If takedown notices are what it took for you to -really think- about rights ownership in your publications…

Last week, Academia.edu started receiving mass takedown notices from Elsevier (an academic publisher) for papers uploaded to the site by their authors. This has come as an offensive surprise to many of the authors who received the notices, and to many other academic authors who heard about the takedown requests. That surprise is pretty valid – generally, academic publishers have, until this point, looked the other way about copies of articles distributed by the articles’ authors, even when posted to for-profit sites like Academia.edu.

However, some of us who have been working for a while to help authors understand their publication rights are a little frustrated at the surprise. After all, we’ve been talking about some of the -other- results of authors’ transferring away their copyrights for a while. Apparently, for some folks*, the following were not compelling reasons to -really think- about what happens with the copyrights in their publications:

  • Authors being required to get (and pay for) permission to reproduce parts of their own work in subsequent publications.
  • Authors being unable to post articles on non-profit/institution-hosted archives.
    (Or rather, such archives (naïvely?) telling authors to only upload works which they are sure they have the right to upload.)
  • Academic publishers actively suing a public university for using published articles in course contexts.
  • Lack of access for researchers at smaller or less well-funded institutions, or those unaffiliated with an institution that has subscriptions.
    (More than one academic has flat-out told me “it’s not really true that people don’t have access.” Um, it’s true there are often ways that people can -get- access if they have money or are willing to violate the copyright that now belongs to your publisher. If the copyright belonged to you, I think you might have a problem with that practice.)
  • Lack of access for researchers in the developing world.
    (Several publishers do have programs that allow limited access by developing-world researchers.)
  • High costs to the authors’ own employing institutions in purchasing access to publications.
    (Subscription costs: up just about every year. Subscription budgets: often flat or down. And academic libraries are fairly frequently told to that they must “preserve collection budgets” while cutting costs.)
  • Clunky online interfaces that make it very difficult to link to legitimate versions of publications, even within subscribing institutions.
    (The linking functions of subscription interfaces are annoying, non-standard, and likely to break. Those interfaces are provided by publishers.)

I’m glad there was such an active and vibrant response to the Research Works Act last year, or I’d have to start getting more cynical…

*My frustration is with the general “what? takedown notices??? For things in which the publisher owns the copyright, and that have been uploaded to a commercial competitor????” response, not with any particular individual. As I say whenever I talk author rights with individuals: each author has different goals, influences, and requirements at various stages of their careers – there is no “one size fits all” publication answer. Most of the authors I’ve seen writing about this issue clearly -have- been thinking about their publications’ rights, at least to some degree.

Extremely off-topic: cold-weather bike gear update

Last year at this time, I did a post on things I’d learned in my first full winter (2011-2012) bike-commuting. If you’re interested in giving winter-biking a try, go read that first.

However, with a second (and rather colder) winter (2012-2013) under my belt, and heading into a third, here’s a few additional observations.

1. YOU NEED MORE LIGHTS

Really. In winter, no matter what, you’re riding in the dark more often. Riding in the dark, especially on roads with cars, is DANGEROUS. Bikes are very hard for drivers to see – harder than pedestrians, because we’re moving faster, and often are at a very bad angle for visibility. DO NOT RELY ON REFLECTORS. I frequently cross paths with other cyclists I cannot see.

At the very least, you should have an actively-lit headlight (white) and taillight (red) all the time. I usually have at least two headlights and at least two taillights going – the second set is on my bike helmet. I also often have another red taillight somewhere (this is because I carry loads on my back rack that sometimes obscure the basic light.) I also usually have -other- other lights in different colors hanging on my jacket or bike frame, and I have a green spokelight in my back wheel.

I really like the Nite Ize brand for lights-that-make-me-visible. They don’t cast enough light to light the road ahead of you – you need a brighter headlight for that.

(I also have reflectors on my tire sidewalls, randomly scattered around my bike, on my helmet, on several pairs of shoes, and I wear a jacket with reflective stripes.)

2. Found a windbreaker I like a lot better

My first year, I used a low-end REI rain jacket with a plasticky lining. The lining broke down quickly. Last winter I bought a Novara Stratos jacket (I got a men’s jacket, for layering, but wow the available colors right now are hideous) and Stratos pants. The lining is -much- hardier, as is the whole jacket. The pit zips do well with venting, and the reflective trim is a great feature. I don’t use the pants quite as much until seriously wet winter, but I’ve already been wearing the jacket for the last several weeks.

3. At lower temps, toes are even harder to keep warm

Last winter I rode quite a few days below 0 °F (- 17.78 °). (My record is now -12 °F.) It doesn’t matter how many socks you layer, toes get too cold. (Also, at a certain point more layers in your boots = cutting off circulation.)

The solution: toe warmer packs. You have to expose them to air to get the warmth going, so I open them a few minutes before I put boots on, then stick them to me at the last minute. You barely feel heat, but you don’t freeze!

4. Still love…

…my chopper mittens & liners, ski goggles, and wool shirts.

Google Books suit dismissed: more affirmation of public interest in copyright

DISCLOSURE/DISCLAIMER: I worked at the University of Michigan Libraries for several years during the beginning of the book scanning project with Google that is the subject of this lawsuit. The University of Minnesota Libraries, my current employer, is also affiliated with the Google scanning project and HathiTrust Digital Library. This post represents only my own opinions and thoughts on the case, not that of any current or past employer or co-worker.

This morning, Judge Denny Chin issued an opinion in the massive, many-year lawsuit between the Author’s Guild and Google over the Google book scanning project. Just a couple years ago, many possible outcomes were anticipated – and few of them would have provided much clarity for anyone except Google.

Instead, we got a ruling today which dismissed the case, ruled several different research and public interest activities were fair
use, and in general, was very positive about the public benefits that
this project has produced.

Quick Aside on Court Procedure

Despite the many years of booting around various class action certifications and possible settlements, the end result is that this case was dismissed fairly early in the full court process. As with the HathiTrust ruling from last fall, this opinion dismisses the case on summary judgment – that means the court has determined that there are no substantial factual points in contention, and the legal arguments so clearly favor one party that there is no need for a trial. Appealing a dismissal on summary judgment is generally a weaker place to be than appealing an opinion after a trial. (Though of course, in the HathiTrust case, the Authors Guild has indeed decided to appeal, and it will likely do so here as well.)

Fair Use Analysis

The main issue on summary judgment here was whether Google’s book scanning was fair use. Judge Chin affirms that it is, for several different reasons. He appears to have been influenced both by amicus briefs from a variety of public interest organizations, as well as the HathiTrust ruling from last fall.

Judge Chin’s fair use discussion begins by reminding us that it is “copyright’s very purpose, ‘[t]o promote the Progress of Science and Useful Arts.”” He cites a variety of case law (as well as Leval’s seminal fair use article) affirming that both incentives to authors -and- opportunities for others to use “protected works” are necessary to achieve that purpose (p. 16-17). As an advocate for the public interest in copyright, it is always heartening to see courts acknowledging that progress is the main goal, and that protection for creators is only one part of a considerably larger equation. (A frequent theme of my teaching is that we are all users and creators – creativity is an ecosystem.)

Judge Chin does dig in to the traditional four fair use factors, although on more than one occasion he notes that they are non-exclusive, and that other relevant considerations should also be weighed (p. 18, p. 25).

For the purpose factor, Judge Chin focuses quite a bit on transformative use, and notes approvingly that “Google’s use of the copyrighted works is highly transformative” (p. 19). He approves of  “the use of book text to facilitate search through the display of snippets” (p. 19), as well as turning “book text into data for purposes of substantive research, including data mining and text mining” (p. 20) as transformative uses.

Chin’s fair use analysis follows a line of cases from the 9th Circuit that looked at thumbnail uses of images as transformative fair use – and one outcome that the publisher/plaintiffs may have been looking for by bringing this lawsuit in the generally-more-conservative 2nd Circuit was to create a “Circuit split” on this issue (which often opens up avenues for Supreme Court appeal.) This could possibly still happen on appeal, but it seems pretty unlikely at this point. Instead, as commentator/law prof James Grimmelmann summed it up in a tweet: “I feel safe in saying that search indexing and snippet display are now definitely fair uses.”

Another aside: I am very glad to see that these purposes were ruled transformative and in favor of fair use. However, I was also glad to see affirmed that “transformative use is not ‘absolutely necessary’ to a finding of fair use” (p. 19). Multiple avenues for arguing fair use is a good thing.

The court also discusses Google’s commercial purpose, finding that it “does […] benefit commercially” but “does not engage in the direct commercialization of copyrighted works” (p. 22). Even considering Google’s profit motive, the educational and transformative purposes of the scanning project led Judge Chin to conclude “the first factor strongly favors a finding of fair use.” (p. 22)

As to the nature of the copyrighted works, Judge Chin only briefly engages with the factual/creative angle on this question, noting that the “vast majority” of the books are non-fiction. He also notes that all the books have been published, and concludes that this factor favors fair use.

As to the amount used, Judge Chin notes that Google does scan the full text of books, and does reproduce the books verbatim. But, he notes, copying an entire work -can- be fair use sometimes, and “full-work reproduction is critical to the functioning of Google Books” (p. 23).  He notes approvingly that only limited amounts of text are ever displayed, and concludes that the amount factor does weigh “slightly against” fair use (p. 24).

Finally, Judge Chin considers the possibility of market harm. He directly rejects the publisher-plaintiffs’ argument that people could use Google Books to piece together a whole book for reading, and states that “a reasonable factfinder could only find that Google Books enhances the sales of books to the benefit of the copyright holders” (p. 25).  Notably, he does not engage with the argument discussed in HathiTrust, that scanning without a license harms sales of licenses to scan (although I’m not sure if that was argued in the summary judgment briefs.) He concludes that the fourth factor “weighs strongly in favor” of fair use (p. 25).

After looking to the four factors in detail, Judge Chin enumerates the “significant public benefits” of the project as another relevant consideration. (p. 26) The various benefits he highlights includes that it makes books more findable, that it allows text-mining, that it preserves books (especially out of print ones), that it facilitates access to books for people with print disabilities and for “remote or underserved populations”, and that it generates income for copyright holders. “[A]ll society benefits.” (p. 26)

Because the plaintiffs also argued in their summary judgment motion that Google was committing contributory infringement by providing scanned copies of books to libraries, Judge Chin also (in quite short order) affirms that library uses are lawful uses, transformative uses, and that they advance the arts and sciences, etc. (p. 27). He states that the fair use analysis of the HathiTrust decision “applies here as well” (p. 28), so neither the libraries receiving the scans, nor Google in providing the scans to libraries, are doing anything wrong.

Library and Cultural Institution Implications

The great thing about this case moving away from class action settlement and towards actual court rulings on the substantive legal issues, is that the resulting rulings do not just apply to Google. If it’s fair use for Google to do this kind of stuff, it probably is for others as well.

Like a lot of recent fair use cases, this case affirms the public interest elements of copyright, and how closely fair use is connected to those public interest elements, in kind of screamingly strong language. For institutions that have been reluctant to engage with fair use, this opinion, and the HathiTrust opinion of last year, are extremely strong grounds for contemplating the application of fair use to digitization projects, exhibits, and other such publicly beneficial uses. (The more so because most libraries and cultural institutions are entirely non-profit, unlike Google which has acknowledged commercial purposes.)

This decision, by again affirming the 9th Circuit precedents in a different circuit, also lends weight to many recent best practices or other statements on use of materials in research or museum contexts that have relied on transformative use and related arguments. Examples include the ARL Code of Best Practices in Fair Use for Research Libraries, the AAMD Policy on the use of thumbnail images, the VRA Statement on the Fair Use of Images for Teaching, Research, and Study, and several others.

One fun thing to note is that if you’ve been thinking, “Well, Section 108 gives us broad preservation digitization rights, but then we can’t do anything with the resulting digital files” – hey, making those files searchable, and sharing snippets at least, is looking like a strong fair use! (What’s more, digitizing some things that you don’t think would be covered by section 108 preservation rights might be fine, too! It might have been before these rulings – but if you were feeling timid before, for goodness’ sakes, GET OVER THAT now. If your institution has been reluctant to embrace the risks and uncertainties of fair use, these decisions are reducing the uncertainty, a lot. Or, you know, stick your head in the sand and wait for appeal, or wait for a Supreme Court ruling, or…)

Edited to add: also, negotiating for preservation of statutory use rights in ALL of our licensing agreements is EVEN MORE IMPORTANT than it was before, GLAM folks!!!!

I’m sure there’s more to think about here. I note that several colleagues have posted analyses of the decision that I haven’t yet had time to read. My reading list now:

New: Copyright Workshops from UMN Libraries!

The University of Minnesota Libraries offer free copyright information
workshops to the UMN community. Most are aimed at faculty,
but open to participation by others. RCR continuing ed
credit is often available. If these scheduled sessions are not
convenient or relevant for you, we also offer sessions for research
groups and departments at more convenient times or on custom topics.
Please email me if you’d like to set that up.

Please note some sessions are online-only – faculty and others who work out-state or at the Crookston, Duluth,
Morris, and Rochester campuses are given priority in registering for online sessions.

Can I Use That?: Dealing with Copyright in Everyday Life

Quotation, criticism, review, collage, parody – Copyright presents some
big challenges in all of those situations! Participants in this workshop
will develop an understanding of the complexities of copyright by
exploring examples from visual arts, music, and video, as well as
academic research and writing. Expect to think hard, discuss a little,
and have fun! No direct legal advice will be provided; this workshop is
informational in nature.

Primarily intended for faculty, researchers, and graduate students engaged in the scholarly writing & publishing process. Satisfies RCR continuing education awareness/discussion requirements.

Mon, 11/25/2013 – 10:00am – 12:00pm
Wilson Library Rm S30a


Wed, 12/04/2013 – 1:00pm3:00pm
Walter Library Rm 310

Tues, 12/10/2013 – 10:00am – 12:00pm
ONLINE ONLY via UM Connect

Know Your Rights: Copyright Essentials for Authors and Creators

How many copyrights do you own? How long will they last? Can you post
your paper online? Can someone else quote from your paper in their own?
This workshop will provide a solid grounding in some of the elements of
copyright law that are essential to scholarship, teaching, and research.
Learn more about protections in the law for educators, and about your
rights as an author or creator. Discuss and debate with your peers about
some of the burning questions in the field, and enjoy exploring some
entertaining and thought-provoking examples. No direct legal advice will
be provided; this workshop is informational and educational in nature.

Primarily intended for faculty, researchers, and graduate students engaged in the scholarly writing & publishing process. Satisfies RCR continuing education awareness/discussion requirements.

Mon, 11/18/2013 – 1:00pm3:00pm
Walter Library Rm 310

Thu, 12/05/2013 – 10:00am12:00pm
Magrath Library Rm 81

Mon, 12/09/2013 – 1:00pm3:00pm
ONLINE ONLY via UM Connect

Register: http://z.umn.edu/knowyourrights


Copyright in the Classroom (and Online)


Can you show a movie in class? Can you distribute copies of a newspaper article? What are
you allowed to post on your Moodle site, anyway? What about your
students’ work, or their online postings? This workshop focuses on
copyright issues in the classroom, and in teaching online. Learn how the
library can help you with electronic reserves and links to subscription
materials. No direct legal advice will be provided; this workshop is
informational in nature.
NO RCR credit available, sorry.

Primarily intended for individuals currently teaching at the University.

Wed, 11/13/2013 – 1:00pm3:00pm
Walter Library Rm 310

Thu, 11/14/2013 – 10:00am12:00pm

ONLINE ONLY via UM Connect

Wed, 11/20/2013 – 10:00am12:00pm

Magrath Library Rm 81

Register: http://z.umn.edu/copyrightinclassroom

WARNING: Deeply boring to normal people

ETA: Cross-posted at Techdirt

I attended the hearing today in what the presiding judge, Magistrate Judge Franklin Noel, characterized as “several iterations of” AF Holdings LLC v. Doe (case nos. 12-1445 – 12-1449) The cases at hand have all previously settled and been dismissed, but the court determined it has the inherent authority to investigate whether it has been the victim of a fraud.

The order for the hearing limited the discussion whether the copyright assignment agreements for two films, “Popular Demand” and “Sexual Obsession”, attached as exhibits in the various AF Holdings v. Doe cases, are authentic. The discussion during the hearing ranged a bit further afield.

These are my own impressions of what happened, but I don’t guarantee their accuracy – I’m not a court reporter, and I’m not fully up on the details of all the Prenda/AF Holdings/etc cases. And I couldn’t always hear everything. I’ve tried to be fairly objective in reporting what I saw and heard, but to own up to my biases, I am an attorney whose interest in copyright sits solidly on the public interest side. I don’t represent or have any interests with respect to any of the folks present in court today, to the best of my knowledge. (How’s that for lawyer-talk.)

————————-

Individuals present in the courtroom today included:

Paul Hansmeier, lead attorney for plaintiff AF Holdings, LLC
John Steele, formerly a legal partner of Mr. Hansmeier
Brent Berry, northern MN real estate lawyer
Jason Flesher, northern MN resident
Alan Cooper, who alleges his signature was forged on documents related to AF Holdings
Paul Godfread, attorney for Mr. Cooper

And some audience members.

—————————————-

Mr. Hansmeier began the day by calling his first witness, Steele, and displaying to him on a document viewer the copyright assignment for “Sexual Obsession”. Mr. Steele authenticated the assignor’s signature as that of Ray Rogers, based on familiarity with Mr. Rogers signature from several instances of business, etc. Mr. Steele also testified that he believed the use of Mr. Cooper’s signature on this document was authorized, because Steele introduced Cooper to the owner/controlling member of AF Holdings.

[At this point, and at a couple of later points, the judge asked what exhibit number the documents were that Hansmeier was displaying (since the document viewers don’t produce an ongoing copy.) Hansmeier apparently didn’t intend to offer the documents into evidence, but the court later entered the copyright assignments in question (originally filed as exhibits in cases 12-1445 – 1449) as exhibits 1 and 2 for this hearing.]

Hansmeier elicited lengthy testimony from Steele as to his knowledge of Cooper’s involvement with AF Holdings, his involvement with helping Cooper to form a company (VPR, Inc) to market adult content, and about the nature of Steele and Cooper’s relationship over the years. The overview of this testimony is that Cooper was recommended to Steele in 2006 or so as a possible caretaker for his cabin in northern MN, that Cooper lived there subsequently rent-free in exchange for a limited amount of work around the property, that subsequent to Steele’s divorce they had hung out more, and that they had been “very good friends by 2010.” Steele also testified that he had helped Cooper set up VPR, Inc, that Steele had introduced Cooper to Mark Lutz, and heard Cooper’s end of phone calls with Lutz on at least two occasions, and that Cooper had gotten “a kick” out of being associated with the adult industry, and repeatedly joked with friends and others about coming to work for him in his porn company, at least as early as 2011.

Steele testified that he had closed his lawfirm, Steele Hansmeier, over a short period starting in November 2011, because “I was quite frankly surprised with the vitriol and nastiness of the pirates we were pursuing.” He mentioned a blog post that showed pictures of his house and small child, and included violent threats against the family. Steele appeared visibly upset during this part of his testimony. Steele continued his testimony to affirm that after closing the lawfirm, he decided to sell his cabin in July of 2012. At this point, the Judge himself intervened to ask what the point of this testimony was; Mr. Hansmeier said it was directed towards motive.

Steele then testified that Mr. Cooper had been angry and hostile once he knew the sale was going forward, and that Cooper had taken items from the property, caused property damage, and attacked or threatened people who came on the property. The judge again intervened, to direct the discussion toward an end point; Mr. Hansmeier then asked Steele about his knowledge of rumors, started by Mr. Cooper, that Steele had molested Cooper’s daughter.

Things then got refocused on the topic of the hearing; the copyright assignment for “Popular Demand” was shown to Steele, and he again authenticated Ray Rogers’s signature for the assignor, and stated that Steele himself had used this document to file registration documents with the Copyright Office. Then, focusing on the other signature, Steele testified that he did not know if Cooper had signed the documents himself, but spoke to his “understanding” that Cooper had authorized Lutz and his people to sign documents like this on his behalf.

Judge Noel then directed several questions to Steele about the documents in question, and Steele’s understanding that Cooper had authorized Lutz to sign on his behalf. Judge Noel elicited that this was based on hearing Cooper’s half of two phone conversations with Lutz. Noel also elicited that Steele does not actually know if Cooper signed those documents, but that as far as Steele knew, Cooper had had a position as a “helper” for AF Holdings. Steele testified that he did not know if Cooper was employed by AF – because Steele himself had no involvement with AF, other than them having been very briefly clients of the Steele Hansmeier firm. Finally, Noel questioned Steele as to whether he knew who signed the Cooper name on either of the exhibits, and Steele testified that he did not.

—————————————-

Hansmeier called Jason Flesher to the stand, who testified that he had known both Steele and Cooper for 4-5 years. Hansmeier began questioning Flesher about the nature of Steele and Cooper’s relationship, but the judge redirected him, and he then focused his questioning of Flesher’s knowledge of Cooper’s involvement in AF holdings. Flesher testified that Cooper’s partner, Charity (last name not ever clearly established) had talked with him about her concern over Cooper’s adult industry involvement on cabin visits as early as 2011, but that he did not know anything further about Cooper’s invovlement in signing documents, or details of his involvements with any companies. The judge briefly questioned Flesher about his knowledge of the copyright assignment documents (none) or familiarity with Cooper’s signature (none), and Flesher was dismissed.

—————————————-

Hansmeier called Brent Berry to the stand, and began questioning him about the nature of Cooper and Steele’s relationship, Cooper’s behavior after Steele decided to sell the house, and so on. The judge intervened to focus again on the documents, eliciting that Berry had seen Cooper’s signature before, but wouldn’t recognize it on sight, and did not know if the signature on the documents was Cooper’s.

—————————————-

Hansmeier then called Cooper to the stand. Hansmeier’s questions posed to Cooper were often spoken quite quickly, so in a number of instances, Cooper had to ask them to be restated. Cooper also fairly frequently didn’t respond directly to the questions, so this part of the recap is a bit more out of order.

Hansmeier’s initial line of questioning focused on Cooper’s claim that other AF Holdings documents had included forgeries. Cooper wasn’t quite sure why he was being questioned about other people’s signatures; “I’m concerned about -my- signature.” Finally, the judge directed some specific questions about Cooper’s knowledge about specific signatures related to the case, and Cooper responded that he did not have any specific evidence about forgeries of signatures for Mooney, Webber, or Salt Marsh. Godfread objected that this seemed to be litigating the motion pending in October, and this was sustained.

Hansmeier began a new line of questioning, about Cooper’s testimony in other courts as to his involvement with AF Holdings. Cooper acknowledged that he became aware that his signature was being used related to AF Holdings in late 2012. Cooper stated that Steele had told him at an earlier date that if anyone asked any questions, they were to be directed to Steele. Hansmeier cut off Cooper’s testimony on that point, and kept questioning him about other members of his community who might have made him aware of his involvement at an earlier date. Cooper testified that his father-in-law (an ex law-enforcement officer) had told him he needed to find out -why- Steele was telling him to forward any questions.

After this, Hansmeier’s questions shifted direction repeatedly. He raised several points apparently intended to discredit Cooper: about being paid for testimony (Cooper denied he is), having expenses covered for trip to LA hearing (Cooper affirmed flight and one night hotel were covered by EFF), lost jobs (Cooper denied), mental health diagnoses and medications (also denied), and whether Cooper had ever signed anything on behalf of Steele (some unclear discussion about DMV registrations.)

There was a confusing line of questioning about why Cooper thinks he’s being held out as CEO of AF Holdings – Cooper tried to look something up on his phone (and was directed by the judge to stop). Cooper basically insisted that he wasn’t the CEO of AF Holdings, and the judge eventually said that whatever was on the documents in evidence would have to be good enough. Hansmeier worked hard to get Cooper to testify “who told you that your name was being held out as CEO of AF Holdings” but Cooper just didn’t remember, and focused on his concerns about his signature being misused.

Another line of questioning focused on how Cooper had retained Godfread, and a text message he had received, which was his first alert as to his name being used in association with AF Holdings. Cooper testified that the text had come from a Kim Eckenrode, who is John Steele’s mother-in-law. Cooper also testified that he had been referred to Godfread via an attorney whose number Eckenrode had texted to him.

Cooper denied any specific memory of March 18, 2011 (which I believe is the date Steele testified he introduced Cooper to Lutz by phone.) Finally, Hansmeier asked Cooper why he believed Steele owned Prenda Law; Cooper said Steele told him that, but that he had never seen any documents to that effect.

The judge then questioned Cooper, establishing that he had no familiarity with AF Holdings prior to the text from Eckenrode, that Cooper had never worked for AF Holdings or AF Films (Steele had previously testified that he thought any mentions of AF Films were typos), that he’d never signed any documents on behalf of AF Holdings or Films, that the signatures on the copyright assingments in question are not his and that he does not know who signed them, that he did not authorize anyone to sign his name, and that he did not know these documents were being submitted to a court “with what purports to be your signature.”

Godfread then questioned his client; Cooper denied Steele approaching him in 2010 about getting involved in the porn industry. He also stated that he did not know about VPR, Inc before last year, nor had he agreed to be an officer or have any other position with that group, nor to authorize use of his signature for that venture. Cooper stated that he had never met Lutz, nor talked to Lutz on the phone, nor ever indirectly told someone to talk to Lutz on his behalf. Cooper said that he did not authorize use of his signature on any documents related to AF Holdings or AF Films.

Godfread introduced a copy of the text from Eckenrode, including an attached image of Cooper’s purported signature on a document. There was some discussion about the admissibility of this copy of the text, including questioning from the judge about how Godfread had gotten the text to the page (emailed to himself). It was entered in the record as Exhibit 3, “with all caveats about what it purports to be”. Godfread questioned Cooper basically as to whether the printout of the text was what Cooper had received from Eckenrode. The judge asked briefly if Cooper had ever received any money from AF Holdings or VPR, or been employed by AF (no to all.)

Hansmeier then questioned Cooper (or tried to) about Hansmeier’s own previous conversations with Cooper. Cooper expressed confusion about whether he’d met Paul Hansmeier or his brother Peter, and maintained that whichever brother had visited the cabin, Cooper had not been around much or talked much with him. Hansmeier brought up that he had stayed in Cooper’s own cabin, but Cooper said he’d stayed away during that visit because “I didn’t want to deal with you”. Hansmeier, apparently taken somewhat aback, said “I didn’t know that,” and allowed that line of questioning to drop.

—————————————-

Hansmeier tried to call Godfread to the stand, and Godfread objected. The judge conferred with his clerk for a bit, questioned Hansmeier as to his intent in questioning Godfread (to establish whether AF Holdings had any knowledge of Cooper’s concerns prior to filing the copyright assignments with courts). Godfread reiterated no knowledge on those points. After a bit more conferring, Judge Noel directed the attorneys to Shelton v. American Motors, 805 F 2d 1323 as on point, and said they’d reconvene on that point after lunch.

—————————————-

Before lunch, Hansmeier brought Steele back to the stand to address the text message (over Godfread’s objections as to Steele’s lack of direct knowledge of the conversation.) Steele testified that his mother-in-law is very religious and was very concerned over his involvement with the adult industry, and had been active on Die Troll Die and other sites. He testified that he has no interest in Prenda Law, but that she had gotten over excited about “random guesswork from internet pirates”. Hansmeier also questioned Steele as to whether Cooper has any other litigation pending against Steele – he does, but Steele said “it defies logic” that an attorney would forge a signature when he could get anyone in the world to sign a document.

The judge questioned Steele about the text message, eliciting that he doesn’t know whether it was sent by his mother-in-law, but that it was consistent with the tone of “anonymous pirates on the internet”. He mentioned something about the Secretary of State of Illinois, and Judge Noel followed up to ask about that; Steele testified that the Secretary of State website would show that Prenda was created by Paul Duffy. There was some additional questioning about St Kitts and Nevis, and AF Holdings and Prenda, and that a lot of people incorporate there.

—————————————–

When we reconvened after lunch, Hansmeier, having read the case the judge suggested, recalled his request to have Godfread testify. And then things got -really- interesting.

Judge Noel referred to his order for this hearing including an order for Cooper to appear in person, and for an officer of the plaintiff “capable of testifying as to the authenticity” of the documents to also appear. He reviewed the witnesses who had appeared, and noted that we’d heard nothing from AF Holdings – though he mentioned that he was “not sure what Steele’s role” was in all this other than being a former partner of Hansmeier… “So,” he said, “Where’s AF Holdings?”

Hansmeier said that Lutz was planning to come, and is the sole officer of AF Holdings, and did make it to an earlier conference in this case in person, but that he wasn’t present today, and that Mr. Hansmeier hadn’t been able to reach him by phone or email. He voluntarily elaborated that Steele and Lutz had been booked on the same flight from Miami, that Steele had gone to Lutz’s apartment to meet him (because Steele had Lutz’s boarding pass), but found him not home. Steele had then, according to Hansmeier, driven around Miami looking for Lutz, and even encountered some of Lutz’s friends who said Lutz had told them the night before that he had to make an early night of it because he was traveling to this court in the morning. Hansmeier offered the boarding pass as proof that Lutz had intended to come. (Steele was not present in the courtroom after lunch.)

Godfread suggested that Lutz has repeatedly failed to appear at evidentiary hearings related to AF Holdings cases. Hansmeier responded by stating that Lutz hadn’t been able to attend one hearing because he’d been detained by “federal agents” in an airport (the court requested clarification on this point, but all Hansmeier had was that; he stated that Lutz had asked to file further details of that detention, in that case, under seal because the detention was embarrassing.) Hansmeier finally stated that Lutz -has- appeared, before Judge Snow in Arizona, on closely related points.

Judge Noel took this all in, gave parties until close of business tomorrow to file all declarations, and said he’d issue an order “in due course.” The court recessed just about ten minutes after convening for the afternoon.

(Edited to correct “Ekkenrud” to “Eckenrode”, 10/1/13)

Personal Photo Sharing – Things to Think About

We just had a “managing your personal photos” drop-in session here at the Libraries, and I was tasked to help people think about legal issues. Thought I’d turn my handout into a blog post!

If you’re in it, you might not own it. (Except for selfies.)

Copyright ownership -usually- belongs to the photographer. So pictures -of- you often legally belong to someone else. Of course, when you take selfie, you -are- the photographer, so the ownership is actually easier.

As a colleague asked at the workshop, can you download and save all the pictures -other people- post of you on Facebook? You certainly don’t own all of them, but most of your friends probably won’t care. The big problems come when, unexpectedly, someone -does- care.

I wrote a little more about this “ownership” conundrum with pictures of yourself & family members a while back.

Even if you don’t own it, you might still be able to use it.

You can use other people’s stuff without permission -sometimes-. It’s more likely to be okay to do that if you are building on their stuff to make new things, or to educate other people – and always better if not for profit. You’ll want to Learn more about fair use to make educated and responsible decisions about this.

Not giving credit: sometimes a legal or academic integrity issue. ALWAYS DOUCHETASTIC

Providing credit or attribution is often not a legal requirement. But not providing credit, especially when it is -easy to find the original- is just a nasty move. If you like it enough to copy it, doesn’t the person who created it deserve a little nod? Also, for school assignments and scholarship, not providing credit can result in disciplinary proceedings that are separate from legal courts – passing off someone else’s stuff as your own is a serious academic offense.

There’s tons of stuff you can 100% legally use for free

If you -need- to use a particular work to make a point, or to communicate an important concept, it may be legal under fair use. But if you want to remove uncertainty, look for stuff you are already actively allowed to use! The public domain includes works that we all own, and Creative Commons works are already approved for certain types of re-use.

Here’s a whole lot of ways to find Free and Legal Stuff You Can USE.

Copyright historians: The “Happy Birthday” class action suit and “proving” public domain status

Earlier this week, some filmmakers filed a class action suit that attempts to establish as fact that the song “Happy Birthday to You” is in the public domain – and has been for many years. The suit is a class action on behalf of everyone who has paid licensing fees to use the song in media and public performances, which alleges that the licensing requests are wrongful, and seeks -repayment to all class members- of unlawful fees they have been forced to pay.

seated woman wearing comically large hat surrounded by singing waitresses
birthday singing CC BY Joel Kramer

It’s interesting to note that a -lot- of copyright nerds have been of the opinion that the song probably was public domain – it’s well-known that the first version of the melody was published so long ago it should be public domain. But there’s always been a lot of murkiness about which version was published first, by whom, and who owned the copyrights in the published versions, and so on – and Warner/Chappell Music has stood happily in the midst of that murk, collecting licensing fees. (Or, where users decide licensing fees are too costly, subjecting us all (and especially the poor, unfortunate waitstaff) to the hideous alternative compositions that count as “birthday songs” at most major chain sit-down restaurants.)

So, if people suspected this song was public domain, why hasn’t anyone tried to legally establish that before? Well, aside from a few broad classes of works, it’s actually often tremendously difficult to conclusively know that a work is in the public domain. Copyright scholar Peter Hirtle maintains an ever-growing chart of the mind-numbingly complex maze of considerations in establishing public domain status under U.S. law. The chart itself currently has 21 footnotes.

When libraries, archives, and other folks seek to digitize and publicly share items in our collections, it costs us a lot of money: the digitization itself isn’t cheap, and then we have storage, preservation, and delivery (bandwidth) costs. So it’s hard to dedicate resources to digitizing something where we might get into a fight with a purported copyright owner and end up having to take it back down. Although many of us are getting better at embracing copyright risks, especially for materials of high importance and interest, we are all still operating under really limited budgets, so a lot of digitization by cultural organizations still focuses on public domain materials.

several children and a man singing around a kitchen table with ice cream and a cake full of lit candles
Happy Birthday To You CC BY-NC-SA Sarah Johnson

But as this suit demonstrates, figuring out if something is in the public domain also takes resources – and unfortunately, how many resources it will take, for any given item, can be impossible to predict. Say you find the original copyright registration from 1936 – if you don’t find a renewal notice, have you proven that it wasn’t renewed? And if your research has to encompass author death dates, inheritance law or corporate histories, there are many non-copyright rabbit holes you might fall down. Many cultural organizations (and others) knowing all these uncertainties, decide not to commit to what might become a massive black hole draining resources that could be used elsewhere.

So these plaintiffs may have been the only people who -could- have brought this suit. They’re suing because they’ve had to pay a license fee to use the song in a documentary – which is about the song. I’m guessing the research for the documentary had gotten them at least partially through the murkiness that is the history of this song’s publication – because their legal filings are kind of amazing.

Their brief in this case highlights how much intensive, detailed research this kind of public domain determination can require – pages 3-16 are entirely made up of factual statements about dates of publication, copyright registrations and transfers, and company incorporations and disbandings – covering a period from 1893 to 1998. This is not a casual investment of a few hours of research – this is a dissertation.

And because there is another party actively claiming to own the copyrights, the plaintiff’s can’t have any holes in their documentation – they have to convince a court that their factual record is airtight. If they can establish that, though, they’re doing a terrific public service – even if they don’t get repayments to all the class members, they’ll have cleared up the historical murk so that the public – who should have been able to do so all along – will be able to freely use this song we (almost certainly) all own.

small girl smiling at the candles on her birthday cake
Libby with birthday candles CC BY Andrew Eick

How To Tell Who “Created” An Image

Couple weeks ago, I saw a fun little flowchart/joke/cultural critique on Jezebel: “How to Tell If A Toy Is For Boys Or Girls: A Guide“. (Image credits are intentionally withheld in the beginning of this post.)

flowchart image joking that toys operated with genitalia are not for children and toys not operated with genitalia are for both boys and girlsBunch of folks were linking it on Facebook/Twitter/etc. Both the Jezebel post and the folks I saw passing it around online were talking about it as if it was new, insightful, and funny.

“It’s definitely insightful and funny, but new?”, I thought. “I’m pretty sure I’ve seen that before.”

(I’m sidestepping a huge thing throughout this post: the cultural/community expectations of credit and sourcing on Tumblr. But A) that’s, like, a massive series of million-word posts in and of itself, and B) none of my initial encounters with this image were on Tumblr.)

A Story

A bit of digging through prior social media exchanges surfaced what I remembered seeing, this:

flowchart image joking that toys operated with genitalia are not for children and toys not operated with genitalia are for both boys and girlsThe Jezebel post credited Kristen Myers, who uses the handle Paranoid Shiksa Feminista on Jezebel. The comments on the Jezebel post make it clear that Myers’ brightly-multicolored rendition came to the attention of the Jezebel staff via Myers’ Jezebel user-board post celebrating that Neil Gaiman had linked to her Tumblr post of the image.

Myers’ Tumblr post is from April 27, 2013. But I had definitely seen the clunkier, all-blue rendition way earlier than that. As I started digging around, I noted that Myers’ user-board post did acknowledge an earlier inspiration for the image:

“I wouldn’t say I ENTIRELY came up with it… I basically just saw a wonky looking version of something similar floating around the internet a while back (it looked like someone had made a halfhearted attempt to design something in Microsoft Word?) and liked what it was trying to say, so I spent a few minutes polishing it up and posted it to my blog. I wasn’t able to find the original source, so I suppose we truly have some mystery internet chart-maker to thank, ha.”
(comment dated 5/7/13, 1:38am)

Then I noticed that in the comments on the Jezebel article, the originator(s) of the older image identified themselves:

backinasexidentifiesselfinJezcomments.png

[Image transcript:

Cy Chase (Jezebel user) to Jessica Coen (author of the Jezebel post)
Hi! While we appreciate the very lovely redesign, Men and Feminism from FB did not (of course) credit their original post. Just for the sake of accuracy (and credit, lbr, ’cause it’s not every day you make a meme that goes viral), here is our (and the) original post of the graphic:
http://backinasex.tumblr.com/image/36685016…

-Cy and Eva (Yesterday 3:46pm)
————————————-
paranoid_shiksa_feminista…
Hi thereeeee… I did this redesign and I’m not able to edit the what’s posted on Jezebel but I’ll DEFINITELY edit my original blog entry to give you guys credit. I’ll link it back to your site right now. (I’m so glad I finally know the original source!) (Yesterday
4:29 pm)
——————————————-
Cy Chase to paranoid_shiksa…
Much appreciated  🙂 We’ve talked today about putting it back out with a watermark, but…it’s probably not worth it. It’s hard to watch it go viral (for the second time) with the source now lost almost everywhere its posted! Besides, nobody really needs to see more of our three-minutes-in-PowerPoint style of graphic design… (Yesterday 4:40pm)]

It took a while, but Myers did eventually add the credits on her original Tumblr post, along with an apology for not crediting before:

“I must truly apologise for not placing a source earlier as I saw someone sharing it on Facebook without a source. Despite some niggling feelings, I decided to share it on Tumblr and BAM! I did not expect to get 29K notes. But but but this is the original post: http://backinasex.tumblr.com/image/36685016597 – that paranoid_shiksa_feminista redesigned)”

And everywhere else she has shared the image also links back to the original. But the Jezebel post still does not credit the original image. When Myers requested that Jezebel update the credits on May 14, Jezebel added a link to Myers’ design blog as well as Tumblr, but didn’t add any credits for the source of the original image.

Some Reflections on That Story

In general, I’m pretty much of the mind that “you put it on the internet, it’s liable to get away from ya” is general common sense. But this particular series of links and inspirations really stuck in my head, because as far as I can see, most of the folks involved in sharing this image see Myers as contributing something major and substantive.

As Myers herself said, before the original-image creators identified themselves, “”I wouldn’t say I ENTIRELY came up with it […] [I] liked what [the original] was trying to say…” (emphasis added.) And as the Jezebel staffer who posted it said, “the image is so great as a standalone item, it deserved a clear “this is what this is” kind of headline on the Jez homepage.” This is the same staffer who responded to Myers’ request for updated credits by updating links to Myers’ site, but not adding any credit to BackinaSex – so presumably, she thinks it’s appropriate for the credits on Jezebel not to reference the original, that the links from Myers’ site are sufficient credit.

Whereas from my perspective, everything funny, insightful, and true about this image is -already there- in the original version posted on Backinasex.

It’s true that Myers made it -look better-. And it’s true that design is often an incredible contribution to conveying an idea – it often makes concepts clearer, or makes processes function better, or contributes in tons of other ways.

But I don’t see the design doing any of that here. It looks better. But it doesn’t mean anything more, and its meaning is not any clearer. My alt-tags describing each image for users who can’t see online images are identical: “flowchart image joking that toys operated with genitalia are not for children and toys not operated with genitalia are for both boys and girls” Certainly Myers deserves credit for the redesign, but I think most of the real communicative value here comes from the originators, Cy and Eva.

“Appropriate attribution” is a pretty strange thing.

Copyright in Your Personal Life

This post is based on a talk I gave/conversation I had today at the “Enhancing Quality Staff” symposium. I love this symposium, because I get to wander away from academic copyright issues, and there’s always a ton of cool people who want to wander with me! This time, the session description promised discussion of yearbook photos, family papers, and crafts and hobbies. Here is (roughly) what we talked about – apologies for the all-about-me-ness of the examples – but hey, it’s about your -personal life-, right?

Legal Super-Basics

You are currently a copyright owner. So is everyone else. Copyright owners and consumers are not actually separate groups, it’s all cyclical.

cat sprawled across two pet beds captioned Dis mine dis also mineA lot of people get very possessive about “their” stuff, but want to easily use other people’s stuff. Realistically, you can’t have both of those things. IMO, owners relaxing ideas about what they want to control usually works out better for everyone, including the owner.

(Incidentally, I intentionally used the lolcat image -because- I could not figure out who owned it or where it came from. I did a TinEye.com search to try to find the original, but there are just too many copies of it (with a bunch of different pieces of text) out there in the world.)

Copyright owners get to control roughly four things: making copies, distributing copies, public performances or displays, and making derivative works. But they do not -always- get to control those things.

Finally, the law does not care very much about attribution or credit. But -people- do care A WHOLE LOT about that. In a lot of copyright situations in your personal life, community norms and practices, individuals’ feelings, and interpersonal relationships may well be more important than law.

Familiar-ish Reasons You Might Be Able To Use Stuff You Do Not Own

Not a copyright issue – i.e., you’re doing something that isn’t one of the things owners get to control. Reading a book aloud at storytime at a library is a public performance, and may be a copyright issue (though it may be legal as a fair use or for other reasons.) Reading a book aloud to your kids, grandkids, cousins, babysittees, and/or their friends in someone’s home seems like a very similar activity, but because it’s not -public-, it’s just not a copyright issue.

Explicitly legally permitted: the thing you’re using is in the public domain, or there’s a narrowly-tailored copyright exception that covers your activity, or your activity is fair use, or you have a license or explicit permission!

We also side-tracked here, thanks to an insightful audience comment, into the fact that, sometimes, a license may -prohibit- uses that would otherwise be permitted by copyright law. Worth noting when you agree to terms of use!

More Obscure Reasons You Might Be Able To Use Stuff You Do Not Own

De minimis use

large blob of blue-grey pixelsI copied the above image from an image related to a current blockbuster movie! I did not think twice about the copying, because that is -just so little of the original- that if anyone were to complain about it, I could respond that “de minimis non curat lex” – “the law does not concern itself with trifles.” (Thanks to Greg Cram for the pixel-copying as an example of de minimis use!)

We actually have moved away from the de minimis doctrine in copyright law, especially with the music sampling cases that developed the theory that a single-note sample required a license. But recently courts have actually been a bit more receptive to it: the District Court judge in the Georgia State case said that readings that had been copied and uploaded to a server, but which had not demonstrably been downloaded or used by any students, were de minimis uses – wiping out the infringement claim without even considering fair use. (P. 93 of the opinion PDF.)

Still desperate to know what those pixels actually are? Benedict Cumberbatch’s eye.

Some Stuff Is Not Copyrightable

Specifically, facts, data, ideas, and useful objects. Recipes are a great example of this: you can own the pictures you take of your dish, you can own your lyrical description of the smell of it baking, or the texture of the ingredients between your fingers. You cannot own the basic information that if you put these various things together in this order and in these ways, and then heat (or chill or freeze or whatever) them for this long, you get this food.

I think this is a lot more applicable in the crafting and hobby worlds than the community practices of those worlds recognize. I’m pretty sure, for example, that this excellent sewing pattern is not copyrightable.

pattern drawing for sewing a swiffer cover

berlinswhimsy.typepad.com

The blog post with all the great pictures showing how to put together your eco-friendly reusable reversible swiffer cover, on the other hand, is definitely copyrightable.

The crafting community has a lot of people in it who are very certain they own their sewing, knitting, crochet, cross-stitch, cabinetry, or other patterns. Many of those creators do freely share the patterns for personal use but ask that folks not use them for products for sale. Others (including commercial pattern producers) are extremely possessive of their patterns or instructions, even when there is little difference from a recipe. Community norms and practices are pretty important here, as is giving credit (though sometimes the community norms about that are quite different from, say, academic attribution standards.)

Implied license

When a content owner provides you with tools to perform a certain action:
NyTimes sharing menu

(Every New York Times article includes tools to save, email or print the article.)

…or a product that contains copyrightable content is sold with a particular intended use:

handmade gift tag

(My friend Leah uses scrapbooking supplies to make gift tags & greeting cards.)

…you get to do those kinds of things with it. Implied licenses are messy, because they rely on what the reasonable expectations are of the various people (owners, users, etc) involved. But they’re actually pretty important to a lot of silly little incidental uses, especially at the personal level.

Applications: Family and/or Personal History

I know I own one of these four images of me:

several photos of meAppearing -in- a photo is actually a good indicator that you may not -own- the photo – technically, the photographer usually owns the copyright in a photo. I took the upper-right photo, the bottom two were taken with my camera, but by (right) a stranger, and (left) a friend (although I’m not sure whether Matt, Kathleen, Ruben, Erin, or…) The top left photo was taken by a family friend, who sent me a print, that I later scanned.

I guess my point with these images is that in our personal papers, and those of our family members, there are going to be a lot of things that neither we nor our relatives legally own, copyright-wise – but which are -ours-, in a lot of very meaningful ways. Most of these technical “copyright owners” will not care at all what I do with these images. Sometimes, trying to get all the little copyright details right, especially for personal mementos like these, is just a little ridiculous.

But there’s also a lot of personal mementos that might be owned by people – or companies – who might care just a little bit more. School pictures, studio portraits, newspaper clippings – these may also feel “ours” – but they may have real owners that really care what we do with them. My understanding is that most school photos these days come with instructions that you’re not supposed to share them on social media, for example.

Older school photos, though…

two school photos of me

(First Grade, Eighth Grade – is putting these online fair use?)

What about old family portraits (painted or photos)? Or letters from your grandpa to your grandma? Inheritance law affects who actually owns copyrights to stuff -created- by your family members – but family papers may include tons of stuff that no one in your family owns, but everyone feels they have a right to control. Interpersonal relationships are really key with this stuff – you know your family best. And, as one session participant said today, you know best whether you want to get along with them, or tick them off!

Applications: Crafts and Hobbies

To the extent that patterns or instructions are copyrightable at all, it’s because of whatever original creative expression they contain. I don’t think either this onesie (embroidered by me for a friend’s daughter)…

red baby onesie embroidered with the words commie punkOr this cross-stitch pattern (which I created by tracing a map of the Mississippi River through Minneapolis)

cross-stitch chart of Mississippi river…contain enough original expression for me to own any copyright in either (though each was quite a bit of work.) When I added hearts plotting the locations of my friend’s favorite bars in Minneapolis, that maybe would reach copyrightability.

But, by and large, that is not really how the crafty community thinks about patterns. I’ve seen patterns clearly inspired by pop-culture, with very little additional expression from the creator, that had “I own this, you can only use it on my terms” written all over them.

baby onesie embroidered to look like a star trek uniformI’m pretty sure that various parties that own the rights to Star Trek, own the rights to this – (and yet, since ownership and legal use are two entirely different issues, I’d go so far as to suggest that that’s possibly a de minimis use of Star Trek copyrights.)

This kind of thing can get ugly and messy, as with the recent situation when nerdy retailer ThinkGeek started selling “officially licensed” Jayne hats (from the TV show Firefly) – and the rightsholders (not ThinkGeek) then started shutting down the booming crafty microbusinesses that had been selling handmade Jayne hats. The semi-commercial nature of selling a craft product based on a cultural reference – especially when those sales are tolerated (even encouraged) by rightsholders for years – makes the legalities very cloudy, and can upend community norms and mess with people’s reasonable expectations.

There are lots of other wonderful examples of craft works based on third-party content – more than half of the “Sunday Sweets” cakes featured on CakeWrecks.com present fascinating questions of fair use and transformativeness – the more so when they’re created by a commercial bakery. Are cosplayers who strive for authenticity on firmer, or more questionable legal ground than those who put a creative (transformative?) spin on a character?

We didn’t have time to get into many questions, though one great one that was posed to me afterwards was – does my kid need to get a license when he and his friends play music at a nursing home? Our personal lives extend in many directions, and intersect with copyright almost everywhere we go!

In summation…

This post, and today’s talk, barely brushed the surface of all the many ways copyright may rear its head in our personal lives, but I think these various examples demonstrate the many ways in which copyright law is not well-constructed to deal with individuals – as owners, as users, and in all the other ways we interact with content.

Right about now is when I’m thankful for the clarity of Creative Commons licenses.

embroidered stick-figure comic stripAdapted (yes, by me) from “1337: Part 4” CC by-nc Randall Munroe.

On releasing an image to the wilds…

(There are no image credits on this post because (much to my slight embarrassment) I made all of these. The eggs are all Creative Commons licensed over on Flickr; click any picture to go there.)

I have a long history of making slightly geeky easter eggs for friends and family. I grew up making silly eggs with family, and later learned some of the techniques of pysanky, traditional Polish egg-decorating. (Despite not being Polish. Or Christian, actually.)

The first seriously geeky one was actually inspired by a student who worked for me in a tech center at the University of Michigan Libraries, who said “You couldn’t make a -Batman- egg, could you?”

Egg decorated with Batman logos and a utility beltThanks for setting me off down a lifetime of strange creative choices, Asif.

Egg decorated with polynomial functionsEgg decorated w picture of Aang from the Avatar animated seriesEgg decorated to look like Superman wearing a capeEgg decorated to look like a spaceship from the series Stargate Atlantis

To maintain plausible deniability about my own extreme geekiness, I’m not going to admit which of those were requests, which were done with specific friends in mind, and which were just for me…

Some time ago, I made a birthday present for a good friend who is a fan
of Doctor Who. Although I am not, myself, a big fan of Doctor Who, I was -aware- that the internet likes Doctor Who. I just wasn’t quite aware -how much- the internet REALLY LIKES DOCTOR WHO.

Egg decorated to look like a Dalek from Doctor WhoI documented the creation pretty carefully, because I’d referenced some lovingly detailed info from ProjectDalek, and they ask folks to document their builds. I honestly don’t remember how it got there, but relatively shortly after I posted my photo series, it ended up on BoingBoing. It was also featured on Neatorama around the same time, and several photos were used on a site called Kuriositas.

This is all awesome, and from my perspective a bit hilarious. But also it’s -100% totally legal for all those sites to copy my pictures- because they were published with a Creative Commons Attribution license. Anyone can use them for any purpose, without further permission from or payment to me, as long as they give me credit and say they’re using it under a Creative Commons license. That’s it, done!

Since 2010, the Dalek egg is still pretty consistently the most-visited image in my Flickr feed, and hits to it spike right around Easter every year. It shows up a lot of random places around the web. A co-worked spotted it on Buzzfeed fairly recently. The actual egg lives with its owner in Northeast Minneapolis (though it did make one public appearance at the Nerd Party Storefront-in-a-Box in summer 2010).

However, I was reminded of it this morning, when a friend sent me this Facebook message:

screenshot of a facebook message that asks Was this yours and links to a Reddit pageOn visiting the relevant Reddit page, I saw a link to my egg. And, as is common for Reddit, it’s actually a link to an imgur.com version of the file. This is actually the first time I’ve seen it anywhere remotely prominent where there wasn’t even a vague stab at providing image credit. I don’t feel outraged about it; I recognize that what happens once an image is on the internet is waaaaay out of the control of the original poster.

But the Reddit URL got me digging through my Flickr stats, and lo & behold, I found it shared on Reddit two weeks ago – with an argument about proper credit immediately after posting, even though that poster never made a copy of the image – but -did- link to my original version. (Reddit’s does have ethics, folks.)

Amused, I dug even further through my Flickr stats, and ran a TinEye search. The picture is all over the place, sometimes with credit, and sometimes not. There’s a post on a site called Loljam that is a direct copy of the Buzzfeed post, only it neglects to credit image sources. There’s lots of copies of it shared on personal blogs that link or provide credit to bigger blogs (mostly Kuriositas) that shared it first. I have no doubt there’s quite a few copies out there that I can’t see from Flickr referrers or TinEye. The spread is kinda awesome.

If I were a professional photographer, I suspect I would not find the unattributed uses so funny.

Finally, what got me laughing hilariously and made me to decide to write this blog post – I noticed I had some “FlickrMail”, and discovered two requests for permission to use my already-CC-Attribution licensed image – one FROM A BRANCH OF THE BBC. Who are the creators (though perhaps not the actual copyright owners) of the original TV series on which my unlicensed, no-permissions-sought, fair use derivative and/or arguably-transformative work was based!

I just…

Also, I hate it when people ask for permission to use things that already carry a CC-license sufficient to the purpose.

Anyway, I responded to both the BBC and the other person requesting permission to use my image with the following:

ITSALREADYCCBY.png
——————————————————————————–
Full-text:

Dear Nancy

BBC Wales online are planning a fun Easter feature on how to decorate
eggs and would like permission to include your fantastic Dalek Easter
Egg . We would, of course, credit you accordingly.

I look forward to hearing from you.

Kind regards

Melanie Lindsell
Producer, BBC Cymru Wales
——————————————————
Hi Melanie,

You don’t need any additional permissions to use any of the images of
the Dalek easter egg, as they are all already licensed for use with a
Creative Commons Attribution license. All you need to do is provide
credit, and state that you’re using it under the Creative Commons
license, and you’re good to go.

I will not provide separate permissions to use it, even if that (sadly)
would mean that you would not feel able to use it. I am a big fan of
Creative Commons licenses, and would like to see them used more (when
appropriate) by everyone!

I would -love- to have the egg featured on your site – up to you whether
you think the Creative Commons license covers your use.

Best,
-Nancy Sims-)
——————————————————————————–

Anyway, that’s it. Put an image online, and if it captures the imagination, it’ll get used. And used, and used. Sometimes legally, sometimes possibly-legally, and sometimes people will ask for permission when they don’t need to. There are good and bad things about all of that.

Happy Easter, if that’s your thing!

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