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Copyright and Football

Now there’s a combination most people don’t think about together.

Recently the NFL sent cease-and-desist letters to a number of New Orleans t-shirt manufacturers, claiming that the shirts, which depicted the New Orleans Saints “Who Dat” slogan and the team’s fleur-de-lis emblem, violated the league’s copyright and trademarks.  Irate fans and merchants protested. Louisiana politicians got in on the act.  Sen. David Vitter notified the NFL that he intended to print “Who Dat” t-shirts himself and Rep. Charlie Melancon, who is running for Vitter’s seat,  issued a petition in support of the beleaguered merchants.

Now the Louisiana Attorney General has brought an end to the controversy.  Fans can use the “Who Dat” slogan and the fleu-de-lis as along as items are not represented as NFL-licensed merchandise.

Here at OSU, contact Ohio State University Trademark and Licensing if you have questions about using Buckeye logos or emblems.

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Data Privacy Day 2010

Data Privacy Day is January 28.  It’s not a copyright issue, but definitely something that involves the law and libraries.  For example, here is a report on a related conference Reader Privacy:  Should Library Privacy Standards Apply in the Digital World, which discusses reader privacy for ebooks and proposed priacy standards for books available through Google Book Search.

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Copyright Criminals Airs January 19

Copyright Criminals, a documentary on sampling and copyright law, airs January 19 at 10:00 p.m. on WOSU, the PBS station in Columbus.

Interesting quotes from the trailer:

  • “I’ve sued and been sued.  That’s the nature of the business.”
  • “If you sample one note of a sound recording, it’s copyright infringement.”
  • “We felt that you couldn’t copyright a sound.”
  • “You’re either rich enough to afford the law, or you’re a complete outlaw. “

The intention of the film is to look at both sides of these complex issues.  Background information is available here.

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Thinking About Open Access Day 2010

Open Access Day 2009 at OSU was a success.  We had a crowd of between 40 and 50 people (depending on who counted them and when) to hear a thought-provoking panel of speakers.  If you missed it, you can still go here to view the broadcast.  We’re already thinking about topics and formats for next year.  Some of the topics that caught my attention include how open access publishing may change the promotion and tenure process; the need for information about self-archiving options, including OSU’s repository, the Knowledge Bank; issues with regard to retaining and transferring the author’s copyright during the scholarly publishing process; and how open access publishing can assist with information needs in developing countries.

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OSU Open Access Day 2009 is October 21

The Twitter hashtag for Open Access Day at OSU will be #osuoaday20009.

If you want to watch the presentation via streaming video, go here on the day of the presentation.

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Speakers for Open Access Day at OSU

Open Access Day at OSU will take place from 10:30 to noon on October 21, 2009 in Room 165 at the newly-renovated Thompson Library with a panel discussion.

Participants will be:

·         Opening Remarks, Jan Weisenberger, Senior VP, Office of Research

·         Moderator, Tom Sanville, Executive Director of OhioLINK

·         Panelist, David Huron, Professor Music and Editor, Empirical Musicology Review

·         Panelist, Scot Danforth, Associate Professor of Teaching and Learning and Editor, Disability Studies Quarterly

·         Panelist, Deborah Grzybowski, Assistant Professor of Ophthalmology

·         Panelist, Donald Dean, Professor of Biochemistry

·         Panelist, Jack Ochs, American Chemical Society

·         Panelist, Daviess Menefee, Elsevier Publishing

For more information, contact Anne Gilliland.

Also sponsored by :

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Save the Date for Open Access Day at OSU

Librarians from across campus are working together to plan a program to discuss open access publishing from 10:30 to noon on October 21, 2009 at the newly-opened Thompson Library.  Open access publishing is a movement that encourages making scholarly resources more freely available over the internet.  The goal is to maximize the impact of research, particularly research that has been funded with public money.  One of the most notable examples of open access is the National Institutes of Health Public Access Policy, which requires that, after a 12 month embargo period, funded research be made publicly available.

The program will consist of a panel of authors, editors, and publishers and will include both those enthusiastically involved with open access journals and those who are more skeptical of the movement.  The intent is to show both the advantages and challenges of open access.  Those who cannot attend the program in person will be able to view it via video streaming and capture.

The week of October 19 is Open Access Week, and this program is only one of many events that publishers, universities, and libraries all over the world are planning in order to highlight the movement.  The Open Access Day program at OSU will be of interest to anyone involved in research and publishing throughout the university.

 For more information, contact Anne Gilliland, or visit http://library.med.ohio-state.edu/3803.cfm.

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A Tale of Two Proposals to Change Copyright Law to Protect Newspapers: Part 1

Newspapers are in trouble these days.  Many in that industry blame competition from bloggers and websites, and some believe that the way to deal with that competition is to change copyright law.    One proposal to do so appeared in a blog post by Judge Richard Posner  in June of this year.  Shortly thereafter, a more detailed proposal by David and Daniel Marburger (David Marburger is a lawyer and former journalist who has represented the Cleveland Plain Dealer; Daniel Marburger is an economist) first appeared in Connie Schultz’s column in the Plain Dealer.  Since then, the Marburgers have published expansions of the proposal on various sites on the internet.

My father was a newspaper reporter and editor for over 20 years, most of the time for a chain of small-town newspapers in Tennessee, and our lives revolved around newspapers.  When I was a kid, I sat on my father’s lap and he explained to me about typeface and how he’d decided to lay out the front page.  He kept a copy of the state sunshine law in his wallet.  When he came home, the wonderful smell of ink clung to him.  When I was 16, I started reading proof at the paper, and when I came home, I smelled like ink, too.  My younger brother followed, first learning to stuff papers and then to work with the presses.  By the time I was a senior in college, I was allowed to write stories—weddings, and gospel singings, and dinner on the grounds.  I have many wonderful and some bizarre memories of the time I spent at the paper and my father’s colleagues over the years.

Newspapers are a valuable source for news, and I normally read two a day, one in print and one online.  For example, my local newspaper recently published a series of really valuable articles that helped prisoners who had been mistakenly convicted receive DNA testing and be exonerated.  Traditionally, a newspaper is the medium that has the resources necessary to pursue this kind of story.

Despite my concern for newspapers, I do not believe that changing copyright law is the way to save them.  There are concerns about abridging First Amendment rights and concerns about whether the proposed changes to copyright law would really accomplish their goal.  In addition, as David Nimmer pointed out in the final essay “Coda,” of his book Copyright: Sacred Text, Technology, and the DMCA, copyright is “increasingly…laden with Christmas tree ornaments by special interest groups and then exemptions to try to counter these extensions.”  These ornaments make it increasingly difficult for the layperson to learn and apply the basics of copyright law with confidence.

In his post,  “The Future of Newspapers,” Posner has three suggestions for how changing copyright law can help save newspapers: by expanding copyright law to exclude access to newspaper content without the rights holder’s consent, by prohibiting linking to copyrighted material without the rights holder’s consent, and by barring paraphrasing material without the rights holder’s consent.

Posner’s first suggestion, that copyright law be changed to bar access to online material that viewers have not paid for, is currently available through various technological means; there are many ways to put material on the Internet and require payment or authentication before a viewer can read it.  The Wall Street Journal is the primary example of a newspaper that does this successfully.  A creator who wants to limit its audience on the web this does not need copyright law to do it.

His next suggestion is that copyright law be changed to bar linking to articles without the copyright holder’s consent.  This suggestion initially seems counterproductive.  It would appear that links are desirable because they direct readers to a site and so to the ads therein.  Even if a site were pay-only, would not some of those readers pay to read an incisive, exciting article?  Why would any business, especially one that is in trouble, want to cut off that potential source of readers and revenue?  And finally, prohibiting linking raises troubling First Amendment problems.  However, the Marburgers’ proposals, with their definition of “pure aggregators” who lead readers to the original content and “parasitic aggregators” who paraphrase it and substitute for it suggests that these proposals do not see all linking as created equal and deserving of the same level of protection.

Posner’s last suggestion is that copyright law be changed to bar paraphrasing articles without the copyright holder’s consent.  At first blush, news organizations would find this a significant constraint, with limits that would be difficult to define and enforce.  No one can own the fact that news occurs, and, in the United States, facts are not copyrightable; however, using an unjust enrichment theory, the Marburgers’ proposal would allow a news organization to control how a story was disseminated, unless the other party could independently confirm the story.

Many,  but not all commenters from the newspaper business feel that changing copyright law is what is needed to save newspapers.  On the other side, some commenters  have decried Posner’s and the Marburgers’ proposals on First Amendment grounds.  Others, using the same sort of law and economics arguments Posner often employs, have argued that these ideas would hurt newspapers more than they would help them.

The newspaper that employed my father was one of several in Tennessee that used the slogan “What the People Don’t Know Will Hurt Them” on its masthead.  It is ironic that newspapers would move to lock down expression in this way for what is likely to be a very tenuous reward.

The next post on this subject will examine the Marburgers’ proposal and the discussion surrounding it in more detail.

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Copyright: It’s Not Just for Artists, or, Why Copyright Education in the Health Sciences?

When I went to law school in mid-life, some people were admiring, some excited, some horrified.  Law elicits strong emotions, and sometimes mere acquaintances actively encouraged me or beseeched me to stop!  Some of the people who have been the most encouraging have been my doctors, perhaps because they identified with the impulse to follow a course of study that is rigorous and demanding.

Recently, I saw my optometrist for the first time since I’d gone to work for the Health Sciences Copyright Management Office and passed the bar.  He asked how the bar was (awful, but it’s over) and then about my work.  When I explained that I worked with copyright education for the Health Sciences at OSU, he asked what many wonder but seldom come out and ask:  Why copyright in the health sciences?   Patents are prevalent in the biomedical world to protect intellectual property, and trademarks are important in some areas of health-related business, but what does copyright, which people often associate with the arts and humanities, have to do with the health sciences?

As I went on to explain to my optometrist, copyright protects creative expression that is fixed in tangible form.  That expression can take the form of a painting, short story, or song, but it can also take the form of a paper describing a clinical trial, a medical illustration, or a podcast for continuing medical education.  Although the ideas behind the creative expression cannot be copyrighted, and inventions are protected by patent, not copyright, almost anyone who communicates with others creates and consumes copyrighted material.

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Why Copyright Education?

In May of this year, American Libraries published a letter I wrote about copyright education.  I wrote the letter in response to an opinion piece called “The Copyright Mummies” that Melanie Schlosser, also of OSU, had written in the March issue  about the harm of long copyright terms.  In it, Schlosser argued that we should stop “fetishizing the artist” and recognize that today’s longer copyright terms mostly enrich large entertainment companies and the few, most successful artists, not the average creator and his or her family.  She concluded with a call “to honor the creative process by ensuring a meaningful dialogue between creators—past, present, and future.”

My letter was a partial answer to this question:  Given the reality of long copyright terms and my own pessimism that those terms will get shorter, how do we honor the creative process and have that meaningful dialogue?  Although my answer was aimed toward librarians, it is relevant for all of us.  We need to start that dialogue by knowing something about current copyright law and its impact on our lives and work.

Copyright terms are long these days  (The U.S. Copyright Office has a good circular explaining the complicated laws of copyright duration), and they aren’t likely to be shortened in the foreseeable future.  (See, for example, Eldred v. Ashcroft , holding that a retroactive extension of copyright terms is not unconstitutional.)  Although many postulate about the desirability of going back to shorter copyright terms, long terms are the reality of the copyright world in the U.S. today.

Schlosser is correct that these long terms primarily benefit entertainment and publishing companies.  They also benefit the few creators—and their heirs—who are talented, lucky, and persistent enough to make significant money from their creative work.  As work stays in copyright longer, creators die and their heirs can’t be found.  This problem with orphan works and the lag before work enters the public domain has an effect on the work we do in the future.

Whether or not most of us think of ourselves as artists, we are making copyrighted work all the time when we write papers, make videos for YouTube, or write blog posts.  We’re also reusing copyrighted work as we do these things.  We’re remixing content, quoting books and papers other people have written, trying to get permission to include a chart or diagram in a scholarly paper.  Long copyright terms make all these reuses more problematic.

How do we deal with our position as creators and copyright holders?  How do we decide how relate to other copyright holders?  What can we do with their work legally?  What do we think it is right to do ethically with another’s work?  How do the norms of our professions fit in?  There are a lot of thorny questions with regard to copyright, and the answers are often not clear cut.  But, since we all participate in copyright, let’s start by trying to get a sense of what the law actually says and what are options are at present, and then move on to think about what we wish copyright would be.    The dialogue we hold is between us and the creators of the past, present, and future, and some of that dialogue is with ourselves, as people who participate in both sides of the copyright coin.

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