Copyright Part 1: Guiding Principles and Online Application

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Syllabus


March 5

The Internet has enabled individuals to become involved in the production of media and to distribute their contributions widely at a very low cost. The former bastion of the entertainment industry is opening up to what many are calling a democratization of culture. The copyright doctrine of fair use seemingly bolsters the right to recut, reframe, and recycle previous works, but the protection fair use gives to those re-purposing copyrighted material is notoriously uncertain.

Over the next two classes, this course will take up the some of the issues related to copyright protection and enforcement online. Today’s class will focus on the legal regime of copyright: what it protects, what it doesn’t protect, and how the doctrine has transformed in light of digital reproduction and distribution.


Assignments

The second half of assignment 2 (commenting on prospectuses) is due before class today. Information on the assignment can be found here.

Readings/Watchings

Optional Readings


Videos Watched in Class

Links

Class Discussion

Please remember to sign your postings by adding four tildes (~~~~) to the end of your contribution. This will automatically add your username and the date/time of your post, like so: Asellars 15:29, 21 January 2013 (EST)

I was somewhat surprised by the tone of Julian Sanchez', Ars Technica, 750,000 Lost Jobs? The Dodgy Digits Behind the War on Piracy. It reads as if it were written by some type of torrent-freak railing against legitimate business, and is about as informative. While his fundamental point that it is hard to quantify the harm copyright piracy does in terms of economic loss and jobs lost is reasonable, he does nothing to argue against the undeniable fact that the United States (and Canada) do lose jobs and money due to the piracy. Sanchez' point "When someone torrents a $12 album that they would have otherwise purchased, the record industry loses $12, to be sure. But that doesn't mean that $12 has magically vanished from the economy. On the contrary: someone has gotten the value of the album and still has $12 to spend somewhere else" is just flat out wrong. It may be valid when an American steals from an American, or a Canadian steals from a Canadian, but it does not apply when a Canadian steals from an American, or more problematically, when China and the rest of the world steal from America. The US trade deficit with China is enormous. This is due in quite a significant part to the fact that we import and pay for enormous amounts of manufactured goods from China, while China imports, but does not pay for enormous amounts of IP from the US and Canada (think fake Apple phones, hacked MS office, every single hollywood movie and song, serious technical data and research). While Sanchez might not want to pay $100 for MS Word or $20 for a movie, he should think twice before accepting the argument that the 6.1 billion people in the rest of the world do not have to pay the US for IP. Joshywonder 10:18, 3 March 2013 (EST)

The Ars Technica article was very intriguing and made me think of the landscape of Internet access with the high fixed costs of transitioning to a fiber optic network. I’m sure that laying cables, etc. was extremely costly (which we have reviewed in previous lectures). However it opened the doors to much greater advancements in technology. I believe that if subsidies were somehow provided to entice companies to build fiber optic networks then the internet may experience a harkening much to the likes of cable television. And with greater technological advancement will surely come greater legal points of contention. I wonder if the legal battle for transmitting copyrighted information will become more heated as technology continues to progress. AaronEttl 11:51, 3 March 2013 (EST)

Grimmelman’s article on the madness of the Cablevision case really encapsulated the crux of the copyright debate for me. Grimmelman concludes: “Instead of asking which back-end technologies are legal, it might make more sense to ask what it is legal for users to do with computers on the front end.” An astute point that should be obvious (and I personally loved Grimmelman’s irreverent tone to reinforce this). The protection of copyright is a dense, complicated problem in the digital era, but to make progress, we have to be able to agree on some sensible underlying assumptions. Namely, that “copying” and “performing” is different in the digital world than in the analog world. Consequently 1.) we can't directly apply old copyright regulations to new ones and 2.) we ought to apply copyright regulations as they relate to users’ uses rather than some obscure behind the scenes minutiae.

Reading Grimmelman’s article, I was blown away by the technical intricacies of de-duplicaton, public performance, and what constitutes as a “copy.” Absent from the discussion surrounding Cablevision were issues of user practices, fair use, and rethinking the nature of a digital copy. As Lawrence Lessig points out, the technology with which we access our culture today has changed – copying is ubiquitous in our creative “remix” culture. And so while I think few people fall into the extremes of “abolish copyright altogether” or “preserve everything bout old copyright” it’s important to recognize, as Lessig says of Aaron Swartz’s work, when to recognize “dumb copyright.” I think by focusing too heavily on analog metaphors and technical loop-holes, we do little to combat dumb copyright.

Film major side note, here are some brilliant video essays on the subject:

Everything is a Remix: http://www.everythingisaremix.info/watch-the-series/ A Fair(y) Use Tale: http://www.youtube.com/watch?v=CJn_jC4FNDo

Asmith 22:18, 3 March 2013 (EST)

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