeland Industries lawyer Sandy Kryle. “We thought the best solution would be a legal agreement that forbids anyone — everyone — from listening. Period.”

Even with the Listener License Agreement, the product was too hot for some to handle. Both the pressing plant as well as the distributor initially refused to handle the album, saying that All Rights Reserved was too risky — a surprising reaction in an era when even Girl Talk can’t muster a single major label complaint.

“We’re not crazy about the idea of suing our fans,” says ECC band member Christy Brand. “But it seems to work for the RIAA.”

You may not want to risk being sued, but for those of us in Cleveland who miss Ghoulardi’s Shock Theater, we can at least spend our Saturday night watching ECC’s version of the silent movie classic Nosferatu, dj’d live using only soundtracks from other movies:

Nosferatu with live Reels Of Steel soundtrack DJ’d by The ECC from Evolution Control Committee on Vimeo.

Why would any musician give away his music for free?

Have you ever known a Dead Head? Do you know any other band with such a devoted following? Did you know that it has been said that the Dead “may be the most profitable rock band in history.” Do you think that’s possible for a band that never had a #1 song or a #1 album and had only 2 songs ever that cracked the Top 40?

Maybe the money involved will make you believe:

Despite the death of its leader Jerry Garcia in 1995, Grateful Dead Productions continues to generate about $60 million a year in sales and licensing fees. Pretty good for a group that no longer exists.

Surely making that kind of money requires a fierce protection of one’s intellectual property rights, right? Bono, after all, took to the pages of the New York Times to warn that without fierce protection of their copyrights the movie and television industries might suffer the fate of the music industry:

Caution! The only thing protecting the movie and TV industries from the fate that has befallen music and indeed the newspaper business is the size of the files. The immutable laws of bandwidth tell us we’re just a few years away from being able to download an entire season of “24” in 24 seconds. Many will expect to get it free.

A decade’s worth of music file-sharing and swiping has made clear that the people it hurts are the creators — in this case, the young, fledgling songwriters who can’t live off ticket and T-shirt sales like the least sympathetic among us — and the people this reverse Robin Hooding benefits are rich service providers, whose swollen profits perfectly mirror the lost receipts of the music business.

We’re the post office, they tell us; who knows what’s in the brown-paper packages? But we know from America’s noble effort to stop child pornography, not to mention China’s ignoble effort to suppress online dissent, that it’s perfectly possible to track content. Perhaps movie moguls will succeed where musicians and their moguls have failed so far, and rally America to defend the most creative economy in the world, where music, film, TV and video games help to account for nearly 4 percent of gross domestic product. Note to self: Don’t get over-rewarded rock stars on this bully pulpit, or famous actors; find the next Cole Porter, if he/she hasn’t already left to write jingles.

Rather than prevent their audience from taping their concerts, as every other band did, the Dead set it free and encouraged tapers, hence sparking a revolution. You’d think giving their music away would have dampened their success; instead, the freebies propagated it. Even though people could get the Grateful Dead product for free, the band found itself playing in larger and larger stadiums as the fan base swelled and album sales accelerated: 19 gold albums, six platinum, and four multiplatinum.

And so on the official Grateful Dead web site you can listen to any of the weekly Grateful Dead Radio Hour, which, “[s]ince 1985, the show has featured exclusive interviews, music from the roots and branches of the band’s musical family tree, and of course a generous helping of unreleased live and studio recordings.” At the Internet Archive, you can listen to a seemingly endless number of those bootleg recordings the Grateful Dead encouraged, and you can download for free those that audience members made. And if that’s just too much to  begin to comprehend, don’t worry! The Grateful Dead Listening Guide is a series of podcasts you can download to hear an expert’s introduction into the Work.

Perhaps it is not such a surprise, therefore, that we have articles like  the one entitled “Management Secrets of the Grateful Dead.”

And you can even listen — right here below — to a recording of the Grateful Dead concert I attended 33 years ago this week, on January 18, 1979, at the Providence Civic Center

John Oswald, pioneer of the aural collage: the futility of law in the face of technology it cannot control.

I’ve written at length in this blog about compositions consisting of digital remixes of pre-recorded samples and the contentious and utterly unresolved tensions between copyright, fair use, and the extra-legal reality of practices that cannot be controlled by legal rules. I’ve written about artists as varied as Negativland, Girl Talk, Steinski, and Kutiman, among others. Negativland and Steinski were pioneers in the genre, composing their aural collages back in the ancient days before digital media made the stitching together of digital information something one could do sitting in front of a laptop in bed.

But no one was there before John Oswald of Plunderphonics. A mere fraction of his career’s chronology demonstrates that he is perhaps the pioneer of the genre:

1973-75

With the sanction of William S. Burroughs, John Oswald cut up recordings of him reading his texts advocating cutting up methods, & consequently discovered an acoustic pallindrome, mediations between backwards & forwards, polysyllabic masking & phase imploding.

1975

Oswald melds a radio evangelist with alleged satanists Led Zepplin in the early rap track POWER. released in 1995 by Musicworks magazine.

1975-85

MYSTERY TAPES assembly & dissemination (by Mystery Tapes Etc.International), include many early plunderphonistic experiments.

1980

Oswald guest produces a one hour radio show for CFRO in Vancouver called Sounds Wrong which includes the first public issues of Dolly Parton & Rite of Spring transformations.

1982

Collusion, a British magazine publishes an article by Oswald, entitled “Revolutions & Mr Dolly Parton – a vortex of of androgeny”.

1985

An essay by John Oswald entitled “Plunderphonics, or, Audio Piracy as a Compositional Prerogative” was presented at the Wired Society conference in Toronto.

1988

The original Plunderphonics EP (never-for-sale, out-of-print) was for its time the most extreme example of sampling ever produced. Four well-known music personalities representing four musical genres & four notable epochs of recording history were presented in surprising ways, or, as the press release put it: warp drive.

1989

The Plunderphonic CD (never-for-sale, remaining stocks destroyed by Michael Jackson & CBS) has become an underground cult classic. The realistic cover photo of a nude Michael Jackson revealed as a white woman paralleled the musical transformations depicted on the disc. Other electroquoted artists included Bing Crosby, The Beatles, Glenn Gould, Public Enemy & (consequently) James Brown.

You can read a more complete biography of Oswald here.

Far more interesting is an extensive recorded interview with Oswald. One of the most fascinating parts of the interview is Oswald’s account of his experience with the overwhelming legal forces brought to bear in the name of copyright enforcement against his new compositions. In a series of events not unlike those experienced by Negativland in connection with their composition U2, every last CD Oswald retained of his recording was destroyed. Of course, he had already distributed some of those CDs and was unable to recover them. And we all know digital media metastasize beyond any capacity of corporate control. So, of course, as with Negativland’s U2, Oswald’s recording not only continues to exist; it is available (for free) for digital downloading.

For your listening pleasure, I include here one track from the album: Glenn Gould-Aria(mp3).

PBF on the interrelationships between law, technology, and the arts on 9/15

On September 15 at 6pm I’ll be speaking at SPACES on the interrelationships of art, law, and technology. SPACES is a gallery, a resource, and a public forum for artists who explore and experiment. To find it, go here.  There will some minor similarities, I suppose, to the talk I gave at the Cleveland Institute of Art two years ago, but this one promises to be significantly different and better.

One more step away from old (scholarly) publishing practices

Jeffrery Pomerantz writes of the difficulties he and his colleague, Diane Harvey, had in trying to negotiate a fair allocation of rights between themselves as authors and the journal The Reference Librarian in connection with an article Pomerantz and Harvey had been asked to write for an issue of the journal dedicated to the future of reference and library education.

The story reveals several important points. One I am clearly interested in is the importance of sound legal advice in locating and interpreting the precise matters authors are being asked to agree to. Simply figuring out what rights are being allocated and how they are being allocated is not an easy thing. First, the “agreement” the authors were asked to sign did not set forth the relevant policies they were agreeing to. Second, even after the journal had appeared to back off its original position, insightful legal reading of the new position showed it was the old one repackaged in new form.

Another point to be take is the leverage publishers have over certain authors — Pomerantz and Harvey are fortunate; they are sufficiently well established in their academic fields that they could afford to stand their ground and risk the journal’s refusal to accede to their demands on rights and the resulting refusal to publish their article.

A third point is that Pomerantz and Harvey were able to self-publish their paper with the ability to represent that it had already passed the journal’s peer review process, thus eliminating the only real weakness of self-publication: the absence of validation provided by peer-review. They have also published it in a manner that will permit ongoing comment, which in itself will provide a further level of peer review.

Is publication changing, or what?

hat tip to @asawusch on twitter.

Can you be original if you do nothing but appropriate the work of others?

From Wikipedia: Ophir Kutiel (born 1982), professionally known as Kutiman, is a musician, composer, producer and animator from Israel. He is best known for creating the online music video project ThruYOU, an online music video project mixed entirely from samples of YouTube videos which has received more than 10 million views. Time Magazine named it one of the 50 Best Inventions of 2009.

Here is This is What it Became, one cut from ThruYOU:

Mike Masnick of techdirt, writes yesterday, in terms that a lawyer for Gregg Gillis would love:

[T]o hear some people talk about these things, none of this is “creative.” It’s all just “copying.” In some cases it’s outright “piracy.” After all, Kutiman is using the works of others, and doing so entirely without permission. And yet, I have trouble seeing how anyone can legitimately claim that these songs are “piracy” in any real sense of the word. Kutiman is clearly a musician. That he uses a note played by someone else on a YouTube video, and then “plays” it himself, strikes me as no different than playing a keyboard that plays a recorded sounded, or even strumming a guitar. A musician is putting different sounds together to create music. Does it really make a huge difference if that music involves someone making a note from an instrument directly themselves… or by taking the note originally played by someone else and doing something creative and amazing with it?

I think Masnick is right on in stating that the use of technology widely available only in the last several years to compose a work from pieces of other recorded work is “no different than playing a keyboard that plays a recorded sounded, or even strumming a guitar.” What many fail to recognize is that the music the likes of Kutiman, Gillis, DJ Earworm and a myriad of others are producing today is the result of new technology, not a new mindset. There are plenty of people out there who would tell you that rampant sampling is the consequence of a generation without respect for property rights. But I think people who say such things are missing the real point: ten years ago, it would have been very difficult for people like Gillis and Kutiman to compose the work they compose today. Twenty years ago it would have been impossible without efforts few but the most dedicated would resort to.

In short, we have new instruments today. That those instruments produce their sounds by means of reproducing pre-recorded sounds does not make them any less instruments than instruments that can produce only a limited number of notes.

Is the NY Times new paywall a platypus?

Will the new New York Times paywall survive longer than its last one? The Times sent me an e-mail explaining the plan, but Felix Salmon explains it more succinctly and clearly:

[T]he website is free, so long as you read fewer than 20 items per month, and so are the apps, so long as you confine yourself to the “Top News” section. You can also read articles for free by going in through a side door. Following links from Twitter or Facebook or Reuters.com should never be a problem, unless and until you try to navigate away from the item that was linked to.

Beyond that, $15 per four-week period gives you access to the website and also its smartphone app, while $20 gives you access to the website also its iPad app. But if you want to read the NYT on both your smartphone and your iPad, you’ll need to buy both digital subscriptions separately, and pay an eye-popping $35 every four weeks. That’s $455 a year.

I can’t say I disagree with Salmon’s take: “The message being sent here is weird: that access to the website is worth nothing. Mathematically, if A+B=$15, A+C=$20, and A+B+C=$35, then A=$0.” And I suspect Mike Masnick’s is correct in his belief this plan was spawned by a committee that either lacked or utterly ignored any member who suggested the idea was stupid:

It feels like something that was completely developed by committee group-think. It’s one of those things where they’re sitting around and someone timidly suggests a dumb idea (“I know, for $5 more we take away their smartphone access”) and, because they have to come up with something, someone else says “sure” and then they think there’s validation of a good idea. But there’s no one brave enough in the room to say: “Guys, the newspaper is digital. Charging different amounts based on the hardware is like charging people different prices for listening to the same music on headphones vs. speakers.” But no one did that. And because they had a committee, who kept making bad suggestions like this, and 14-months to keep upping the stupid, they spent over $40 million on it.

The result for me will be that I’ll read the New York Times less than I do now. Whether the newspaper will in fact be hurt by losing page views by readers like me or will make more money than it does now with its content online for free remains to be seen, but something tells me this isn’t the best solution to the world we live in now, one in which newspapers no longer control the means of producing and distributing journalism.

Stay tuned. We’ll see what the New York Times is doing online in a year or two.

Welcome to the future of publishing.

Amanda Hocking lives in Minnesota, and writes young adult paranormal romance and urban fantasy. Her My Blood Approves series is about vampires in Minneapolis. She also wrote the Trylle Trilogy, which is a paranormal romance without vampires, shifters, mermaids, fae, angels, dragons, ghosts, or ninjas.

But what’s remarkable about Ms. Hocking is that she’s experienced enormous success by self-publishing her works exclusively as electronic texts, as the Huffington Post reports:

Unknown, living paycheck to paycheck in Austin, Minnesota, rejected by publishers all over New York, Amanda Hocking decided to self-publish on ebook platforms only. She sold 100,000 of her works in December, and over 10 months she’s had more than 900,000 in sales. She’s 26 and is now making enough money to quit her day job and become a full time writer, in fact she’s a millionaire.

Paranormal romance is not precisely to my taste, but no one interested in culture can ignore the economics of popular culture. And at least this comment from the Huffington Post article, while acknowledging the fear provoked by the ongoing revolution in publishing, acknowledges what I’ve long seen as the need to embrace the inevitable:

As a long-time author it frightens me somewhat to see the industry change so much so quickly. Yet it’s also exciting to witness this kind of people power in the making. The Internet is the great equalizer. I firmly believe that those of us in the industry need to embrace the change or we will eventually go down in flames. You can’t stop progress, only delay it.

And adult approach to digitizing library holdings

I have long believed the copyright concerns that have hampered the digitization of library holdings are way overblown, especially in light of the value to be gained by digitizing the contents of libraries and making them available for research online. So it is gratifying to see that the libraries of Duke University, North Carolina Central University (NCCU), North Carolina State University (NCSU), and the University of North Carolina at Chapel Hill (UNC) have issued a report — The Triangle Research Libraries Network’s Intellectual Property Rights Strategy for Digitization of Modern Manuscript Collections and Archival Records Groups (pdf) – that, as Library Journal describes it, “urges libraries to make large-scale special collections available online, even if some question about the copyright status of certain elements remains.”

The document sets forth a comprehensive strategy for addressing copyright concerns that digitization raises. It doesn’t shy, however, from asserting the legitimacy of the project as an exercise of fair use: “In the unlikely event that a TRLN member library is challenged on the presentation of the digitized collections/groups, and in the even more unlikely event that the library is unable to resolve those challenges…the library will rely on a fair use argument.”

And the document sets forth its fair use analysis clearly and concisely, addressing each of the factors of the 4-part fair use test as follows:

Fair use is a balancing test based on . . . four factors. The factors are not a list of requirements, and all four factors need not be met to have a successful fair use argument. Each factor as it might pertain to the CCC project’s selected manuscript collections and archival record groups is addressed below.

The purpose and character of the use

The CCC project is not for profit; the project’s purpose is to promote historical scholarship and support educational uses of primary sources by providing free and open online access to a large corpus of research materials: the digitized manuscript collections and archival record groups from the four libraries. Individual documents contained in the collections and groups may remain under copyright protection, but they are used in this project for research and educational purposes.

The character of the use is transformative. An individual document’s original use was temporally bound, its value practical. For example, at the time that any individual letter in the Frank Porter Graham papers was written, it served only to share information with Graham. But now that letter is part of a manuscript collection that contains more than one hundred thousand documents. And as with any individual item in a manuscript collection/archival record group, the document serves as a small part of a larger resource, one used in scholarly inquiry and education. The aggregation and organization of individual documents to create manuscript collections/archival record groups transform the purpose and function of the individual documents, as do the finding aids for these collections/groups, which also add to the research value. The digitization and online presentation of the documents in the collection/group further remove the individual document from its original purpose, and deepen its transformed purpose and use as a historical resource that contributes to our understanding of the past.

The nature of the copyrighted work

Most of the documents in the manuscript collections/archival record groups were created in the course of the daily life of an individual or in the routine business of an organization. Created without commercial motivation or artistic intent, these works were not meant for publication at the time of creation, and today are not publishable in isolation. The research value of manuscripts lies not with the individual document, but rather with the collection of documents that together provide context and insight into the past.

The amount and substantiality of the portion used

The presentation of entire documents and entire collections/record groups is therefore appropriate for the intended use by students, educators, and scholars. Individual documents in the collections/groups are the copyright?protected works; but the law does not specify a particular amount of a work that can be used without permission.

The educational and transformative purposes of the use require the presentation of the works in their entirety and so satisfy this factor.

The effect of the use upon the potential market

The scholarly research value and educational significance of these collections are incalculable, but their aggregated online presentation will have little to no effect on the market value of individual documents. In virtually all cases, no such market exists. In the rare instance in which an individual document has a commercial market, the downloadable digital images will not be of commercial quality and therefore will pose no threat to that market.

Would Shakespeare have survived the Internet? Scott Turow and the morality of propertizing creativity.

In the New York Times, Scott Turow, Paul Aiken, and James Shapiro ask whether Shakespeare would have survived the Internet:

The rise of the Internet has led to a view among many users and Web companies that copyright is a relic, suited only to the needs of out-of-step corporate behemoths. Just consider the dedicated “file-sharers” — actually, traffickers in stolen music movies and, increasingly, books — who transmit and receive copyrighted material without the slightest guilt.

They are abetted by a handful of law professors and other experts who have made careers of fashioning counterintuitive arguments holding that copyright impedes creativity and progress. Their theory is that if we severely weaken copyright protections, innovation will truly flourish. It’s a seductive thought, but it ignores centuries of scientific and technological progress based on the principle that a creative person should have some assurance of being rewarded for his innovative work.

There are a number of questions one might raise in response to Mr. Turow and his colleagues. For one, there are not many law professors other than the notoriously ineffective Charles Nesson who defend the legality of unauthorized file sharing. (To question the assumption that file sharing has a material impact on the music and publishing industries is, on the other hand, a different matter.) To conflate file sharing with tranformative appropriation in discussing copyright is the genuinely misleading rhetorical move. And Shakespeare may not be the best example to use in arguing that copyright and innovation necessarily go together. One might wonder, in fact, whether there really is such a thing as a sui generis artist, be that artist Shakespeare or Robert Johnson. Nor could one argue that there were no great artists and writers prior to the advent of what the Turow and his colleagues describe as “paywalls” around theaters or before copyright. Indeed, at least in certain markets the absence of copyright protection does indeed promote innovation. The very premise of Turow’s argument — that in the absence of the economic monopoly conferred by copyright creativity like Shakespeare’s simply won’t happen — is hardly indisputable.

Perhaps Judge Alex Kozinski, referencing Scott Turow of all people, put it best in dissenting from the 9th Circuit’s refusal to rehear en banc a case in which Vanna White successfully sued Samsung for violating her “right of publicity” by “appropriating” her “identity,” emphasizing that overprotecting intellectual property is as dangerous as underprotecting it (footnotes omitted):

Saddam Hussein wants to keep advertisers from using his picture in unflattering contexts. Clint Eastwood doesn’t want tabloids to write about him. Rudolf Valentino’s heirs want to control his film biography. The Girl Scouts don’t want their image soiled by association with certain activities. George Lucas wants to keep Strategic Defense Initiative fans from calling it “Star Wars.” Pepsico doesn’t want singers to use the word “Pepsi” in their songs. Guy Lombardo wants an exclusive property right to ads that show big bands playing on New Year’s Eve. Uri Geller thinks he should be paid for ads showing psychics bending metal through telekinesis. Paul Prudhomme, that household name, thinks the same about ads featuring corpulent bearded chefs. And scads of copyright holders see purple when their creations are made fun of.

Something very dangerous is going on here. Private property, including intellectual property, is essential to our way of life. It provides an incentive for investment and innovation; it stimulates the flourishing of our culture; it protects the moral entitlements of people to the fruits of their labors. But reducing too much to private property can be bad medicine. Private land, for instance, is far more useful if separated from other private land by public streets, roads and highways. Public parks, utility rights-of-way and sewers reduce the amount of land in private hands, but vastly enhance the value of the property that remains.

So too it is with intellectual property. Overprotecting intellectual property is as harmful as underprotecting it. Creativity is impossible without a rich public domain. Nothing today, likely nothing since we tamed fire, is genuinely new: Culture, like science and technology, grows by accretion, each new creator building on the works of those who came before. Overprotection stifles the very creative forces it’s supposed to nurture. . . .

But what does “evisceration” mean in intellectual property law? Intellectual property rights aren’t like some constitutional rights, absolute guarantees protected against all kinds of interference, subtle as well as blatant. They cast no penumbras, emit no emanations: The very point of intellectual property laws is that they protect only against certain specific kinds of appropriation. I can’t publish unauthorized copies of, say, Presumed Innocent; I can’t make a movie out of it. But I’m perfectly free to write a book about an idealistic young prosecutor on trial for a crime he didn’t commit. So what if I got the idea from Presumed Innocent? So what if it reminds readers of the original? Have I “eviscerated” Scott Turow’s intellectual property rights? Certainly not. All creators draw in part on the work of those who came before, referring to it, building on it, poking fun at it; we call this creativity, not piracy.

Turow and his colleagues are guilty, I think, of the “bad medicine” of “reducing too much to private property.” Perhaps Turow would describe me as a law professor advancing “counterintuitive” arguments, but he runs the risk of embodying (and profiting mightily from) a culture that has an unprecedented tendency to “propertize” everything it can and a blindness to the ways law cannot stem new practices made possible by technology. The inarguable truth is that the music and publishing industries once had virtual monopolies on the production and distribution of their products and that they no longer do. Those industries have largely reacted by trying to enforce a legal regime that grew up with and required the old means of production and distribution, which seems to me at least not the most productive way of promoting creativity.

Turow appears to be among the reactionaries trying to use the force of law to overcome reality. Last year he complained that publishers had made a mistake in making publishing e-book versions of writers’ works at the same time they published the book versions, agreeing with a publisher’s assertion that “there’s something radically wrong” when a market has the power to cause the value of a book to plummet.  When the publisher expanded on the point by stating that “I want to be able to say that a new book by Scott Turow is worth $28, and people should be willing to pay that,” Turow agreed, justifying his entitlement to the price by arguing that “[t]here is nothing wrong with [copyright holders] maximizing their profits . . . . If we really want to have a robust literary culture, then we have to think about the compensation system.”

I would suggest to the publisher and Turow that there might not be anything wrong with maximizing profits but that there might indeed be something wrong with charging a price that reflects the costs of printing and distributing books when the market now can deliver a product that need not be printed and that can be delivered virtually for free.

What is “intuitive” to Turow and the point of view he represents is that your creations are as much your property as your car or your computer. But “intellectual property” is not property in the same way as personal or real property. The very source of our nation’s copyright laws, the Constitution’s Copyright Clause,  makes clear that copyright law exists to promote invention and creativity, and to the extent it discourages invention and creativity it is unconstitutional. Nonetheless, Turow and many others cannot seem to overcome some “moral” conviction that to allow others to profit off of your creations is somehow to “steal” something from you. Again, Judge Kozinski in the Vanna White case quoted above, eloquently states the response to this “moral claim” (footnotes omitted; hyperlinks added):

Moreover, consider the moral dimension, about which the panel majority seems to have gotten so exercised. Saying Samsung “appropriated” something of White’s begs the question: Should White have the exclusive right to something as broad and amorphous as her “identity”? Samsung’s ad didn’t simply copy White’s schtick–like all parody, it created something new. True, Samsung did it to make money, but White does whatever she does to make money, too; the majority talks of “the difference between fun and profit,” 971 F.2d at 1401, but in the entertainment industry fun is profit. Why is Vanna White’s right to exclusive for-profit use of her persona–a persona that might not even be her own creation, but that of a writer, director or producer–superior to Samsung’s right to profit by creating its own inventions? Why should she have such absolute rights to control the conduct of others, unlimited by the idea-expression dichotomy or by the fair use doctrine?

To paraphrase only slightly Feist Publications, Inc. v. Rural Telephone Service Co., 499 U.S340], __, 111 S.Ct. 1282, 1289-90, 113 L.Ed.2d 358 (1991), it may seem unfair that much of the fruit of a creator’s labor may be used by others without compensation. But this is not some unforeseen byproduct of our intellectual property system; it is the system’s very essence. Intellectual property law assures authors the right to their original expression, but encourages others to build freely on the ideas that underlie it. This result is neither unfair nor unfortunate: It is the means by which intellectual property law advances the progress of science and art. We give authors certain exclusive rights, but in exchange we get a richer public domain. The majority ignores this wise teaching, and all of us are the poorer for it

The negative impact of the internet on music sales has been greatly exaggerated. I’m shocked, shocked.

From Ernesto at TorrentFreak, an excerpt:

In 2010 the BPI reports that there were 281.7 million units sold, which is an all-time record. Never in the history of recorded music have so many pieces of music been sold, but you wont hear the music industry shouting about that. In fact, the music industry is selling more music year after year and today’s figure is up 27% compared to the 221.6 million copies sold in 2006.

But, instead of praising the increasing consumer demand for music, the industry cuts up the numbers and prefers to focus on the evil enemy called piracy. By doing so they spin their message in a way that makes it appear that piracy is cannibalizing music sales. But is it?

In their press release the BPI points out that album sales overall were down by 7%. Although digital album sales were up 30.6%, physical CDs were down by 12.4%. If we believe the music industry, this drop in sales of physical CDs can be solely attributed to piracy. This is an interesting conclusion, because one would expect that piracy would mostly have an effect on digital sales.

We have a different theory.

Could it be that album sales have been declining over recent years because people now have the ability to buy single tracks? If someone likes three tracks from an album he or she no longer has to buy the full album, something that was unimaginable 10 years ago.

This theory would also fit the sales patterns of the last few years, where album sales are down year after year while the number of individual tracks sold is increasing rapidly. In 2010 the UK music industry sold 161.8 million singles (digital and physical) compared to 66.9 million in 2006. Where does piracy fit in here?

Could it possibly be that piracy is only affecting album sales and not single sales? Would that make sense?

Or could it be that the consumption habits of the average music consumer have changed in the last decade?

A National Public Library? There’s nothing to stop it other than a lack of political will to do anything useful.

Robert Darnton calls for a National Digital Library — “a digital library composed of virtually all the books in our greatest research libraries available free of charge to the entire citizenry, in fact, to everyone in the world.” I agree with him that the project is neither naive nor utopian. Several countries have already committed themselves to the creation of their own national digital libraries:

In December 2009 President Nicolas Sarkozy of France announced that he would make €750 million available for digitizing the French cultural “patrimony.” The National Library of the Netherlands aims to digitize within ten years every Dutch book, newspaper, and periodical produced from 1470 to the present. National libraries in Japan, Australia, Norway, and Finland are digitizing virtually all of their holdings; and Europeana, an effort to coordinate digital collections on an international scale, will have made over ten million objects—from libraries, archives, museums, and audiovisual holdings—freely accessible online by the end of 2010.

Darnton concludes that the U.S. “should be possible to digitize everything in the Library of Congress for less than Sarkozy’s €750 million—and the cost could be spread out over a decade.” And he therefore sees the legal issues — particularly dealing with “orphan works” – as the principal barrier to a U.S. National Digital Library.

Unfortunately, I disagree with Darnton regarding the main impediment. As I’ve explained “orphan works” are “works whose copyright holders cannot be identified, a common problem because there is no registry of copyrights and the authors of the books are not necessarily the copyright holders. Rather, the copyright holders might include unidentifiable heirs or even corporate entities that have gone through mergers, dissolutions, or other forms of corporate reorganization that make it difficult or impossible to identify the entity that currently owns the copyright.” I’m not sure I see any particular problem with Congress enacting legislation amending the Copyright Act to authorize a National Public Library to use works whose copyright owners cannot be identified under terms that provide for reasonable compensation when and if owners make and establish their claims.

I think, however, the cost is a real impediment in the current economic climate. €750 million is almost $1 billion. While the U.S. military budget for 2010 totals approximately 685 times this amount, the current political climate hardly seems ripe for Congress to take the initiative on a project that would strike much of the citizenry — and certainly most U.S. politicians — as intellectual frivolity. It isn’t, of course, but one can be sure that massive confusion over the rights of authors (as I’ve touched on here, among other places) could be used to demagogue to death a billion dollar project longed for by a bunch of professors.

Friedman to judges and lawyers: don’t “friend” or “tweet” one another!

Ohio is one of the first states to address the use of social networking by judges. As explained by the Ohio Supreme Court on its web site, an opinion issued 2 days ago [embedded below] by the Ohio Board of Commissioners on Grievances & Discipline “advises judges that social media use is permitted but must be done with caution, and it offers wide ranging, specific guidance to judges on how to navigate the new waters of social media without violating judicial canons that require judges to avoid even the appearance of bias or impropriety.”

My reaction to the opinion — that judges ought to avoid entirely engaging in social media communications with anyone who is or may be a lawyer or a litigant in cases before them — is one people close to me would describe as “paranoid.” Perhaps I’m just risk averse. I think, though, that I’m principally concerned with integrity.

The issue is one that pertains to what are known as “ex parte communciations” — communication between a lawyer or a litigant with the judge without the presence or participation of the adversaries to the lawsuit in which the lawyer or litigant is appearing before the judge. Ex parte communications, except under very limited circumstances all of which ensure notification to the adversaries as soon as practicable, are absolutely forbidden. Our legal system is founded on its adversary nature — not in the sense that it requires fighting but, rather, in that it tries to ensure the voices relevant to the dispute all have equal access to the judge. If my adversary communicates with the judge, I have the opportunity to judge whether it’s worthy of a response and how to respond. We don’t leave to the judge to decide whether I should or can respond — the system ensures I make that decision.

The importance of avoiding ex parte communications was brought home to me in law school by the professor who was my supervising attorney in the clinic I was part of. I was representing a child as guardian ad litem in a child abuse and neglect case in family court in Flint, Michigan. The entire scene was grim — it was 1983, and Michigan had started the precipitous economic descent it suffered at the hands of the auto industry. Unemployment in Flint was through the roof (even in 2010 terms). Abuse and neglect claims had increased. That day it was freezing and pouring rain.

After our hearing, my professor/supervisor and I stood sheltered in an entranceway to the courthouse, hoping the rain would abate a bit so we could make it to our car without getting to0 rain-soaked. As we stood there, the door opened and the judge before whom we’d just appeared stepped out, smiled, and started speaking with us, obviously intent on the same endeavor we were — waiting out the rain in the doorway. My professor immediately wished the judge a good day and, grabbing my arm, led us out into the deluge. When we’d made it to the car I asked her what in the world she had been thinking. She responded, “You do not communicate with a judge without the other side present. It’s wrong!”

It makes perfect sense to me. If the other side has an opportunity to communicate with the judge without my knowledge, how am I supposed to judge what I should let the judge know? Unfortunately, some important people seem to have underestimated the fundamental importance of this rule. Justice Scalia seems not to have worried that hunting with Dick Cheney might be deemed a compromise of the integrity of his court judging a case in which Cheney was a party. Justice Thomas’s willingness to speak before and maintain other relationships with conservative groups with a stake in cases before the Supreme Court are notorious.

And now comes the Ohio Supreme Court suggesting that as long as a judge is really careful he can communicate via social networks with people who are litigating cases in his court. I think it stinks. I would tell a judge not to allow access via social networks to litigants or potential litigants. And I’d tell any lawyer to stay away from networking with a judge before whom he will or may appear.

Incidentally, I don’t think the Ohio Supreme Court’s “guidance” really is all that helpful anyway. Essentially, the guidelines leave to the judge the determination of what is and is not appropriate, acknowledging there are no “bright lines” distinguishing between the two:

• To comply with Jud. Cond. Rule 1.2., a judge must maintain dignity in every comment, photograph, and other information shared on the social networking site.
• To comply with Jud. Cond. Rule 2.4(C), a judge must not foster social networking interactions with individuals or organizations if such communications erode confidence in the independence of judicial decision making.
• To comply with Jud. Cond. Rule 2.9 (A), a judge should not make comments on a social networking site about any matters pending before the judge – not to a party, not to a counsel for a party, not to anyone.
• To comply with Jud. Cond. Rule 2.9 (C), a judge should not view a party’s or witnesses’ pages on a social networking site and should not use social networking sites to obtain information regarding the matter before the judge.
• To comply with Jud. Cond. Rule 2.10, a judge should avoid making any comments on a social networking site about a pending or impending matter in any court.
• To comply with Jud. Cond. Rule 2.11 (A)(1), a judge should disqualify himself or herself from a proceeding when the judge’s social networking relationship with a lawyer creates bias or prejudice concerning the lawyer or party. There is no bright-line rule: not all social relationships, online or otherwise, require a judge disqualification.
• To comply with Jud. Cond. Rule 3.10, a judge may not give legal advice to others on a social networking site.

Social Networking by Judges, Board of Governors of Grievances and Discipline, Ohio Op_10-007, 12-3-10