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New America Foundation and Creative Commons Hold Copyright Talk

WASHINGTON, June 30, 2011 – The New America Foundation’s Open Technology Initiative along with Creative Commons co-sponsored an event Wednesday evening to discuss the challenges of copyright laws in a digital age.

Catherine Casserly, CEO of Creative Commons, delivered the keynote speech in which she presented the mission of Creative Commons, its growth beyond early adopters into the mainstream and the organization’s new book, The Power of Open. Creative Commons is a non-profit company that provides authors, creators and innovators with a set of tools within the boundaries of copyright law to allow for their work to be easily distributed, edited, remixed and built upon.

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WASHINGTON, June 30, 2011 – The New America Foundation’s Open Technology Initiative along with Creative Commons co-sponsored an event Wednesday evening to discuss the challenges of copyright laws in a digital age.

Catherine Casserly, CEO of Creative Commons, delivered the keynote speech in which she presented the mission of Creative Commons, its growth beyond early adopters into the mainstream and the organization’s new book, The Power of Open. Creative Commons is a non-profit company that provides authors, creators and innovators with a set of tools within the boundaries of copyright law to allow for their work to be easily distributed, edited, remixed and built upon.

Casserly, and other members of Creative Commons, are currently on a world tour to promote the new book. The book highlights case studies of successful uses of Creative Commons licenses in the fields of education, medicine, automobiles, journalism and art.

The licenses are intended to reduce the costs of maintaining and protecting copyrights, reduce the redundancy of intellectual property in the marketplace, allow for the creation of dynamic assets that can be easily innovated upon, said Casserly.   The organization’s licenses, which are scalable, facilitate exchange across a global marketplace where copyright laws of each country are different and complex.

“In the world of global exchange – in the world of the web and the Internet – we know that information is freely flowing and not just staying in the United States,” said Casserly.

Casserly, a former teacher and an advocate for spreading and sharing knowledge, also explained that the company is not anti-copyright – a common misconception about the company and what it does.

Creative Commons found early acceptance over the past 10 years among unknown artists as a way to promote their work without the legal costs of a maintainining and protecting copyrights; with mainstream adoption by companies like Al Jazeera, Fiat, YouTube, and mainstream artists Nine Inch Nails, Creative Commons is becoming accepted as a viable alternative to traditional copyright.

Mike Carroll, a founding board member of Creative Commons and law professor at American University’s Washington College of Law, was in the audience and added clarity to the technical nature of the licenses during the question and answer period.

“Copyright is an author’s right, and Creative Commons was founded because we want to give authors a different choice than what copyright assumes they want,” said Carroll.  “The Creative Commons license picks up where Fair Use leaves off.”

Creative Commons, however, is not without its challenges.

“Your ability to enforce the terms of your license depend upon your ability to take legal action,” said Rebecca MacKinnon, Co-Founder of Global Voices Online, in reference to the legal issues surrounding Creative Commons. Casserly reiterated that there have been a number of suits where Creative Commons licenses were at issue.  In each instance the Creative Commons licenses were upheld by the courts.

Other challenges for Creative Commons lie in the area of improving the license so that it will work more efficiently in each country where it is accepted.

“We exist for remix, creativity and distribution but we don’t have a great way of tracking,” said Casserly. “I think that if artists, academics, and organizations could tell the story, [that would be] even better.”

“We know that we put it out there and we know good things happen – and we have some great examples in the book, but we don’t have all of the metrics tied to that at the moment and I think that’s really important,” said Casserly.

Josh Peterson is a DC-based journalist with a professional writing portfolio that includes work on US foreign policy and international affairs, telecom policy and cyber security, religion, arts, and music. He is currently a journalism intern at The National Journalism Center in Washington, D.C. and a former tech and social media intern at The Allan P. Kirby, Jr. Center for Constitutional Studies & Citizenship. Peterson received his Bachelor of Arts in philosophy and religion with a minor concentration in music from Hillsdale College in 2008. When he is not writing, Peterson lives a double life as a web designer, social media strategist, photographer, musician and mixed martial artist.

Copyright

Public Knowledge Celebrates 20 Years of Helping Congress Get a Clue on Digital Rights

Derek Shumway

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Screenshot of Gigi Sohn from Public Knowledge's 20th anniversary event

February 27, 2021 – The non-profit advocacy group Public Knowledge celebrated its twentieth anniversary year in a Monday event revolving around the issues that the group has made its hallmark: Copyright, open standards and other digital rights issues.

Group Founder Gigi Sohn, now a Benton Institute for Broadband and Society senior fellow and public advocate, said that through her professional relationship with Laurie Racine, now president of Racine Strategy, that she became “appointed and anointed” to help start the interest group.

Together with David Bollier, who also had worked on public interest projects in broadcast media with Sohn, and is now director of Reinventing the Commons program at the Schumacher Center for a New Economics, the two cofounded a small and scrappy Public Knowledge that has become a non-profit powerhouse.

The secret sauce? Timing, which couldn’t have been better, said Sohn. Being given free office space at DuPont Circle at the New America Foundation by Steve Clemmons and the late Ted Halstead, then head of the foundation, was instrumental in Public Knowledge’s launch.

The cofounders met with major challenges, Sohn and others said. The nationwide tragedy of September 11, 2001, occurred weeks after its official founding. The group continued their advocacy of what was then more commonly known as “open source,” a related grandparent to the new “net neutrality” of today, she said.

In the aftermath of September 11, a bill by the late Sen. Ernest “Fritz” Hollings, D-S.C., demonstrated a bid by large copyright interest to force technology companies to effectively be the copyright police. Additional copyright maximalist measures we launched almost every month, she said.

Public Knowledge grew into something larger than was probably imagined by the three co-founders. Still, they shared setbacks and losses that accompanied their successes and wins.

“We would form alliances with anybody, which meant that sometimes we sided with internet service providers [on issues like copyright] and sometimes we were against them [on issues like telecom],” said Sohn. An ingredient in the interest group’s success was its desire to work with everyone.

Congress didn’t have a clue on digital rights

What drove the trio together was a shared view that “Congress had no vision for the future of the internet,” explained Sohn.

Much of our early work was spend explaining how digitation works to Congress, she said. The 2000s were a time of great activity and massive growth in the digital industry and lawmakers at the Hill were not acquainted well with screens, computers, and the internet. They took on the role of explaining to members of Congress what the interests of their constituents were when it came to digitization.

Public Knowledge helped popularize digital issues and by “walking [digital information] across the street to [Capitol Hill] at the time created an operational reality with digitization,” said Bollier.

Racine remarked about the influence Linux software maker Red Hat had during its 2002 initial public offering. She said the founders of Red Hat pushed open source beyond a business model and into a philosophy in ways that hadn’t been done before.

During the early days of Public Knowledge, all sorts of legacy tech was being rolled out. Apple’s iTunes, Windows XP, and the first Xbox launched. Nokia and Sony were the leaders in cellphones at the time, augmenting the rise of technology in the coming digital age.

Racine said consumers needed someone in Washington who could represent their interests amid the new software and hardware and embrace the idea of open source technologies for the future.

Also speaking at the event was Public Knowledge CEO Chris Lewis, who said Public Knowledge was at the forefront of new technology issues as it was already holding 3D printing symposiums before Congress, something totally unfamiliar at the time.

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In Google v. Oracle, Supreme Court Hears Landmark Fair Use Case on Software Copyright

Jericho Casper

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Photo of Tom Goldstein from the Peabody Award used with permission

October 12, 2020 – The Supreme Court on Wednesday publicly struggled with the copyrightability of software in a uniquely contested case between Google and Oracle, the outcome of which could play a significant role in the future of software development in the United States.

The oral arguments were the culmination of a battle that started 10 years ago, when tech company Oracle accused Google of illegally copying its code. Oracle owns the copyright to the Java application programming interface that Google utilized to establish a new mobile operating system.

The company has sued Google for more than $9 billion in damages.

Yet Google claimed a “fair use” defense to its copying. Google copied less than 1 percent of the Java code. Even though the law generally treats computer programs as copyrightable, Google’s attorney before the Supreme Court, Thomas Goldstein, said that by adapting Oracle’s code to serve a different purpose, Google’s use was “transformational,” and entitled to fair use protections.

Goldstein said that this form of unlicensed copying is completely standard in software, and saves developers time and lowers barriers to innovation.

He referenced a famous Supreme Court precedent about public domain works, Baker v. Selden, which in 1880 declared that once information is published to the public, the public has a right to use it.

“Google had the right to do this,” said Goldstein.

Still, Oracle attorney Joshua Rosenkranz asserted that the Java code is an expressive work eligible for copyright protections. Rosenkranz further argued that Google’s use of the code was not transformational.

Justice Sonia Sotomayor appeared to suggest that jurors in the lower court case properly found Google’s use to be transformational because it took the APIs from a desktop environment to smartphones.

“Interfaces have been reused for decades,” said Goldstein. Google had to reuse Oracle’s code to respond to interoperability demands.

“It has always been the understanding that this purely functional, non-creative code that is essentially the glue that keeps computer programs together could be reused, and it would upend that world to rule the other way,” he said.

Supreme Court observers said that the high court appeared leaning toward upholding the 2016 jury verdict vindicating Google’s fair use defense.

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Copyright

Fair Use is Essential But its Enforcement is Broken, Says Senate Intellectual Property Subcommittee

Elijah Labby

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Screenshot of Grammy-winning recording artist Yolanda Adams from the hearing

July 28, 2020 — “Fair use” is an essential doctrine of copyright law that is unevenly applied, said participants in a Senate Intellectual Property Subcommittee hearing Tuesday.

The hearing, “How Does the DMCA Contemplate Limitations and Exceptions Like Fair Use,” saw participants discuss whether the Digital Millennium Copyright Act still permits fair uses of copyrighted content that would be otherwise infringing.

The DMCA, passed in 1998, criminalizes the manufacture, sale or other distribution of technologies designed to decrypt encoded copyrighted material. This ban on anti-circumvention tools does not appear to account for fair use.

The fair use exception to copyright law allows the republication or redistribution of copyrighted works for commentary, criticism or educational purposes without having to obtain permission from the copyright holder.

However, Joseph Gratz, partner at Durie Tangri, said that fair use often clearly applies but is not enforced, leaving users of the legally obtained content to deal with automated content censors.

“Fair use depends on context, and machines can’t consider context,” he said. “A video, for example, that incidentally captures a song playing in the background at a political rally or a protest is clearly fair use but may be detected by an automated filter.”

When an automated filter detects a song on a platform like YouTube, it redirects advertising revenue from the creator of the video to the creator of the song, often erroneously.

Rick Beato, who owns a music education YouTube channel with over one-and-a-half million subscribers, said that he does not receive ad revenue from hundreds of his videos.

“One of my recent videos called ‘The Mixolydian Mode’ was manually claimed by Sony ATV because I played ten seconds of a Beatles song on my acoustic guitar to demonstrate how the melody is derived from the scale,” he said. “This is an obvious example of fair use, I would argue.”

Grammy-winning recording artist Yolanda Adams testified that she sees the problems of fair use employment as about more than simply receiving money.

“As a gospel artist, I’m not just an entertainer,” she said. “I see my mission as using my gift to spread the gospel — so for me, fair use is not just about money. It’s about access.”

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