Viral Spiral, Bollier's new book

I have been a fan of David Bollier since I read his book Silent Theft so I was happy to see that he had written a new book on the importance of the public domain and the commons. The book, Viral Spiral: How the Commoners Built a
Digital Republic of Their Own
is also available for download under a Creative Commons license. From the website:

One of the big themes of Viral Spiral is the enormous value generated from making one’s work openly available on the Internet. While publishing traditionalists are skeptical of this new reality, a number of pioneering authors and publishers have shown the commercial appeal of posting their books online using one or another Creative Commons licenses. Among the more notable authors are Cory Doctorow, Lawrence Lessig, James Boyle, Yochai Benkler, Dan Gillmor and Peter Barnes. In the same spirit, New Press has authorized the following download of the text of Viral Spiral. I hope that anyone who has the chance to browse through the PDF version of the book will want to buy a hard copy.

Popeye and friends

Elzie Crisler Segar died in October in 1938 – as of 1 January this year he has been dead for 70 years which means that his artistic works have now entered into the public domain. Among the best known of Segar’s work is Popeye the Sailor and now the famous spinache eating strong man and all his friends and enemies are free to use. The strangest of the characters must be his friend and cowardly straight-man Wimpy

wimpy-from-popeye1

More details over at Cearta.

New Book: Terms of Use

A couple of months ago I mentioned that Eva Hemmungs Wirtén was soon publishing her second book on the public domain. Her production, writing and depth makes her one of the foremost public domain scholars around today. The very fact that she is a Swedish humanities scholar publishing in the English market seems to make her an exotic addition to the scholarly publication. This should not be so considering the ability to think and writes exists widely outside the larger universities and the web provides and excellent infrastructure for the spreading of knowledge. So could it be that there is a bias towards certain universities and university publishers?

Anyway her second book Terms of Use: Negotiating the Jungle of the Intellectual Commons (University of Toronto Press) is now out and it has already been reviewed by David Bollier on his blog. Bollier gives the book a glowing review and writes about Eva:

Wirtén, a professor at Uppsala University in Sweden, is developing a sophisticated new frontier of public domain scholarship… Wirtén’s book is a welcome addition to the literature on the public domain... Terms of Use is highly readable and even entertaining.

And she deserves this praise. I read Terms of Use with fascination, letting the author guide me from the familiar early history of property theory – a story populated with white colonialists declaring the right to take land from natives who did not use it. This reminds me of the comic Eddy Izzard who has the following sketch in his Dress to Kill tour

We stole countries. Thats how you build an empire. We stole countries with the cunning use of flags. You just sail around the world and stick a flag in.

“I claim India for Britain”.

And they go: “You can’t claim us, we live here, 500 million of us”.

“Do you have a flag?”

“We don’t need a bloody flag, this is our country you bastard”.

“No flag, no country – you can’t have one. That’s the rules”.

(check it out on youtube in particular this version which has a lego animation). Anyway back to the book. Eva then boldly goes where the familiar story has not gone before. Exploring the parts of the public domain which should be familiar but are not. The history of lopping as a right, the imperialistic problems with Kipling, the origins and political significance of botany, botanical gardens and taxidermy.

From these wide sources she deepens our area of study, forces us to go beyond the simplistic terms and understanding of the public domain as a modern romanticization of a confusing past. We need work like this to be able to understand what it is we are actually talking about. Go get the book and read it. Oh, and if you have not done so read her first book as well No Trespassing: Authorship, Intellectual Property Rights, and the Boundaries of Globalization.

Terms of Use

My friend, collegue and fearless explorer of the public domain Eva has sent me a copy of her new book “Terms of Use

Love the tigers on the front… If it is anything like her last book it will be great. I will be reviewing it here later but I just wanted to give anyone a heads up straight away – this is an interesting book.

Online material and copyright

While commenting on the distinction between the professional and amateur Clair from Mummys Bracelet pointed to an interesting discussion (and here) in relation to this topic. The whole thing started when JonnyB was told be a neighbor that he was published in the newspaper The Mail on Sunday. This was news to JonnyB who found that The Mail had printed entire posts from his blog on their Blog of The Week section without permission.

OK – so it’s copyright violation. No biggie, nothing to blog about you might think. JonnyB sent an invoice and the Mail paid up. Problem solved? No, not really. The newspaper paid but it also wrote in response to JonnyB

We generally take the view that blogs published on the internet have already been placed in the public domain by their authors and, in case of amateur writers, most people are happy to have their work recognised and displayed to a wider audience.

The really strange thing that follows from this story is the misguided belief that what is online is somehow in the public domain and that these mistakes are being made not only by amateurs but also be the “professional” media. And this is despite the fact that the discussion on online copyright is almost as old as the internet.

When lecturing to my students I keep trying to push into their minds three steps:

1. Almost nothing online is outside copyright.

2. Assume everything is owned.

3. What risks will you be running by using other people material? (who do you represent)

Maybe I should start lecturing for the news media…

Boyle Book Cover Competition

Via an email list I found out that James Boyle, the new Chairman of the Board at Creative Commons and a founder of Science Commons, is holding a contest to design a cover for his new book, The Public Domain: Enclosing the Commons of the Mind. In the book, Boyle argues that more and more of material that used to be free to use without having to pay a fee or ask permission is becoming private property — at the expense of innovation, science, culture and politics.

Details, including specs and a link to some great source material for imagery, are available at the Worth1000 website. Both the book and the cover will be distributed under a CC Attribution-NonCommercial license.

Boyle is a great writer and enjoys exploring legal questions surrounding property in a way which makes it accessible and interesting to the reader. His book Shamans, Software and Spleens: Law and the Construction of the Information Society was a real eye opener for me. I am definitely going to get his new book.

When my PhD was almost finished I announced a similar competition for the design of the book cover and was lucky to get it widely publicized. The whole idea of the competition was actually quite resented and discussed on my blog. Professional designers felt I was cutting them out of the market by asking for free work. Interesting discussions ensued. The results of the competition were posted on my blog and the winner was chosen by popular vote and used on the cover of my PhD.

What is the lecture?

No one can tell you what the lecture is… sorry for the silly Matrix reference. The question here is on the issue of property and the lecture. The questions I hope to address are Who owns the lecture? Who controls the lecture? Who owns the lecture notes? What can the audience do? Who owns the audiences’ notes?

Some early background: In November 2006 I wrote the post Do you hand out your handouts which was concerned with students demanding (not asking) to have handouts in advance. This is also part of a larger issue of the impact of becoming dependent on technology in teaching (see post Teaching with powerpoint).

What triggered these reflections was the news that University of Florida professor Michael Moulton was claiming the right to prevent his students from selling their lecture notes. His claim was based upon the concept that the students notes were actually derivative works from his own notes and therefore the lecturer could use copyright to prevent the students from selling their notes. This is the basic story read more details at Wired.

Standing and talking i.e. giving a lecture is not copyrightable per se, this is actually a good thing as most lectures tend to be the explanation of the works of many others (not all mentioned). A lecture on basic copyright law will include ideas and direct quotes from the law, courts and often other jurists. The nature of the lecture is to educate the audience on a certain issue and therefore cannot be only the ideas and opinions of the lecturer. This use of the ideas and texts of others is neither copyright infringement or plagiarism.

The lecture becomes copyrightable when it is a derivative work of the lecture notes. In other words a lecture given without notes is not copyrightable, nor is a lecture given from notes taken from the public domain. If the non-copyrightable lecture is filmed or recorded then the copyright goes to the person recording (the director).

The “right” of the lecturer to refuse the audience to record is actually not a question of copyright but more a question of labor law. For example, if I were to refuse to let my students record me the question would be one of my refusal to carry out my job as a lecturer. The ensuing discussion between my employer and me would be a re-negotiation of my contract to take into account the audiences’ desire to record my work. Many lecturers I have spoken to are not aware of this position and some react very strongly to being recorded while they work. The audience taking notes is a developed fair use but again the lecturer could theoretically refuse to talk if someone were holding a pen (as with a recording device) but it is doubtful that the academic employer would support this position.

What can the audience do with their notes or recordings? If we presume that the lecture is based upon the copyrightable notes of the lecturer (as opposed to an ad hoc talk or a folk dance following a traditional pattern i.e. uncopyrightable) then any kind of reproduction of the notes/recording would be a violation of the copyright of the lecturer. The audience can however sell their copies or make copies for their friends within the limits of fair use but this would not allow them to make several copies or post the notes/recording on the Internet.

Therefore the lecture is a collection of rights and it intersects with different legal areas. Beyond that it is also a specific situation based upon the traditions and expectations of the audience and lecturer. The lecturer seems to have more power since he/she has chosen the subject, scheduled the event and does all the talking  but this is not necessarily the case. The lecture is a socially constructed affair which requires audience participation in specific forms (coming on time, sitting properly, silence, attention etc)

On top of all this comes the control via labor law and contracts. Wow, who said that giving a lecture was easy?

7 Ways To Ruin A Technological Revolution

Here is an online talk by one of the most interesting of tech-lawyers, the intellectual James Boyle talk is on YouTube and the subject is 7 Ways To Ruin A Technological Revolution. From the abstract:

If you wanted to undermine the technological revolution of the last 30 years, using the law, how would you do it? How would you undercut the virtuous cycle that results from access to an open network, force technological innovation into stagnation, diminish competition, create monopolies over the basic building blocks of knowledge? How many of those things are we doing now?

Boyle has been an impressive figure since his book Shamans, Software and Spleens: Law and the Construction of the Information Society came out in 1997 since then his writings include Papers on the Public Domain (James Boyle ed. 2003) and Bound by Law – A ‘Graphic Novel’ (a.k.a. comic book) on Fair Use.

He has also been central in the launching of Creative Commons and Duke Center for the Study of the Public Domain.

(via DigitalKoans)

Return of the lost blogger

For the first time in I don’t know how long I have been away. Not only have I been away from my office and telephone but I have also been offline and out of touch. In addition to this I have also been mentally off work – it has been a very relaxing experience. My only connection to work has been my seaside literature which has been (as always) work related, focusing mainly on copyright, open access and the public domain. It has all been very relaxing and I am now ready to come back with a better tan and full of energy.

 

I spent some of my downtime over here…

Millenium Mouse & Copyright

The attempts Disney goes to maintain copyright over their intellectual property are legendary. Copyright term extention acts have ensured that Mickey Mouse is saved from the public domain and continues to generate income for Disney.

But what would happen if Mickey was shown to be older than we thought? An artefact at Lund Historical Museum dated to 900 A.D. was excavated at a site called Uppåkra in southern Sweden.

Surprise, surprise its Mickey!! This means that Mickey is over 1000 years old – let Mickey enter the public domain – he deserves it…

Don’t be surprised if Disney uses this as an excuse to extend copyright terms to 1000 years!

Although made of bronze, the brooch ornament likely adorned the clothing of an Iron Age woman. Excavations at nearby sites, such as at Järrestad, have yielded other unusual pieces of jewelry, such as a necklace with a pail fob at the end and another necklace strung with 262 pieces of amber. (Discovery Channel)

(via Boing Boing)