Showing posts with label fair use. Show all posts
Showing posts with label fair use. Show all posts

Saturday, August 22, 2009

Additional DMCA Rulemaking Questions Received

I have, along with other DMCA rulemaking-hearing participants, received a second question set from the U.S. Copyright Office. The questions are premised by: "For purposes of the question below, please assume that the Register has decided to recommend an exemption to the prohibition for proposed classes 4A through 4H, 11A and 11B, or some portion thereof, relating to motion pictures on CSS-protected DVDs" and ask:

“From your unique perspectives, is there a limitation, either in terms of duration or percentage (or both), which could be incorporated into the definition of an exempted class of works?”

Specifically, the copyright office suggests the following language could possibly be used in the context of finished products (remixes) for crafting the new exemption:

“… the portions of any single work used shall be, collectively, no greater than x minutes in duration and represent no greater than y percent of the duration of that work….”

The questions also acknowledge how creating a quantity limitation might be objectionable to some, but since this is not a redrafting of section 107, but is instead an administrative rulemaking proceeding, they are asking for suggestions from hearing participants nonetheless. They state:

“Again, we recognize that for purposes of fair use, what may be a reasonable duration in one case will not necessarily be a reasonable duration in another case, we are not proposing to codify the fair use doctrine in this rulemaking proceeding. However, this is a regulatory proceeding and for the purposes of promulgating a regulation governing exemptions from the prohibition on circumvention, we are inclined to believe that more specific limitations are advisable so that, at least for purposes of predicting liability under section 1201(a)(1), users will find sufficient guidance in the regulatory text.”

The questions were emailed to hearing participants Friday August 21, 2009 at 5:38 pm, EST. Responses are due September 8, 2009 by 5 pm.

Friday, August 14, 2009

EFF's von Lohmann provides analysis on DMCA-DVD jukebox cases

Fred von Lohmann of EFF has provided a thoughtful analysis of the two recent DVD - DMCA-related cases that have been decided this week.

"Just one day after Judge Patel's ruling against RealDVD, a California appeals court has ruled against Kaleidescape, reversing the lower court and sending that case back for a fresh determination of whether Kaleidescape violated the terms of the DVD-CCA license."

http://www.eff.org/deeplinks/2009/08/judge-rules-against-realdvd

RealNetwork loses ruling in DMCA related case

"The decision represents a major victory for the film studios, which had accused Real of violating the Digital Millennium Copyright Act (DMCA) and breach of contract in a lawsuit filed last fall."

http://news.cnet.com/8301-1023_3-10307921-93.html

Wednesday, May 20, 2009

Canada Put On Another US "Watch" List

In addition to being placed on the "301" list last week by the office of US trade representative, Michael Geist reports that a US Congressional Caucus has just placed Canada on another "list."

"Because one unfounded and unsupportable designation as a pirate nation is never enough, the U.S. Congressional International Anti-Piracy Caucus has placed Canada on a watch list alongside China, Mexico, Russia and Spain. This is a separate list from the USTR Special 301 list."
http://www.michaelgeist.ca/content/view/3990/196/

Just today I revised a chapter that I hadn't read in two years. It discusses Canada's amazing CCH opinion, an opinion that took the US fair use doctrine and broadened it. Copying (fair use) for research, private and commercial is legal in Canada. Downloading for private use is legal, and uploading is not illegal. Canada has taken a pretty clear stand on protecting user rights - the country probably has the broadest user protection of any country. And you can see the results. Obama's committed to enforcing IP rights and will appoint a Czar soon. The content industry will continue to exert pressure, lobbying pressure, on US politicians, and in turn, Canada will continue to be a focus of US attention in this area.

First Person is Convicted Under DMCA for Selling Circumvention Tool

At the DMCA Rulemaking hearings, I recall, I think it was the attorney for the MPAA/RIAA, asserted that no one had ever been convicted under the DMCA for selling/trafficking circumvention tools. While it is not illegal under the DMCA to use these tools, it is illegal to sell them. An example might be a fake access key to access software or a tool to unscramble the CSS on a DVD.

Cnet News reports today that Adonis Gladney has been convicted of selling fake Microsoft product keys.

"Gladney, 24, is believed to be the first person convicted for DMCA violations dealing with the circumvention of security protections on software, according to Assistant U.S. Attorney Craig Missakian. Typically, product keys are used to activate software and are printed on Certificate of Authenticity labels that accompany legitimate products."

http://news.cnet.com/8301-1009_3-10242343-83.html


My opinion is that there's always a balance to be maintained between users/creators and corporate interests. It was clear at the rulemaking hearings that the DMCA's anti-circumvention provisions are completely useless and ineffective. Users are circumventing and creating all kinds of digital remixes. The corporate interests have no choice but to now go after those who sell these kinds of tools that permit hacking. This result also gives me hope though, because maybe the tides are turning for those who circumvent in order to make a fair use of existing materials. If the copyright office grants an exemption to the DMCA for educational users, it will probably be a matter of days before the corporate interests create licenses that permit users to circumvent, and then offer a cheap, legal tool for doing so.

Friday, April 24, 2009

I am going to DC . . .

http://beyondwordsblog.com/2009/04/23/professional-writing-professor-to-testify-about-copyright/

Quote: "Obama Administration Lock(e)s And Loads Against Movie Piracy"

http://www.ip-watch.org/weblog/2009/04/22/obama-administration-lockes-and-loads-against-movie-piracy/

From the Intellectual Property Watch:By Liza Porteus Viana for Intellectual Property Watch @ 12:41 am

[being quote]WASHINGTON, DC - The Obama administration will fight for the movie industry and work to aggressively enforce its intellectual property protections both at home and abroad, United States Commerce Secretary Gary Locke said here Tuesday.

Locke offered almost unabashed support for the industry, which, according to a report released Tuesday [pdf] by the Motion Picture Association of America (MPAA), created 2.5 million American jobs in 2007, paid an average production worker US$74,700 a year in salary, paid out $41.1 billion in salaries to American workers, paid $13 billion in income and sales tax and was responsible for $13.6 billion in trade surplus.[end quote]

I am really concerned about the one-sidedness of Locke's perspective. Where are the voices of the NCTE lobbyists? Do they even know what is at stake here?

Friday, March 27, 2009

Library Organizations To File Amicus Brief in Google Book Search Settlement

"The American Library Association (ALA), the Association of Research Libraries (ARL), and the Association of College and Research Libraries (ACRL) said this week they will file an amicus brief pertaining to the pending Google Book Search settlement. ARL associate executive director Prue Adler told the LJ Academic Newswire the brief would be written by attorney Jonathan Band, author of the Guide for the Perplexed: Libraries and the Google Library Project Settlement, and would amplify for the court concerns library leaders voiced at recent meeting in Washington, DC."

The full story: http://www.libraryjournal.com/article/CA6640461.html

Friday, February 27, 2009

The Obama Hope Poster Case

NPR has conducted a series of interviews with the interested parties. I include a link to the interview with law professor Greg Lastowka.

http://www.npr.org/templates/story/story.php?storyId=101187066

To clarify his discussion - the Campbell v. Acuff-Rose Music, Inc. (1994). 510 U.S. 569, 583-585 case never actually held 2 Live Crew's use was fair use, but instead suggested the use might be fair use, and sent it back down to the lower court for a determination. To quote: "Held: 2 Live Crew's commercial parody may be a fair use within the meaning of §107. Pp. 4-25. " Notice the word "may." http://www.law.cornell.edu/supct/html/92-1292.ZS.html

The four factors are not applied as willy nilly as might be suggested in the interview.

David Nimmer (2003), a leading intellectual property scholar, conducted a study on copyright cases decided between 1994 and 2002, and found 90% of the time, if three of the four factors are found in favor of fair use, fair use is affirmed. One cannot generalize his findings though, because he did not randomly select the 60 cases he examined, nor did he analyze all reported decisions. Overall, of the 60 cases he examined, 24 upheld fair use and 36 denied it (pp. 269-277). Nimmer also analyzed percentage correspondences between each of the four factors and a favorable determination with correspondences ranging from 42% correspondence to factor two, and 57% correspondence to factor four, in the context of overall favorable findings. He states across all four factors, there is a 51% correspondence to a favorable legal outcome.Nimmer, D. (2003). “Fairest of them all” and other fairy tales of fair use. Law & Contemp. Probs., 66, 263-287.

There's other copyright and non-copyright issues as well other than the "fair use" claim. (I have not read the case but according to NPR, the potential copyright infringer is the one who filed the case for some kind of declaratory relief - always problematic because whoever filed the case has the burden -- I always think of this as if you are going to start the problem, then you will have the burden of proving yourself correct).

If I were arguing against the AP, I’d assert that the Obama photograph is not original. Per copyright law, in order for an artifact to be copyright protected, it must be an “original work of authorship fixed in any tangible medium of expression.” http://www.copyright.gov/title17/92chap1.html#102

Also note that “fixed” means fixed with authorization. http://www.copyright.gov/title17/92chap1.html#102

Then there is right to publicity issues going against AP:
http://www.publaw.com/rightpriv.html

Then of course, I’d recommend the AP lawyers read chapter 7 of this book when it is published in 2 months.
http://www.sunypress.edu/details.asp?id=61789


:)

Wednesday, November 26, 2008

Managing Your Site and Reducing Your Legal Risks

Some really good resources are available at the Citizen Media Law Project for individuals who are maintaining websites.

A brief overview is given on this space that provides links to further readings on reducing legal liability. http://www.citmedialaw.org/legal-guide/managing-your-site-and-reducing-your-legal-risks

The section on dealing with legal threats is especially helpful. It provides information on what to do if you receive a letter or communication threatening legal action.
http://www.citmedialaw.org/legal-guide/dealing-legal-threats-and-risks

The website also has some very smart advice on responding to correspondence threatening legal action. http://www.citmedialaw.org/legal-guide/responding-correspondence-threatening-legal-action

I think the one important thing to remember is to ask whether it is worth it to resist a legal threat and face possible litigation in a given context. While you might be justified in your use of material, do you have the time and resources to fight a law suit on principle for the publishing of material that may not be at all crucial to your success? Most of the time, for example, with respect to "fair use," you really don't know if it really really really is "fair use" until a court says it is. $500,000.00 later, it might not have been worth it. On the other hand, if individuals don't resist unreasonable legal threats once in awhile, speech really could be chilled, although in my research I didn't find that it was, yet, with respect to academics writing in educational digital contexts.

Monday, November 17, 2008

Code of Best Practices in Fair Use for Media Literacy Education

After two years of work, the Code of Best Practices in Fair Use for Media Literacy Education has been released. This work clarifies how copyright and fair use apply to the work of media literacy educators at all levels: graduate programs at universities, teacher education programs, undergraduate colleges and community colleges, K-12 schools, and non-school settings such as youth development and community-based programs.

The Code may be downloaded here:
http://www.centerforsocialmedia.org/resources/publications/code_for_media_literacy_education/

The Media Education Lab at Temple University has also
created some innovative curriculum materials—including “Schoolhouse Rock” style songs, case study videos and lesson plans. These items are available here:
http://www.mediaeducationlab.com/

Saturday, November 1, 2008

The inaugural Conference on Intellectual Property (CIP) will be held in June

John Walter posted info on this intriguing sounding conference on techrhet. I was not familiar with the spectacular and provocative work of Joy Garnett. Her work is something worthy of further exploration and analysis by folks in rhetoric & comp.

The inaugural Conference on Intellectual Property (CIP) will be held on June 12-13th 2009 at Iona College in New Rochelle, NY, and will include keynote addresses by Laura M. Quilter, M.L.S., J.D. and painter Joy Garnett.

Whether it be the submission of student papers to plagiarism-detecting websites, the marketing of a movie that chronicles the challenges of a windshield wiper inventor, or the latest debates over the application of nonobvious intention, issues involving intellectual property in the academic, economic, legal, and technological fields challenge the very notion of ownership: what we own, how we own, and who may claim ownership. The purpose of this conference is to explore intellectual property, in a cross-disciplinary context, as both a concept and a reality relating to the professional fields whose concerns intersect in understanding its essence and implications.

We invite papers and panels dealing with any and all aspects of intellectual property, from the origins of eighteenth-century literary property debates to the viability and ethics of plagiarism and plagiarism detection, from the economic impact of patents to the technological advances that may make intellectual property obsolete. We especially encourage papers/panels that embrace a multidisciplinary or interdisciplinary approach.

CIP papers and/or abstracts will be included in a conference proceedings, and selected essays may be published in a proposed collection for a peer-reviewed press.

Papers/Panel abstracts should be submitted by February 5th, 2009 to Dr. Amy Stackhouse at astackhouse@iona.edu or Dr. Dean Defino at ddefino@iona.edu. We look forward to a fruitful and collegial experience. For more information, please see the conference website at www.iona.edu/cip.

Keynote Speakers:

Laura Quilter is an attorney and researcher in technology and information law and policy. Laura's research and practice particularly focuses on the rights of information users, including consumers, libraries, creators, and scientists, and she regularly speaks and writes on these matters. She earned her law degree from Boalt Hall School of Law, University of California, Berkeley, in 2003, and her library science degree from the University of Kentucky in 1993. http://lquilter.net/professional/briefbio.html

http://lquilter.net/index.php

Painter Joy Garnett appropriates news and documentary photographs from newspapers, internet and other media, and re-invents them as paintings. Her work mines the tensions between the open-ended narratives of art, and ubiquitous media representations of real-life events. Ms. Garnett's work has been exhibited in museums and galleries around the world, including the Whitney Museum of American Art in NYC, the National Academy of Sciences in Washington, D.C., and the Witte Zaal in Ghent, Belgium, and reproduced in numerous publications, from Harper's to Cabinet magazine. In 2004, she was awarded a grant by the Anonymous Was a Woman foundation, and she currently serves as Arts Editor for Cultural Politics, a refereed journal published by Berg in Oxford, UK.

http://www.firstpulseprojects.com/joy.html

Doan Honey, Mocha Coffee, Olive Oil Soap

An new group has been formed through the Arab League: the Arab Society for Geographical Indications (ASGI).

This society seeks to protect Arab products through international intellectual property agreements, namely TRIPS.

TRIPS, the Trade-Related Aspects of Intellectual Property Rights Agreement, a World Trade Organization agreement, defines Geographical Indicators in Article 22:

“indications which identify a good as originating in the territory of a member, or a region or locality in that territory, where a given quality, reputation or other characteristic of the good is essentially attributable to its geographical origin.”

Some example items:

Doan honey from Yemen (Doan is a famous valley in the Hadramout area)

Mocha coffee from Yemen

Oman’s Halva

Masafi from the United Arab Emirates

Olive oil soap from Nablus in Palestine

Water from al Feejah spring in Syria

Lebanese tabbouleh

Argan oil from morocco

These discussions of geographical indicators are always interesting because they embody examples of resistance to cultural appropriation, but this resistance is trying to be accomplished within the western paradigm of naming, owning, and individuating. I am always reminded as well, that although cyberspace connects us, in many ways our identities are still tied to place, topos, literally real property. I also find these discussions interesting because when I read the “origins” of items I am familiar with, my reaction is always: “I never knew that came from there”!

A full story on this topic is located in the Intellectual Property Watch

http://www.ip-watch.org/weblog/index.php?p=1289

Wednesday, July 30, 2008

Digital Course Packs Case - University Asserts Soverign Immunity, Fair Use, Discovery Process Begins

I’ve been following the Cambridge University Press et al v. Patton et al (Patton et al are being sued in their official capacity representing the University of Georgia) – a case where publishers challenge the use of digital versions of publications provided to students through various digital management systems – electronic course reserves, Web Ct, and so on. The publishers initiated their lawsuit with a complaint; the university’s filed their formal Answer, and the parties are now initiating the “discovery” process – discovery is a term of art use to describe the formal process of gathering evidence.

All of the legal proceedings are being collecting here:

http://news.justia.com/cases/featured/georgia/gandce/1:2008cv01425/150651/

I summarized the original complaint and the publisher’s claims here:

http://papers.ssrn.com/sol3/papers.cfm?abstract_id=1122585

http://martinecourantrife.blogspot.com/2008_04_01_archive.html

And I’ve mentioned the Answer, or the university’s position here:

http://martinecourantrife.blogspot.com/2008/07/in-lawsuit-university-asserts-that.html

http://martinecourantrife.blogspot.com/2008_06_01_archive.html

I’ve had time to more closely read the university’s Answer and so I provide an update.

On April 15, 2008, publishers, Cambridge University Press, Oxford University Press, and Sage Publications, filed a complaint in the US District Court for the Northern District of Georgia, Atlanta Division, against various representatives of Georgia State University regarding what the publishers allege to be “pervasive, flagrant, and ongoing” (p.3) infringement of their copyrights.

While many of the “infringing” examples cited by Cambridge et al. include the digital distribution of only one chapter of a work, the publishers argue that the amount copied “vastly exceeds . . . fair use in an educational setting” (p.3). It appears from the complaint that most of the information supporting the plaintiffs’ allegations was gleaned from accessing GSU’s online library course reserves. According to plaintiffs, these reserves, including links to instructors’ syllabi as well as digital copies of copyrighted course readings, were freely available not just to students, but to the public in general, at least until the university responded to a request from plaintiffs to address the issue. The university subsequently required students use a password to access the materials.

The complaint lists the various practices by GSU and its faculty that the publishers object to. Such practices include:

1. Creating anthologies by mixing together various readings under the professor’s directions: “practice of anthologizing” (p. 18).

2. Constructing classes such that students never “set foot in a bookstore or expend . . . a single cent” (p. 5) in order to participate in a course.

3. Using copyrighted materials without proper permission or payment of fees (the copyright clearance center is suggested as a viable alternative).

4. Construction of “digital course packs” used semester after semester.

5. GSU’s copyright guidelines, which they argue “plainly exceed legal boundaries” (p. 17)

In its response (“Answer”), the university admits that various chapters were provided by sundry faculty to students in digital format. (The university provides 18 defenses total, all of which I will not recite here):

“GSU admits that students in the Spring 2007 term of Professor Belcher’s course “Qualitative Research” ( AL8961) were given access to five digital excerpts from the second edition of the Handbook of Qualitative Research, edited by Norman Denzin and Yvonna S. Lincoln and published by Plaintiff SAGE Publications” (p. 11).

The Answer goes on to list in great detail exactly what was and was not available to students in digital format. However, the university denies that it was creating digital anthologies, as alleged by the publishers.

With respect to having digital copyrighted materials available in a public space for all to access with no password, the university states: “GSU admits that a software mistake was discovered in May/June 2007 and that this software mistake enabled views without a password to access Course Researches Pages through clicking one of more of the other columns on a Course Research Index page . . . GSU contacted the software vendor to repair the mistake so that only students who are given a specific password by the instructor can access the pages” (p. 16).

Throughout the Answer, the university asserts that it relies on fair use for its use of digital materials.

SOVEREIGN IMMUNITY

An interesting aspect of the lawsuit that has arisen is the status of the legal entity being sued. While I state that the university has filed the Answer, it has done so through the attorney general of the State of Georgia. In other words, by suing GSU the publishers have in fact sued the state. As GSU (through the attorney general) states in its Answer:

"GSU denies that Georgia State university is a not-for profit corporation. By way of clarification, Georgia State university is not an incorporated entity. Georgia State University is a unit of the Regents of the University System of Georgia, an agency of the State of Georgia created by O.C.G.A. Section 20-3-20" (p. 8).

Due to GSU’s legal entity status as “The State,” in its Answer it thus asserts sovereign immunity under the 11th amendment of our Constitution:

"The Judicial power of the United States shall not be construed to extend to any suit in law or equity, commenced or prosecuted against one of the United States by Citizens of another State, or by Citizens or Subjects of any Foreign State."

http://caselaw.lp.findlaw.com/data/constitution/amendment11/

I will just say here that the concept of sovereign immunity is extremely complex and has been interpreted variously and sometimes inconsistently. It will be interesting to see how the court deals with this, in the event the case is not settled before the production of a judicial opinion. I like to think about sovereign immunity because it plays with our ideas of authorship. I don’t usually see myself, as an employee of a public teaching institution, as “The State,” with respect to my writings in the scope of employment. There are some really interesting intersections between authorship concepts, work-for-hire, and our status as “The State,” (as opposed to “the individual”) that have been largely unexplored in rhet/comp.

Other defenses that GSU raises are the statute of limitations and laches. Both concepts deal with time – that is, both argue that too much time has expired before the injured party took legal action, and provide a remedy that bars either fully or partially, the lawsuit. Laches is an equitable doctrine, and the statute of limitation (usually three years for copyright law), is a legal doctrine. Chaim Perelman, writing on Aristotle, points out that Aristotle categorized equity and law, saying something along the lines that equity is the crutch of the law – i.e. it comes into play with the “law is lame.”

William Patry has a nice summary of the difference between the statute of limitations and laches.

Laches and the Statute of Limitations

http://williampatry.blogspot.com/2007/01/laches-and-statute-of-limitations.html

Both the publisher and the university are filing their discovery documents as well as trying to narrow the issues. (In rhetoric we might call upon stasis theory with respect to this narrowing of the issues). The legal documents also point out that settlement conferences have been or will be scheduled (usually a requirement nowadays).

I will continue following the suit.

Wednesday, July 23, 2008

Educational Use of "Flat Stanley" Threatened by Intellectual Property Claims

In what's becoming an all too common assertion of IP rights by estate holders, a teacher who's been conducting educational, funded use of Flat Stanley may have to end his efforts, which have reached across the globe.

http://www.flatstanleyproject.com/

From the George Lucas Educational Foundation Article:

"Today, the project has become a veritable global phenomenon, and because of it, thousands of children from more than forty countries have exchanged pictures, stories, and goodwill, turning a half-inch-thin storybook character into a cultural icon. Flat Stanley look-alikes have even been photographed with Clint Eastwood on Oscar night, soared aboard a space shuttle, and visited heads of state around the globe. But now, as the project enters its thirteenth year, Hubert might be forced to pull the plug on the popular project.

Citing legal challenges from the estate of Jeff Brown, the late author of the original Flat Stanley book, Hubert posted a message on the project home page that reads, 'Sadly, the Flat Stanley Project may be forced to end.' Letters of support illustrating the project's -- and the character's -- far reach have since poured in."

http://www.edutopia.org/flat-stanley-pen-pals

Tuesday, July 22, 2008

Is There a Chilling of Digital Communication?: The Dissertation

I've finished a complete copy of my dissertation and submitted it to the committee.

http://sites.google.com/site/martinecourantrife/

An abstract for the 300+ page document appears below.


ABSTRACT

IS THERE A CHILLING OF DIGITAL COMMUNICATION? EXPLORING HOW KNOWLEDGE AND UNDERSTANDING OF FAIR USE INFLUENCE WEB COMPOSING

The study explores copyright law’s mediational influence on digital composing using a sequential transformative mixed methods research design. The author conducted a digital survey and discourse-based interviews with digital writers regarding how they factored in copyright law and fair use in their composing decisions. The study is framed with activity theory, rhetoric theory, and also draws upon Foucault’s notion of the author-function. Three main areas of inquiry in the study include examining the status of knowledge and understanding of copyright law in the field of technical and professional writing (TPW) as well as in professional writers. A second research goal is to investigate the creative thinking processes, or rhetorical invention, of writers in these programs composing webtexts in light of copyright law. A third research goal is to examine what happens to mediational means as writers leverage them in digital contexts.

The study’s six major findings are that 1) web spaces are sites of cultural collision, or commonplaces, where students occupy sometimes conflicting positions such that the very notion of “studentness” is inverted. Web spaces as commonplace challenge existing concepts such as “author” and “originality”; 2) The intertextuality of web-space-writing provides support for Foucault’s theory that the single author is an ideological production representing the opposite of its historical function, i.e. the “author-function,” in the larger culture. “When a historically given function is represented in a figure that inverts it, one has an ideological production” (Foucault, 1984, p. 119). No support was found for a human culture existing without an “author-function,” whether it is a workplace culture or even a more community-knowledge-focused culture as exists in India. Yet, “the author” switches in and out of a subject position in relationship to human and non-human actors; 3) For this group of writers, digital speech was not chilled. Copyright law as a system of invention organized by rhetoric, produces knowledge; 4) Rhetorical topics congeal as a heuristic mediating the digital composing process of writers. This study provides a small and incomplete snapshot of this heuristic structure; 5) When we consider the hierarchical and embedded nature of rhetorical topics that mediate digital composing choices, for this group of writers, ethics trumped the law; 6) While the study supports the idea that laws have agency, as knowledge and understanding increase, that agency is increasingly diminished by the human actor. The agency of the law is connected to where the law ends up on the AT triangle.

The author ends the study by calling for more research in the area of copyright law’s agency in the composing process, suggesting that drawing upon Actor Network Theory and its notion of radical symmetry might prove helpful for future studies.

Sunday, July 20, 2008

Code of Best Practices in Fair Use for Online Video released by Center for Social Media

The Center for Social Media at American University has released a set of best practices for fair use when creating online video – another in its series of best practices in fair use guidelines. The new video guidelines are packaged up in a handy PDF file, under 20 pages. The six best practices are prefaced with a short introduction outlining basic fair use considerations, and are followed by a short list of common fair use myths. This is a very handy tool for teaching, especially for those who teach new media or multimedia. It would certainly be appropriate for first year writing, graduate level courses, or even high school.

http://www.centerforsocialmedia.org/blogs/future_of_public_media/announcing_the_release_of_the_code_of_best_practices_in_fair_use_for_online/

The six best practices in fair use when creating online videos include practices that arise out of the following inventional techniques often used during the remix process:

  1. Commenting on or critiquing of copyrighted material.
  2. Using copyrighted materials for illustration or example.
  3. Capturing copyrighted material incidentally or accidentally.
  4. Reproducing, reposting, or quoting in order to memorialize, preserve, or rescue an experience, an event, or a cultural phenomenon.
  5. Copying, reposting, and recirculation a work or part of a work for purposes of launching a discussion.
  6. Quoting in order to recombine elements to make a new work that depends for its meaning on often unlikely relationships between the elements.

Some key statements in the introduction which I appreciate as illuminative of the sometimes untapped power of fair use include that “where it applies, fair use is a right, not a mere privilege” (p. 3), and emphasis that the uncertainty of fair use determinations provide flexibility, a good thing. In the study I completed for my dissertation (http://sites.google.com/site/martinecourantrife/), I found that the professional writers I studied were unclear about the distinction between fair use and licensed use. The Code of Best Practices emphasizes this important distinction, noting that fair use is use that takes place without permission. It’s unauthorized use. Licensed use, on the other hand, takes place with some form of permission. The Code applies to unauthorized uses.

The Code was put together by a panel of experts who work in the area of copyright. Many on the panel are law professors or legal experts. This is a Code that does not do what many “best practice” guides do – that is, restrict our fair use rights. Instead, this Code presents a robust set of guidelines based on existing case law.

Writing teachers will appreciate as well the focus on attribution, although copyright law or fair use does not expressly require it. The authors assert that attribution will provide evidence of good faith in the event a use is challenged. I have written a chapter on plagiarism that’s in process – co-authored with Danielle Nicole DeVoss. In that chapter though, we argue that sometimes attribution is unnecessary, especially when it’s obvious where materials came from. For example, a short time ago a parody of The Shining circulated widely on the web. I don’t believe the author of the parody credited Stephen King, nor the producer or directors nor the various actors. But because The Shining has become a kind of “common knowledge” in our culture, I do not think attribution is necessary. The point we made in the chapter is that if the viewer doesn’t know what The Shining is, the parody makes no sense, since parody relies on common knowledge of something pre-existing.

Another example of where I think attribution is not necessary because of the common knowledge argument, is when something, even an image, is available in multiple locations on the web. In her blog, Clancy Ratliff writes a bit about defining common knowledge – noting that some state that if something appears in 3 different texts, then it’s common knowledge and a citation is not needed http://culturecat.net/trying-stay-ahead-demand. In my dissertation I have quite an extended argument on this topic of common knowledge – I basically don’t have a rule like Clancy’s, although I think such rules are helpful sometimes for teaching. But I do note that common knowledge is time stamped, and culture stamped. My example for today though is that I recall from an advanced multimedia production class I took with Prof. Ellen Cushman several years ago, an image of Sequoya. If you do a google image search for “Sequoya” you will immediately get a google page showing 5 or 6 of the same image of Sequoya in several locations, just on the first page of your search. Let’s say you were going to use this image. Which citation would you pick? All of them? Some of them? The most credible? The least credible? My argument is that although you could provide a citation, as long as in the context it’s clear you yourself did not create the image, a citation or attribution is not needed, as this image of Sequoya is common knowledge.

As stated, writing teachers will appreciate the Code’s emphasis on good faith attribution. I tend to think that in many remixed texts, attribution is not necessary, and simply lingers as a vestige of our former modes of traditional writing. The other downside to attributing your sources in fair use, is that it might draw attention to your use in the event a copyright holder is policing the web for any use at all. Yet, Foucault predicted that someday we wouldn’t care who wrote what. Perhaps that day is nearing.