Thomas Jefferson Writes a Letter – Chapter 2

In Chapter One, Boyle explains how intellectual property rights might have evolved in an ideal world. In Chapter Two he explains how the issue was addressed in England and the United States by 18th and 19th century thinkers such as Thomas Jefferson, Thomas Macaulay, James Madison, Adam Smith, and John Locke and challenges us to return to this understanding. Then, as now, there are differing points of view based on philosophical beliefs and economic interests.

Central to understanding the chapter and Boyle’s position on intellectual property is a letter written by Jefferson to a person wanting his opinion on a patent involving a grain elevator. Jefferson replies indicating that the idea of a string of buckets used to carry material has existed at least since the times of the Persian Wheel. Instructive to those interested in this topic is his assertion that intellectual property rights are a “gift of social law” rather than a “natural right.”

According to Jefferson, intellectual property is neither “rivalrous” (one person’s use precludes another person’s use) or “excludable” (can be quarantined from use by others):

“That ideas should freely spread from one to another over the globe, for the moral and mutual instruction of man, and improvement of his condition, seems to have been peculiarly and benevolently designed by nature, when she made them, like fire, expansible over all space, without lessening their destiny in any point, and like thin air in which we breathe, move, and have our physical being, incapable of confinement of exclusive appropriation. Inventions cannot in nature, be a subject of property.”

Boyle summarizes Jefferson’s warning against a monopolistic view of intellectual property rights in five points:

  1. Intellectual property rights are “a temporary state-created monopoly given to encourage further innovation.”
  2. Intellectual property rights are not an entitlement.
  3. Intellectual property rights should not be permanent.
  4. Intellectual property rights potentially restrain and may “actually hinder rather than encourage innovation.”
  5. Agreement on which and what types of intellectual property rights are bestowed is difficult and limits should be set deliberately.

Included in the chapter are several examples of abuses of the public interest by asserting intellectual property rights in extreme ways. As is common in modern politics, the real reasons for a legislative or regulatory action are often veiled in a rationalized pabulum used to anesthetize an ideologic cohort. The true motivating force is often an economic interest (book publishers and printers) rather than the innovator (author). Extending copyrights for decades past an authors death often results in an economic gain not to the author’s descendants and certainly not the author but to the publishing conglomerate which has purchased said right.

Another possible abusive consequence of extended copyright is a possible restriction on the availability of a work. A copyright holder may prevent distribution based on an objection to the work. And as noted in chapter one, the distribution may be prevented merely by a lack of certainty in the assignment of the copyright. A classic example is given in the judicial misconduct associated with restricting publication of The Wind Done Gone retelling of Gone With the Wind.

Another interesting point is the necessary extension of the (mistaken) idea that intellectual property is a natural right. There are those that believe a creative work is an addition to the human condition possible only because of the creative force of the author. The logical extension therefore is that the author’s right to ownership should continue in perpetuity. Clearly (at least to this poster) this is an absurdity. Some alternate logic applied here is that the author – even a genius whose brilliance transforms the public consciousness – has used their own accumulation of common knowledge as a background resource. Even Newton acknowledged having “stood on the shoulders of giants.”

Boyle himself is an example of one possible reasonable approach assuaging the economic needs of the author and publisher while simultaneously allowing unfettered access to his work. This book and many other examples of creative work are available to the public at very little cost in money or effort in one form and also from a publisher in a traditional hardback book for retail purchase. Hopefully, are the author and publisher as happy as this poster. I have printed a chapter from the public domain pdf file so that I could make notes directly on the text, downloaded a copy to my iPod Touch to read at odd moments, and purchased the hardback to have on my shelf to refer to in the future.

Another important concept Boyle brings forth in chapter two are the definitions and contrasts between the terms “public domain” and “the commons.” He states that the public domain consists of those materials which are not restricted by copyright (for any number of reasons). [Aside – loved the tessellation reference!] “The Commons” is used to mean those materials over which some group has a (potentially restricted) right. His personal view is that the “group” should be the whole society. Thus, the difference in the public domain and the commons is the extent to which the right to the said materials is restricted. So overly restrictive copyright laws are detrimental to the public good because “the public domain is the place we quarry the building blocks of our culture.”

It was a very interesting experience reading Jefferson’s words here in Virginia having visited Monticello just a few weeks ago – not that another reader could not have benefitted just as well or better from the reading. But it did get me thinking again about Chapter One and the information that so much material is easily available to me because I am a 50 minute drive away from the Library of Congress. It is JUST NOT FAIR, that those who cannot afford the expense or time to travel to the Washington, DC area are not able to access those materials that are languishing in the swamp of indeterminate copyright.

Chapter 5, “The Farmers’ Tale: An Allegory”

Chapter 5, “The Farmers’ Tale: An Allegory”, in Boyle’s (2008) book, The Public Domain, is an interesting and creative look at copyright, patent law, trademark, and fair use. Building upon the concepts in previous chapters, Boyle provides the reader with an imaginative look at the issues and concerns of the new digital frontier. In this chapter, Boyle continues to provide insights to the idea of public access or the lack thereof. He introduces possible problems that a lack of access may cause to both creativity and innovation. He indicates that without access the betterment of mankind is seriously jeopardized. Boyle’s main idea aligns with what Thomas Jefferson proposed; citizens must not confuse intellectual property with physical property, though this seems to happen often in the digital world. Jefferson believed that both physical property and intellectual property were two very different entities.

Boyle uses an allegory to help make this point clearer. He introduces us to an early colony that is based on farm products and innovation. The colony begins its existence by working together, each member of the community becoming partners for the betterment of the entire good. As a result, the community has open access. But, with innovation and easy access comes fear. Fear that others will take control and take advantage. Fear that someone will use the creative endeavors of one and use them against another. Possibly, improving upon the endeavor and selling it for profit or using it without providing compensation for it. Many times fear comes with technology. This allegory is no different.

In this early open farming community, technologies are developed (automobiles, tractors) and easier access and the threat of piracy are sparked. Farmers fear the possibility of a passer by stealing produce for a person’s own endeavors. Easily stuffing car trunks and driving down the open and passable road. The idea of the open marketplace is now slowly closing with the entanglement of barb wire around crops and land preventing easy access. Farmers claim that they must prevent this from happening before it actually happens so they take action. They take a technology and wrap themselves tightly inside in the form of a barbed wire fence around their farms and open roads. Now the community and those passing by cannot easily enter.

This does not stop progress. New inventions such as wire cutters are sold in mass numbers to help individuals who want to pass through these blocked but open lands. Now people can easily and painlessly cut the barbed wire to pass through the farmers once open fields. Fear takes hold again among the farmers. The question is posed, what if the thieves use these wire cutters to enter our property and fill their roomy car trunks with our goods? This act will impede our profits. Not fair. They take suit. The farmers propose to the courts prevention of wire cutters, smaller trunks for new cars, and the development of technologies to help truck drivers so there whereabouts are accounted for at all times. This will maintain our right to production! The courts agree and laws are created to protect the farmers keeping these possible threats away. Laws are passed to prevent the sale of wire cutters and smaller trunk sizes for all new cars are built. Tracking systems are considered to let farmers know where cars and trucks are at all times on their property. Safe at last!

Okay, now what? Are we moving into the realm of protection of copyright or protectionism? In the digital world, is accessing and repurposing digital bits and bytes in creative ways harmful? Or, is repurposing fair use? Should fair use be prohibited in the digital world because of what could happen? With this ability, all who use it and work within it will be tempted to do wrong and thus should they be stopped before it happens?

The idea that industry can prevent industrious individuals from gaining a possible competitive advantage through repurposing is in question. When laws begin to restrict fair use of digital content because bits and bytes are for the most part misunderstood by the masses, creative and ingenious endeavors are at risk. Individuals that work within this digital realm have the potential to work within this cryptic language and to create new and better works. The fear of misuse, infringement, and possibly competition becomes the central element to be discussed and explored.

Congress put their hands into the digital pot trying to set boundaries and possibly clarify the digital realm of innovation and infringement. The Act is called the Digital Millennium Copyright Act (DMCA). This act is both beneficial as well as a hindrance to creativity and innovation. On the shaky side of the law is the simple ability of accessing these bits and bytes to repurpose them to meet the user’s specific needs. This in a non digital world could be viewed as fair use. I, as an instructor, can paraphrase a book that I read in front of my class to make a point. As a class, we can discuss this new point and build upon it to help create new understandings. This, the idea of ‘paraphrase’, is fair use. I, as an instructor, have taken a creative work and repurposed it to meet my specific teaching needs. It is not seen as piracy or theft. In the digital world though, this is not the case.

In walks the movie industry. This industry is inundated with piracy. Piracy is the act of copying and redistributing a product, such as a DVD. Usually selling the pirated DVD at a lower price. To help prevent this, the music industry has developed strict guidelines for hardware and software producers of companies, such as developing and distributing DVD players or DVDs. Certain DVDs cannot be played in certain players. Code controls this. As in most stories there is another character that is making its way into the pages of the book that has another story to tell. This one is no different.

In walks a new character. Most computers play DVDs. Some do not. Linux, an open source operating system, does not. A sixteen year old boy took this open source software and wrote code that would allow him and anyone that uses the Linux operating system to play DVDs on their personal computer. Innovation and creativity at its best – Or is it? This code was posted on Web sites for easy download, and it was quickly found to have the ability to unscramble DVD code allowing individuals to copy and pirate movies. Enter Universal Studies v. Reimerdes et al. case.

In the court case that ensued, it was determined that this creative expression of repurposing code instigated piracy, not free speech. It was determined to be illegal. Making repurposing code illegal would help prevent the threat of infringement and piracy. Anyone with access to bits and bytes, in the courts viewpoint, has the ability and ultimately the potential to do illegal acts. This ability needs to be controlled, no matter what free speech, original expression, and its relationship to copyright imply. The possibility of possible wrong needs to be prevented before it can begin.

With the ruling of the Reimerdes case, intellectual property law took on a new layer. Now, even if a user legally buys a product and desires to quote, parody it, or repurpose it – they cannot. Fair use no more. Did the judge that ruled on this case understand what he was ruling on? Can you rule against possible threat and against fair use of creative works? Does this mean that creative endeavors will be stopped? How will innovation flourish and an open marketplace stand tall and strong in this digital world?

A sixteen year old took a problem and solved it. His solution turned out to create new possibilities. His solution in this case provided opportunities for piracy. His actions opened the door to do questionable wrong to an industry. Was this impeding and misunderstood, “Internet threat” hyped up? Can’t someone take code, speech, and repurpose it to create new and innovative products to provide the opportunity for competition? Can Congress allow some formats of expression to be exempt from fair use rights? Through the Reimerdes court case the answer becomes, yes, they can.

Boyle poses many questions throughout this case and then stresses the idea of competition and the possible threat to competition with the Apple and RealNetworks court case. Can RealNetworks create software to allow Apple iPods to play songs from RealNetworks music library? Apple says no. This is an infringement of their intellectual property rights. The “idea” of Apple and of iPods in general is now threatened. By making the iPod interoperable, by creating products that can introduce new companies products to be accessed and utilized, iPod no longer is proprietary and as a result becomes only a device. Does this pose the question of a monopoly? Will this prevention of innovative thought alter innovation and an open marketplace? Why would Apple not want other products to play on their iPod, wouldn’t this open their device up to a larger audience? Or does open access blur their product line taking away the ah factor?

In another case, Lexmark sues Static Control Components, attempting to prevent them from selling generic printer cartridges. They are stealing our code! The courts did not see it that way. Instead, they claimed fair use for innovative purposes to help prevent antitrust issues and to promote competition. In another company dispute, the same solution was found. A garage door company, Chamberlain, wanted to prevent a generic replacement garage door company from selling a product that would open their garage doors. In both of these cases the code was protected under copyright laws, but in each case the courts found fair use. What does this mean? How is this different then our first case of Reimerdes? How about from Apple? Free speech and expression seem to be at issue in the first case. The ruling was to stop this free expression before it caused problems. In both the Lexmark and Chamberlain cases the rulings prevented antitrust and competition laws from being infringed upon.

There is a lot to think about in each of these cases. Each ruling provides an incredible dilemma for all digital content users and producers.

Laws concerning copyright, free expression and competition are different in the international marketplace. Issues of more control and less control take center stage. How do these issues impact us as consumers, academics, industry professionals, and beyond? Can I repurpose video for a class lecture? Can an individual repurpose computer code to solve a problem and then post it online, sharing it with others?

As forward thinking individuals we want to promote creative expression that builds upon the ideas of others. We do this to ensure that innovation flourishes. When it comes to the digital world, we need to understand the limits that we have to create new and innovative products or to share content. We must think about infringement and what fair use means in this new digital world. Fair use seems unclear, even murky. As users, consumers, and even producers of content, each of us now needs to be cognizant of this murkiness and continue to ask questions so clarity can be found.

Question: How can creativity and innovation flourish in this digital realm? How can fair use be central in order to promote competition and at the same time prevent antitrust issues?

Why Intellectual Property? — Chapter 1

As I began reading James Boyle’s book, it was his title that initially intrigued me, The Public Domain: Enclosing the Commons of the Mind. What did he mean by juxtaposing the public domain with “enclosing the commons of the mind?” The public domain, those resources that all of us can use freely and without permission, is a researcher’s ultimate playground – no worries here about infringing on someone’s copyright or tracking down a photographer now living in Timbuktu before you can use an image. These are the materials that make my job as an archivist easy, allowing me to provide immediate and full access to primary materials.

A few pages into the first chapter, Boyle clarifies his title by asserting that intellectual property rights, originally meant to be “the servants of creativity” have gone awry and become prickly barriers that now restrict access to much of our 20th century works and culture. I couldn’t agree more, as I’ve often been frustrated helping researchers navigate through copyright issues. I’ll even confess to having my own favorite copyright cheat sheet and flow chart courtesy of Cornell University’s Copyright Information Center.
So how has this happened? Copyright is intended to be a good thing, providing incentives for innovation and rewards to the creators. Boyle leads us through an idealized vision of how intellectual property rights should work and then argues that two changes – extending copyright terms and giving copyright immediately to creators (no application needed) – have “turned the copyright system on its head.” No longer are exclusive rights given just for the duration of a works commercial feasibility. Instead copyright terms are now so long (the creator’s life plus 70 years) that many works may stay under copyright and unavailable for well over a century. We are losing access to about 85% of the works that under the prior system continuously stockpiled our public domain treasure trove.

Before reading Boyle’s book, I hadn’t thought about just how many works nationwide get trapped in this long term copyright dilemma. Every archivist knows the “orphan works” in their own holdings. Those materials with murky copyright that you professionally can’t duplicate and certainly shouldn’t place on the Internet without possibly involving your institution in copyright infringement. Boyle estimates that 95% of our books fall into this category and an equally large amount of our films and music. This is a huge number and daily impacts where our information comes from and how we can use it.

This is just Chapter one, so I’m really interested to read what further thoughts Boyle has on how we can possibly begin to reclaim some of our public domain. Check out the U.S. Copyright Office’s Orphan Works to see what they are saying about this topic as well.

Chapter One – Why Intellectual Property?

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As I began reading James Boyle’s book, it was his title that initially intrigued me, The Public Domain:Enclosing the Commons of the Mind. What did he mean by juxtaposing the public domain with “enclosing the commons of the mind?” <!– /* Font Definitions */ @font-face {font-family:”Cambria Math”; panose-1:2 4 5 3 5 4 6 3 2 4; mso-font-charset:0; mso-generic-font-family:roman; mso-font-pitch:variable; mso-font-signature:-1610611985 1107304683 0 0 159 0;} @font-face {font-family:Calibri; panose-1:2 15 5 2 2 2 4 3 2 4; mso-font-charset:0; mso-generic-font-family:swiss; mso-font-pitch:variable; mso-font-signature:-1610611985 1073750139 0 0 159 0;} /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-unhide:no; mso-style-qformat:yes; mso-style-parent:””; margin-top:0in; margin-right:0in; margin-bottom:10.0pt; margin-left:0in; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:”Calibri”,”sans-serif”; mso-fareast-font-family:Calibri; mso-bidi-font-family:”Times New Roman”;} .MsoChpDefault {mso-style-type:export-only; mso-default-props:yes; font-size:10.0pt; mso-ansi-font-size:10.0pt; mso-bidi-font-size:10.0pt; mso-ascii-font-family:Calibri; mso-fareast-font-family:Calibri; mso-hansi-font-family:Calibri;} @page Section1 {size:8.5in 11.0in; margin:1.0in 1.0in 1.0in 1.0in; mso-header-margin:.5in; mso-footer-margin:.5in; mso-paper-source:0;} div.Section1 {page:Section1;} –> The public domain, those resources that all of us can use freely and without permission, is a researcher’s ultimate playground – no worries here about infringing on someone’s copyright or tracking down a photographer now living in Timbuktu before you can use an image. These are the materials that make my job as an archivist easy, allowing me to provide immediate and full access to primary materials.

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A few pages into the first chapter, Boyle clarifies his title by asserting that intellectual property rights, originally meant to be “the servants of creativity” have gone awry and become prickly barriers that now restrict access to much of our 20th century works and culture. I couldn’t agree more, as I’ve often been frustrated helping researchers navigate through copyright issues. I’ll even confess to having my own favorite copyright cheat sheet

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Get Ahead of the FA Curve

publicdomaincover1As Faculty Academy approaches, DTLT would like to invite anyone at UMW (or elsewhere) to join in a reading group of Dr. Boyle’s latest book, “The Public Domain: Enclosing the Commons of the Mind.” We’ll be discussing the book on this Web site virtually as well as trying to arrange a few face-to-face book group meetings in the Fredericksburg area.

The book is available for sale from Amazon or as a free download at www.thepublicdomain.org.

If you’d like to be a part of this discussion, feel free to sign up in the comments section below: