Saturday, February 16, 2013

Understanding Stock Photo Licensing

Using professional stock photography is a quick and easy way to create professional and polished desktop publishing projects such as flyers, brochures, postcards and newsletters. The Internet has made millions of professional photos available to the public for very reasonable prices, and some are even free. But before you start downloading, there are a few things you need to understand about using stock images and photographs. This article will discuss general licensing information for stock photography.


Understanding Licensing
Almost all professional stock photos, free or paid have copyright protection or usage rules associated with them. A copyright protects the creator's "original works" such as books, art, photography, movies and software. The copyright protects the work from unauthorized copying, distribution and modifications for a specific amount of time.


Copyright Licenses for Images
There are four main types of copyright licenses associated with stock photos and images. These licenses control how the images can be used once images are obtained or purchased.


Rights Managed (RM)
Rights managed copyright licenses allow you to purchase a photo for one particular project. The terms of use are specified in the licensing agreement. RM licenses can be expensive, ranging from several hundred to several thousand dollars, depending on the image size and usage.


Royalty Free (RF)
Royalty free copyright licenses allow you to use a photo for multiple projects, for a one-time fee. Many RF photos are even available for free. With RF images, you usually have the right to use it as often as you want, for as long as you need. Be careful, though. Even though the photos have liberal usage, there are often some restrictions. Usage guidelines and restrictions vary depending on which website you obtain RF files. Make sure you check the terms of usage for each site where you purchase your photos. There are many websites that sell RF images, with prices ranging from less than 1 dollar up to several hundred dollars, depending on the size and resolution of the image.


Creative Commons
Creative Commons licenses are used by artists to share their work and to increase the amount of items available for free, public use. The Creative Commons license does not take away a person's copyright, so make sure you familiarize yourself with license rules before you use the image. The popular website Flickr has thousands of creative commons photos available.


Public Domain
Public domain images are images where the copyright has expired, or never had copyright protection. They can also be photos where the owner has released the work into the public domain. Many government websites have public domain licenses, just be sure to read the usage terms first.


Understanding copyright and licensing can be a little confusing at first, but once you do, you can feel confident using professional images in you printed and web materials.


Kimberly Gibson writes for DesktopPublishingBusiness.com. DesktopPublishingBusiness.com provides beginner desktop publishers and small business owners useful information, tips, tutorials, and videos on Desktop Publishing, including articles on Understanding Stock Photo Licensing and Stock Photo Websites.


Tuesday, February 12, 2013

Are Facebook Photos Public Property?

Facebook's terms of service expressly state that by uploading any kind of content, whether in the form of photos or material, you are automatically assigning copyright control to Facebook. All photos you upload to Facebook therefore become the property of Facebook. This means that Facebook can sell copies of photos posted by you without paying you any form of profit. Whenever you share photos with your Facebook friends you are giving up ownership of any intellectual property rights you may own in the photos you upload.


This applies whether or not you post the photos to a publicy accessible area of Facebook or not. By posting photos to any area of the Facebook site you are granting an irrevocable, perpetual, non-exclusive global licence, including the right to sub-licence, use, copy, publicly perform, reformat, translate, distribute and the right to make derivative works of the photos to Facebook. When you decide to remove the content that licence may not necessarily terminate and Facebook have the right to retain archived copies of material posted.


This is the reason some subscribers choose to upload smaller photos to Facebook, namely to deter people re-using them, as smaller photos will be of lower quality and grainy in appearance. However you need to remember that whenever you upload a full-sized photo you are granting Facebook the right to save a copy of the photo on their servers, which they are then free to modify and adapt.


If you still choose to upload your photos to Facebook, ensure that the images you upload are resized low resolution photos which to reduce the prospect of them being re-printed or re-used in ads. If you upload the original size photos, Facebook have the right to use your photos for any commercial purposes without giving you any credit or compensating you.


The only foolproof solution for those who do not want to lose control over their photos is not to upload them in the first place. People often post their photos to their blogs or to a photo sharing website such as Flickr to retain ownership of their photos. However, in reality once photos are posted on the internet and available for viewing by anyone, they are in the public domain.


Anything posted on publicly accessible areas of the internet becomes a public record. Determining what areas of the internet are public and what areas are private isn't straightforward. Having control over the ownership of the property in your photos won't necessarily guarantee that your photos will remain private once posted on the internet.


Whilst you can set your privacy settings on Facebook so only your friends can see photos you upload, there are numerous ways people can circumvent these protections. There is no guarantee that you can ensure the privacy of your photos on Facebook via the use of privacy settings.


It is safer to assume that whenever you post photos anywhere on the web people can acquire and use them for purposes which you would not consent to and which could be embarrassing and illegal. Photos are often be stolen on the internet and used for the purposes of identity theft or pornography without the subject and/or owner ever being aware.


If you wish to share photos on the internet it is preferable to use a secure private network in which content is encrypted and served using peer to peer technology. Whenever data is stored on a central server it is susceptible to being hacked.


Often photos are uploaded onto Facebook without the person uploading them even having lawful ownership of the copyright in the photos. It is naive to think that Facebook or other social networking sites have the time to check the copyright status of every image that is posted on their site or is copied and pasted from their site to another site on the internet.
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Wherever photos you post on Facebook contain images of other persons, it is advisable to obtain a release from the subjects in the photographs. There are many situations where photos are posted on Facebook which are not the subject of copyright ownership by the person who posted them.


In order to have such photos removed a person must apply to Facebook or obtain a Court order. This may involve proving that the offending image infringes Facebook's terms of service or the common law.


For more information and resources on cyberlaw and ecommerce visit http://www.pacelegal.com.au/


Thursday, February 7, 2013

Applying Printing-Press Rules To Digital Books

The New York Public Library has 87 branches, but recently some patrons have decided to forgo all of them, and visit the stacks in their living rooms instead.


As the popularity of e-books has increased, libraries across the country have installed virtual stacks. At the New York Public Library's website, patrons can check out audio books and e-books, temporarily downloading items directly to their computers or mobile devices, without ever stepping inside a physical library. "As our readership goes online, our materials dollars are going online," Christopher Platt, the director of collections and circulating operations for the New York Public Library told The New York Times.(1) The American Library Association estimates that two out of every three libraries now offer e-books.


But a recent decision by HarperCollins may slow the growth of libraries' digital collections. The publisher announced this month that it will set a lending limit for new e-books it sells to libraries. Under the new policy, after a HarperCollins e-book is checked out 26 times, it will self-destruct. The limit is intended to provide a digital equivalent of the ordinary wear and tear that, over time, causes paper books to expire.


The restriction raises interesting copyright issues. In the U.S., libraries are able to lend books as a result of what is known as the "right of first sale." This legal principle allows the purchaser of a particular iteration of a copyrighted work to resell or lend it without permission from the copyright holder, so long as no additional copies are made. Once I have bought a copy of a book, CD or DVD, it is mine to do with as I wish.


This principle, fairly straightforward when applied to physical objects, becomes more complex for "objects" such as MP3 files or e-books that exist only as bits of digital information. In response to file-sharing sites, which attempted to apply the doctrine of first sale to digital content, copyright holders began to assert that content transmitted digitally was licensed rather than sold. Since there was never any actual sale, they claimed, the right of first sale did not apply and they could, as a result, exercise greater control over how the content was used. End User License Agreements were created, requiring customers to agree that, though they seemed to be paying money to acquire a product, they were, in fact, not buying anything. By asserting a right to limit libraries' use of e-books, HarperCollins is essentially claiming that its e-books are, like software programs, licensed rather than sold.


The principle of "fair use" provides further information on how copyrighted works can be used. It is less directly applicable to library e-books, since it applies primarily to the replication of portions of copyrighted works rather than to the use of individual copies of whole works. But it offers some useful general guidelines for considering what constitutes copyright infringement. According to the laws on "fair use," individuals and courts examining whether a particular use is fair or not are instructed to consider "the effect of the use upon the potential market for, or value of, the copyrighted work."


Publishers argue that unlimited library access to e-books would undercut their sales. If e-books are readily available to "check out" for free at any time, they worry, customers would have little reason to click "buy" rather than "borrow." HarperCollins said in a statement about its new policy, "We have serious concerns that our previous e-book policy, selling e-books to libraries in perpetuity, if left unchanged, would undermine the emerging e-book ecosystem, hurt the growing e-book channel, place additional pressure on physical bookstores, and in the end lead to a decrease in book sales and royalties paid to authors."(2)


While the existing case law is murky, I am inclined to believe that, regardless of the possible consequences for publishers, the "right of first sale" applies.


But I doubt libraries will sue to win the point. While the "right of first sale" protects purchasers of copyrighted material, there is no "right to first sale." If selling e-books to libraries hurts their profits, publishers are free to simply refuse to do business with libraries. In fact, Simon & Schuster and Macmillan, two of the largest trade publishers in the U.S., currently do precisely that.


Just as libraries depend on publishers, publishers depend on libraries for a large portion of their sales. Sales to libraries can account for 7 to 9 percent of a publisher's overall revenue, two major publishers told The New York Times. Like it or not, publishers and libraries are locked in a relationship of mutual interdependence.


My guess is that publishers and libraries ultimately will find a solution that both can accept. Publishers might, for example, delay release of popular new e-books to libraries, forcing those who want to read the book right away to buy it. This is not much different from the way films are released first to theaters, then for pay-tv, and finally for sale and rental on digital media. Alternatively, or additionally, publishers might charge a per-checkout premium after a certain free lending limit, rather than requiring libraries to purchase new copies once theirs "expire." This would make it possible for libraries to keep books on their virtual shelves even when they are not sure if there will be enough future interest to justify buying a new copy.


The question of how to handle library e-books is just one of many that have resulted from the digitalization of literature. I have written previously about Macmillan's fight with Amazon last year over e-book prices, Google's usurpation of rights to out-of-print works and newspapers' fights to retain control of, and profit from, the content they produce. As we move into new legal territory, the specific provisions of existing copyright laws are increasingly proving inadequate to address new issues.


But the basic principles that govern our attitudes toward intellectual property are solid. Going forward, we should not alter our principles to fit changes in technology, but should instead develop innovative ways of using technology to honor our long-standing principles. Libraries and publishers should be able to find a new way to respect the old principle that expressions of ideas, once purchased, can be sold or lent for the benefit of everyone, even when those ideas are recorded in computer code rather than on paper.


Sources:


(1) The New York Times: Publisher Limits Shelf Life For Library E-Books


(2) HarperCollins: Open Letter To Librarians


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Friday, February 1, 2013

US Copyright Group Lawsuits - Understanding Rights and Defenses

If you're one of the thousands of people named as a defendant in a lawsuit handled by lawyers at United States Copyright Group (USCG) you may have questions about your legal options. This article provides answers to the most frequently asked questions about these copyright cases involving file sharing on peer-to-peer networks.


How do I know if I am a defendant in a United States Copyright Group lawsuit?


Notice of status in these cases comes in several forms. First, many people receive notice that they are defendants in a USCG case when they receive a letter from their Internet Service Provider (ISP). A letter from your ISP will often notify you that the ISP has been issued a subpoena from a court. The subpoena legally requires the ISP to disclose information about you to the requesting party, which is often U.S. Copyright Group. Your ISP usually sends you the letter as a courtesy before disclosing the requested information.


Second, you may have received a letter from USCG themselves. These letters often point defendants to a website where they are directed to make a direct payment to U.S. Copyright Group. Third, you may receive a summons from a court via certified mail or process server. Finally, you may receive a request for waiver of service via "standard" postal mail.


No matter how you learn about your status, you should contact an attorney as soon as possible to understand your legal rights in the litigation.


What options exist for defendants in these cases?


Luckily, there are often several legal options available to defendants in United States Copyright Group cases. First, you may have an opportunity to defend yourself in court. Depending on the facts of the matter, you may have defenses that are grounded in civil procedure. You may also have affirmative defenses in situations where you are using a shared Internet connection. Other defendants may have other legal defenses that are based on the unique facts of their particular situation. Depending on the facts of your matter, making attempts to settle the matter may also be worthwhile.


Most importantly, do not ignore any communications that you may receive regarding U.S. Copyright Group Cases. If you receive any of the letters described above, be sure to consult with a copyright attorney as soon as possible to understand and ensure your legal and financial rights.


Eric Menhart is an attorney with CyberLaw P.C., concentrating in Internet and intellectual property law. The firm recently launched a new website about the copyright issues in this article at USCopyrightGroupDefense.com.


Sunday, January 27, 2013

The Copyright Lawyers

Copyright has become very essential now with increasing plagiarism. But copyright law has some specifications and complications associated with it which makes seeking professional help necessary. The copyright lawyers help their client in understanding the problem better and finding a good solution.


The Copyright Law entered the common law in 1709 Statute of Anne and in 1911, it became statutory when the Copyright Act was passed. Most modern works are registered under the 1988 Copyright, Design and Patent Act.


This 1988 Act authorizes the owner of a film, drama, literature, sound recording, or design to file a case of infringement against anyone who reproduces it. If someone copies a work without the owner's consent, a copyright lawyer should be consulted by the owner under the Copyright Act of 1988 to pursue the case in the best possible method to assert his ownership.


The originator of a copyrightable work has legal rights to be identified as its owner and protection against any broadcasting, public performances, copying, lending, renting and adapting. If anyone violates this right, he's liable of punishment under the Copyright Act.


Whether it be reproducing work as exhibitions, a broadcast on radio or loudspeaker, an exhibition, a movie, a book or any additions or omissions from the work, the originator of the project must always be consulted by the third party.


The limitation of copyright law is that it does not provide protection to ideas but expression of ideas. Anything in a tangible form comes under the protection: a book written, a website designed, a movie recorded or a dance choreographed. Any idea shared by word of mouth and copied cannot be challenged. As words said are not a tangible form unless it is in the form of a recording.


Due to these complexities of the copyright law, professional help must be sought when it comes to plagiarism. A lawyer makes the whole process easier by guiding his client in the right direction which saves time, money and effort. These specialist lawyers keep record of the alleged work and make sure no further violations come about. With a lawyer hired, the owner does not have to worry about the copyright infringement of his work, if he is busy elsewhere, the lawyer takes care of the legal affairs.


As it can sometimes be difficult for an ordinary person to understand the legality of copyright law which can sometimes be quite confusing in grading which elements are copyrightable and which are not, the importance of lawyers cannot be ignored.


Find out more helpful information about Copyright protection. plz visit our Copyright UK Site: copyright.co.uk


Wednesday, January 23, 2013

Understanding the SOPA Bill: For the Average Internet User

In case you haven't heard, which seems nearly impossible, major websites, plus some 10,000 other sites, are protesting the SOPA bill. Now what is the SOPA bill exactly? First off, SOPA stands for Stop Online Piracy Act. If passed, the U.S. Senate and the Department of Justice have the right to shut down and make search engines remove links to sites deemed 'copyright infringement.' Mostly, SOPA is aimed at stopping domestic access and funding to foreign-based websites that offer pirated material. Essentially, this bill will cut off funding, advertising, and access to said sites. For anyone that has been on YouTube, copyright infringement on the internet is a real thing. YouTube even has different options of copyright and licensing for a person's created material and that of others.


Now what does SOPA mean to the average internet user? Perhaps nothing. As seen by the massive amount of popular websites on strike, this bill may never happen. As of Noon, Pacific Time, House Speaker John Boehner said that legislation was not ready for a vote, only to say it will come back in a month. Some senators commented that the bill is simply not ready, while others are outright withdrawing their support claiming 'free and open access' to everyone. Regardless of what US Senators are preaching, the internet remains free from the SOPA bill.


But really, what does SOPA mean for the average website owner? Again, it is uncertain the effect it will have. One thing is certain, however, that websites that are on shared IP addresses may be in trouble. Imagine the internet as it is currently. A website may be on a shared IP with a small video site (imagine with me). This small video site has pirated material that SOPA has deemed unfit for the public eye. In response to this discovery the Department of Justice bans the small video site's IP which, in turn, is your IP address. To prevent this from happening, sites may choose a dedicated IP address. Once a website owner sees the advantages of a dedicated IP address they may choose one of the other services that give them more control over their site. These services include server dedicated, colocation, or managed server.


Now what should the average website owners and users do? Well, they should do their research on the issue. Before you protest, strike, write, comment, Tweet, Facebook, or whatever it is you do, do the research. Figure out the reasons behind the bill and how it will affect you. Chances are you will find out more information about the internet and piracy laws then you ever wanted to know. Be engaged and have your own opinion on the bill before you go all gung-ho on being anti-government.


Collocation America


server dedicated


Thursday, January 17, 2013

How to File a Copyright Application for Software

The foremost matter to do is arrange a deposit. This can be in whichever of differing document forms listed on copyright(dot)gov and can be formulated using a word processing program.


With recent computer programs, you have differing alternatives for the deposit. These are:

The original 25 and remaining 25 pages of Source Code with parcels containing trade secrets blocked out;The original 10 and remaining 10 pages of Source code along with no blocked out parcels;The original 25 and remaining 25 pages of object code plus any 10 or more consecutive pages of source code, with no blocked out parcels; orFor programs 50 pages or less in length, entire source code with trade secret parcels blocked out.

Whichever alternative shows the smallest quantity of trade secret code should be employed. The deposit will be within reach to competitors. Concurrently, you will want to be able to verify copying.


An independent application should be filed for each novel version of the software.


Subsequent to readiness of the deposit, the balance of the application is no trouble to fill in online. You will be questioned if the software was a work made for hire and you will want to contemplate that question previous to starting the application. If you paid someone to conceive the software for you, that does not as a matter of course attest that it is a work made for hire. You may still possess the software due to an assignment or contract not including it being a "work made for hire." Usually speaking, if you are an employer and an employee wrote the program, it is doubtless a work made for hire. If you employed an independent contractor, it doubtless is not a work made for hire. Assess and contemplate Circular 9 from copyright.gov to answer the question of whether the software is a work made for hire.


According to copyright law, ownership of the copyright unusually belongs with the originator. If you commission independent contractors to write software programs for you, it is of great consequence to have a contract in place assigning title to you. If you don't control such a contract, you may ascertain that you only possess one version of the software.


Please furthermore evaluate my composition on whether to have confidence on copyright law or patent law to safeguard software. Patent law accommodates much sturdier protection. In a different sense, copyright registrations are economical and should continually be employed regardless of financial plans.


A copyright application can simply be filed online at http://www.copyright.gov/eco/ by understanding the information online for form CO.


Deepak Malhotra is a registered U.S. Patent attorney, and is also registered as a patent agent. He has a bachelor's degree in Electrical Engineering as well as a law degree. Deepak assists clients in security software patents, business method patents, electrical patents, mechanical patents, and trademark registrations. Admitted to the United States Supreme Court, Deepak can represent clients in any state or from any country against the U.S. Patent and Trademark Office. Deepak has also had experience practicing outside the U.S. And can assist foreign clients in obtaining U.S. Patents.


Sunday, January 13, 2013

Alice in the Wonderland of US Courts

It all started with a realization that copyright belongs to the author. And that copyright means the right to publish. And that for the copyright to have any meaning, all the tools of the copyright must be part and parcel of the copyright, and therefore belong to the author, too. And that all this taken together means that the author can publish his work himself and does not need to be dependent on another party -- the third-party publisher -- to exercise his right to free speech, and to profit from his work.


This is not Iran, nor China, nor North Korea, nor Arab states. This is the United States -- the Land of the Free! You have something on your mind? Say it! Nothing comes in your way!


Well friend, you've got carried away in your patriotic pride. It quickly transpired than one, key tool of your copyright, the one that is dispensed by the US government, is given not to you, the copyright owner, but to a party that has no copyright to your work whatsoever -- to the very third party publishers you thought you could outflank in your enthusiasm over American rights to speech and property.


That tool is the catalog of the Library of Congress in which all upcoming books that the government deems worthwhile are entered, and where they can be found by the nation's libraries and bookstores by their subject. Presence in this catalog is the passport to the mainstream marketplace of ideas, without which your book will have real tough time getting into libraries and bookstores, since no one will know about it. Only books from the bigger publishers books are allowed in by the government -- indiscriminately. Yours is, as indiscriminately, blocked.


Blocked politely, to be sure. As a mark of special consideration, a "preassigned control number" can be given to your book to show that the government is not utterly mean. A nice gesture, perhaps, but not terribly helpful. Librarians and bookstore purchasers are not likely to hit on your book when they put in keywords for subjects that interest them. "123456789" is sure a beautiful string of characters, but will not match keywords like "butterflies" or "terrorism" -- in fact, it will match no word at all.


Well, all things considered, your copyright isn't worth much -- because it is not really yours. But shouldn't it be? Isn't America the country of laws? And of courts that make sure the laws are obeyed? Even by the government, when it tries to do what the Bill of Rights forbids it to do?


So I went to court, filing Overview Books v. US, to get rid of this particular instance of crony capitalism, claiming the illegality of government-sanctioned destruction of author's intellectual property (which, for legal purposes, is the same as government's taking of property that is, unless compensated, forbidden by the Fifth Amendment), and that the whole thing was patiently illegal because it constituted a government-sponsored abridgment of speech (for speech means anything only when addressed to an audience, and the author-ineligibility rule clearly abridges the book's audience) -- which is forbidden the government by the First Amendment.


To my surprise, the government essentially refused to fight. There was no meaningful argument in defense of this regulation whatsoever -- just empty, unsubstantiated statements to the effect that book's absence from the catalog did not impair its chances in the marketplace. There was simply nothing of substance -- in fact, the government explicitly refused to offer any meaningful argument "in the interest of judicial economy," as their lawyer put it. Since we presented huge piles of facts and law in support of our position, we knew as we were waiting for judge Lettow's opinion that we won.


Except that we didn't. He handed the victory to the government.


How come? What happened?


Magic. Literally. As I was reading judge Lettow's decision, I could hardly believe my eyes. Facts in support of the government were there in abundance -- the facts that were never alleged by the government itself, the facts which we saw for the first time, when it was too late for us to refute them. Law was alluded to, too -- the law to which the government itself made no reference whatsoever, and to which it was too late now to respond. It was judicial magic -- facts, law, the entire argument appearing out of nowhere.


Well, not exactly out of nowhere. Judge Lettow apparently decided that it was not right to give us a victory when there was no government's argument. The government should have been given a fighting chance -- and so the judge, as a true gentlemen in defense of an aggrieved and helpless party, invented it himself, right in his decision. And he apparently decided that it was fair not to hear our response to this argument before deciding on the case. Apparently, he rather liked the government's argument that he came up with, and thought that it was invincible no matter how we replied to it (or, perhaps, he feared that it was so far-fetched that we would demolish it in no time). Either way, there was no reason whatsoever to allow us to reply to it. So, weighing his own argument against ours, and acting in the spirit of judicial impartiality, judge Lettow of the Court of Federal Claims decided that his one was better. He (and, of course, the government) won; we lost.


But the system is fair -- there is an appeals process. You get not even one, but two opportunities to prove that you were wronged: at the court of appeals, and at the Supreme court. You are given the whole of fifteen minutes in the former, and it is under no obligation to explain its reasoning; a simple "approved" will do -- as it did for us. Your chances of explaining yourself and of getting articulate opinion in the latter are far better -- if you can get there. For "many are called, but few are chosen". Ten thousand people want to be heard by the Supreme court each year; but it can only do so much work -- about two hundred cases annually, or two percent of those submitted, to be more precise. No room is there for a little guy merely clamoring for Americans' free speech and property rights; the Supreme court is for the bigger fish, and bigger issues.


But not all is lost. The case before Judge Lettow had two parts to its argument: the property and the free speech. The judge claimed that, his being strictly a property court, he had no jurisdiction to start his analysis with the free speech, or to examine it independently. The way his court worked, he explained, was to first examine the property aspect; and only if he discovered that the payment was due, could he take free speech aspect of the case into consideration -- when determining the amount of compensation to be paid.


But since he determined that there was nothing wrong with the property aspect of not allowing the book into the government's catalog, there was no computation of damages -- and hence, there could be no First amendment evaluation. To be sure, there was free speech argument in his opinion, and in abundance -- but only after the decision was already made. It was not part of the proper judicial deliberation but came after it, and was therefore of zero judicial value -- just words in the opinion that are professionally called "dicta" and which carry no legal weight. So, from a legal standpoint, the jurisdiction issue really prevented judge Lettow from deciding on the First Amendment part of the case -- this jurisdiction did not get triggered because he did not award us any damages. The First Amendment argument -- the very core of the case -- has not yet been adjudicated. So the case could be brought to another court, the court with unfettered First Amendment jurisdiction, to decide on the free speech aspect of the ineligibility rule.


And then another thing happened, and right in the nick of time -- the government published its own study of this cataloging program titled "CIP Poised for Change" ("CIP being "cataloging-in-publication" -- the program over which we went to court), whose results showed that the entire argument that judge Lettow so gentlemanly invented on behalf of the government, both the factual and the legal one, was simply wrong. Book's presence in the government's catalog turned out not to be merely an "accident" that did not affect book's chances in the marketplace, as judge Lettow opined, but, per government's document, of "critical" importance to book's entry into marketplace of ideas and its success there. The "preassigned control number", which judge Lettow declared to be as good as the catalog keywords, turned out to do absolutely nothing for the book but to be a way for the Library of Congress to get hundreds of thousands of dollars worth of books annually without paying for them (of which it keeps a half, and trades off the rest).


The government study conclusively showed that the ineligibility rule was totally arbitrary and irrational, contrary to judge Lettow's musings that it had a solid rational justification, since the study intimated at the upcoming changes in the criteria for eligibility from three to five previously published books without reference to any study whatsoever that proved books from a three-book press that were previously deemed good enough suddenly lost quality, or that author-published books were a-priory worthless (it would be interesting to see such a study since Mark Twain's Huck Finn, Walt Whitman's Leaves of Grass, Beatrix Potter's The Story of Peter Rabbit and the very Alice in the Wonderland referred to in the title of this piece are hardly worthless, though all were published by their authors, either through choice or necessity). Contrary to judge Lettow's word of honor that the ineligibility rule has nothing to do with censorship, the government unabashedly told us in its own study that its purpose was to to "vet books" -- precisely the censorship. And, contrary to judge Lettow's factual finding that a solid majority of librarians strenuously objected to having author-published books on their shelves, the study found that only a solid minority of 32% harbored such hard feelings; the emotions of the remaining 68% ranged from indifference to enthusiastic embrace of such books.


So, armed with the jurisdictional argument and with appearance, since judge Lettow's decision, of solid new facts, we re-filed in the New York 's Eastern district court, and judge Vitaliano instructed us and the government to submit our respective briefs. The government argued that the case was already adjudicated by judge Lettow. Not so, was our argument -- judge Lettow's court could not adjudicate on the First amendment because its First amendment jurisdiction didn't get triggered, and in an event no First amendment analysis was made until he made a decision on the case; all First Amendment verbiage there is the written opinion came after the decision was made, and was legally worthless. Also, the newly-published results of the government's study completely annihilated judge Lettow's analysis, both factual and legal, both that which related to property, and that which discussed free speech. Clearly, the case should be allowed to go forward.


Surprise, surprise! Such was not judge Vitaliano's conclusion. After two years of thinking about it, he decided that the case has indeed been already adjudicated.


How did he manage to do it? By magic. Magic again -- of the same nature, but to a different effect. While judge Lettow caused the government's argument to emerge magically out of nowhere right in the opinion, judge Vitaliano did the opposite magic, causing our main argument -- that judge Lettow's court's First Amendment jurisdiction was, by his own admission, an auxiliary one, and which he could not invoke in the absence of monetary award, to disappear from his outline of our argument. He could not possibly allow that we said anything of a kind -- even though page upon page in our brief was dedicated to arguing precisely that, starting with the very quote which judge Vitaliano insisted in his decision we never made, and proceeding to show that no First Amendment discussion took place in the written opinion until the decision was announced.


And so, again by magic, the victory went to the government. That the facts in judge Lettow's decision were wrong too, according to the subsequent government study, was glossed over by quoting just one instance -- of librarians not being unhappy with author-published books -- and pronouncing its utter triviality. To the other and fatal factual errors in judge Lettow's decision that came to light in the government's study, the disappearance magic was applied, so they were found nowhere in judge Vitaliano's decision.


With judicial magicians like judges Lettow and Vitaliano, who clearly came straight out of the land of the magic -- from Alice's Wonderland where the sentence comes first and the trial comes later, where the decision is known before the sides' argument is considered, and this argument simply needs to be fitted into the preconceived decision -- by magic, if necessary, is there any hope of getting a fair hearing, a hearing focused on the sides' argument as it is, a hearing devoid of magic?


I certainly hope so, and will appeal There's got to be conscientious judges -- people who are willing to let sides' actual argument to determine the outcome, people who do not resort to "magical" tricks. We've had the misfortune to get two magic-practicing judges in a row. But when a coin is flung twice and it is heads both times, there is a very fair chance that on a third try, it will be tails. Hopefully, this time around the hearing will go without any magic -- just with straightforward, conscientious honesty. Our free speech rights now depend on it.


Vel Nirtist writes on the role of religion in fostering terrorism. He is author of "The Pitfall of Truth: Holy War, its Rationale and Folly." His blog is at http://www.rootoutterrorism.com/


Monday, January 7, 2013

Do We Need More Online Education With Regards to Fair Use Copyright Laws?

 

If you are an online article author, perhaps like me, then occasionally you run across your articles after they've been ripped off, plagiarized, or outright stolen. Perhaps, when you've contacted the content thief, they've given you some song and dance about the so-called "fair use" rule in copyright law. Well, it appears to me that the online community could use a little bit of online on-going education on this issue if you ask me. Okay so let's talk.


A little over a year ago, I had written a piece titled; "Copyright Laws Are Serious and You Have the Right to Defend Your Work!" I was explaining that just because there were copyright laws out there didn't mean that the government was going to back you up, and indeed it was the responsibility of the individual claiming the copyright to defend their work. Anyway, after I wrote that piece someone asked me some rather important questions about copyright and the internet - specifically about the fair use doctrine.


Fair use has to do with a specific part of the copyright law which allows for folks to use certain excerpts to make a point or statement, allowing one to borrow the quotes with citation, as long as it was only an excerpt and that they added substantially by giving more information, a second opinion, or value to the new idea being brought forth.


Now then, a fellow author, Heather, asks about this fair use principle in copyright law; "I have two questions (1) What is fair use of an original article on the Internet? and (2) Is it acceptable to use original content as the starter for a new article if your intention is to comment, criticize or develop a concept initially raised in the original article?"


Heather also notes that; many people in the US believe that pursuant to the First Amendment they have a right to comment on anything that is published on the Internet, so the real question is how do you distinguish a legitimate comment from a "stolen" article that provides no added value? This is the million dollar question.


Heather is right, I totally agree with her on her take on the fair use doctrine. Indeed, this is the million dollar question. Further, and as an article author myself with over 1000s of opinion articles, I often write opinions on what I read in the media. I especially like to comment to clear up falsehoods, or misconceptions, or politically leaning arguments which I disagree with.


My rule of thumb, and this is what I do for my own personal use, is I always cite the article, the author of the article, the date of the article, the name of the publication, and never more than five lines of text. In doing this generally my articles of four, five, or 600 words, it turns out to be very little, and I know I've satisfied the fair use rules.


Heather further notes; "as the Internet expands the question is one worth finding an answer to, one that the average user can understand and choose to comply with. It will be interesting to see if users create their own forums to resolve these kinds of disputes particularly since it potentially raises international jurisdictional issues."


Yes, I agree with Heather's views on this, there's a lot of copyright infringement on the Internet, and there are many international laws which do not include the US fair use "excerpt" doctrines, whether real or imaginary as to what those laws actually are now, due to on-going case law from internet usage. Indeed, many folks have stolen articles, including my own, so I know exactly what Heather is driving at and saying here, and I couldn't agree more. Folks who are cheating and claiming "fair use" when they rip off entire articles know or should have known that they are stealing works, and those who post entire articles to Internet forums are not doing the ethical thing.


What they should do is perhaps put a link to the article, along with perhaps five lines of text, with proper citation. Well, that's the way I see it, and I've never gotten into any trouble doing it that way, after having written tens of thousands of articles now. not once has anyone ever called me on it.


In fact, generally when the authors do contact me on those particular articles, they thank me for citing them. It's the least I can do, and I totally and fully understand Heather's comments, and I agree with her wholeheartedly about this issue. I'm glad to see I'm not the only one who cares. And the issues of international copyright law will be a bridge we must soon cross, and that will be a world-wide challenge, thus, I hope we adopt US law and that is the new paradigm globally. Please consider all this and think on it.


Lance Winslow has launched a new provocative series of eBooks on the Future of Internet. Lance Winslow is a retired Founder of a Nationwide Franchise Chain, and now runs the Online Think Tank; http://www.worldthinktank.net/