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Pete writes "Only in America...From the Mac Observer we learn that Mike Rowe, a 17-year-old high school senior and Web designer from Victoria, has angered the software giant by registering an Internet site with the address www.MikeRoweSoft.com."
Seth Finkelstein writes "The Copyright Office recently
announced the current three years
Digital Millennium Copyright
for "classes of works subject subject to the exemption from the
prohibit on against circumvention of technological measures that
control access to copyrighted works".
Very roughly, the exemptions are:
2) Obsolete computer programs restricted by broken "dongles"
3) Computer programs and video games from obsolete hardware
4) E-books where all versions can't be used by the blind
Full details are in
Recommendation of the Register of Copyrights
As a note of personal credit, "The Register's recommendation in favor
of this [censorware] exemption is based primarily on the evidence
introduced in the comments and
by one person,
a non-lawyer participating on his own behalf.""
The Volokh Conspiracy seems to be a blog run by Eugene and Sasha Volokh and various other legal minds, devoted to discussion of legal issues of many kinds. On Saturday, Eugene posted "Trouble for Amazon's Book Search?" in which he reprinted an e-mail from The Author's Guild about Amazon's new full-text search, adding his own comments on the legal ramifications.
In his words, "I don't know whether their claims about the authors' contracts are accurate, but if they are, this could pose problems for Amazon. (Amazon would still have a decent fair use claim even if they can't claim a contractual right, but it won't be open and shut, for some of the reasons the e-mail below describes.) I leave it to readers to decide whether this shows that the copyright system imposes too many transaction costs on worthy endeavors, that publishers and other businesses violate authors' rights, both, or neither..."
madtom writes "Staff members of the Creative Commons, an organization seeking alternatives to copyright in the face of increasingly restrictive default rules, recently interviewed Michael Eisen, biologist at Lawrence Berkeley National Lab and UC Berkeley and co-founder of the Public Library of Science, about the launch of PLoS Biology, its publication under a Creative Commons license, and its promise to transform open access models, the scientific community, and the world. This week, PLoS moved closer to realizing this dream with the release of its first open access publication: PLoS Biology, a world-class, peer-reviewed scientific journal.
Creative Commons Featured Commoner, October 2003."
Copyright distorts the market is an interesting coulmn from The Age.
The main focus in on The RIAA and file swapping, but they do a good job at looking at the larger issues involved with copyright. The author, Graeme Philipson, says then that copyright, and the very idea of intellectual property are comparatively recent phenomena in human history. There is nothing sacrosanct about them, and the ease with which music, or text, or software can now be copied indicates that their days may be numbered.
The Globe And Mail is running a CNET Story on the five major U.S. library associations filing a legal brief Friday siding with Streamcast Networks and Grokster in the California suit, brought by the major record labels and Hollywood studios. The development could complicate the Recording Industry Association of America's efforts to portray file-swapping services as rife with spam and illegal pornography.
Gary Deane shares a NY Times Story that says when it comes to downloading music or movies off the Internet, students at Penn State compare it with under-age drinking: illegal, but not immoral. Like alcohol and parties, the Internet is easily accessible. Why not download, or drink, when "everyone" does it?
This set of commandments has helped make people between the ages of 18 and 29, and college students in particular, the biggest downloaders of Internet music.
The NYTimes reports that a 1938 article from Homes & Gardens which describes Hitler's home in the Bavarian Alps is now being replicated on the Internet. The article was originally scanned in by Simon Waldman, a director of digital publishing, for his personal website. The editor of Homes & Gardens asked him to remove it - he did, but not before others had downloaded it to be shared.
The episode is an object lesson in the topsy-turvy world of copyright and "fair use" â€” an area made far murkier by the distributive power of the Internet and the subsequent crisscrossing of international legal codes. In the United States, the posting would most likely be considered fair use, said Wendy Seltzer, a lawyer for the Electronic Frontier Foundation and a fellow at the Berkman Center for Internet and Society at Harvard Law School. "Reprinting the article now, 65 years after its original publication, strikes me as more like reporting or commenting on a news story, or fair use, than photocopying a current scientific article to save the cost of buying more magazines," she said.
Britain's Copyright, Design and Patents Act of 1988 considers use of "reasonable portions" of some copyrighted material to be "fair dealing," provided they are used in private study, criticism and review, or news reporting. Simply posting an article on the Web might not qualify.
Indeed, the Internet has ensured that copyright can never be just about one nation's laws. "All copyright issues are international copyright issues," said Edwin Komen, an intellectual property lawyer in Washington. On the Web, he added, "you become vulnerable to just about any jurisdiction in the world."
The NYTimes discusses the recent ruling in the case of Martha Graham's heir, Ronald Protas. The Martha Graham Center for Contemporary Dance believes that when she sold her school to the Center that it became its employee -- and has the right to her body of work.
"This is definitely a success problem," Charles Reinhart, the director of the American Dance Festival, said in an interview. "These problems would never have existed 50 years ago, because the concept of a penny being made by a choreographer or from a dance was unheard of. So now that the commercial aspect of making money has prevailed in this nonprofit world of dance, and the valuable asset is the dance itself â€” hey, that's a success story. Now we've got to straighten it out and make sure we keep that value with the creator, the choreographer."