{"id":23568,"date":"2016-01-29T22:01:27","date_gmt":"2016-01-29T22:01:27","guid":{"rendered":"http:\/\/www.shapeways.com\/blog\/?p=23568"},"modified":"2016-01-29T22:01:27","modified_gmt":"2016-01-29T22:01:27","slug":"how-yesterdays-copyright-whitepaper-matters-to-you","status":"publish","type":"post","link":"https:\/\/www.shapeways.com\/blog\/how-yesterdays-copyright-whitepaper-matters-to-you","title":{"rendered":"Why Yesterday\u2019s Copyright Whitepaper Matters to You"},"content":{"rendered":"

Yesterday the United States Department of Commerce released a whitepaper on remixes, first sale, and statutory damages<\/a>.\u00a0 While this is interesting reading for anyone who likes thinking about copyright law and how it might be reformed (i.e. every man, woman, and child on the planet), two of the areas that it covers may be especially interesting to the Shapeways community: remixes and statutory damages.\u00a0 Read on to find out why \u2013 if you get to the end and you aren\u2019t convinced I\u2019ll refund you the cost of this blog post.<\/p>\n

While not every model<\/a> on Shapeways is protected by copyright, many of them are. That means that the rules for copyright also end up being the rules for models on Shapeways.\u00a0 This latest report is part of a long process of reviewing the U.S. copyright law that has involved Congress, the Administration, and the Copyright Office itself.\u00a0 While it will not change the law on its own, this report is a good description of the current state of play and will likely influence any eventual changes that Congress makes to the law in the future.\u00a0 You can think of it as capturing a moment in the evolving consensus (or at least evolving conventional wisdom) of what \u201creasonable\u201d copyright reform looks like.\u00a0 (If you are feeling especially wonky, you might think of it as helping to set the Overton window<\/a> for the debate \u2013 but that\u2019s a bit of a digression.\u00a0 Anyway\u2026.)<\/p>\n

Remix<\/strong><\/p>\n

The first issue that the report addresses is how to handle remixes.\u00a0 Essentially, remixes take existing works to reimagine, recontextualize, and, yes, remix<\/i> them into something fresh and new.\u00a0 They can take many forms, from fan fiction<\/a> to mashup videos<\/a> to songs built out of samples<\/a>.\u00a0 3D printed remixes can take two characters from a movie and mash them up into one, or reimagine a video game character in the style of another game, or even stir up a collection of memes to turn them into a super-meme.<\/p>\n

While remix is everywhere, its status within the world of copyright law can be complicated.\u00a0 Some remixes require permission from the remix sources in order to comply with the law.\u00a0 Others are protected by fair use<\/a> and do not need permission.\u00a0 Since copyright infringement can come with hefty penalties (more on that in a second), it is important for remix creators to know which category their work falls into.\u00a0 Unfortunately, that isn\u2019t always a straightforward process.<\/p>\n

The report describes two different types of disagreement about how to handle remixes.\u00a0 The first is probably the expected disagreement: between people who make remixes and people who make the things that get turned into remixes (obviously the same person can be in both camps, but for the purpose of this post it is easier to separate them out).<\/p>\n

The other type of disagreement may be less expected: this disagreement is between people who are involved with remix commercially and people who are involved with remix noncommercially.\u00a0 To oversimplify things, people who are involved with remix non-commercially basically want to be left alone.\u00a0 People who control the material that is used in both commercial and non-commercial remixes worry that leaving non-commercial remixers alone will create a loophole for commercial remixers to avoid paying licensing fees.\u00a0 The result is a mess.<\/p>\n

The report does not do a lot to help resolve either of these disagreements.\u00a0 It suggests that best practice guides can be useful, but also recognizes that they can be incomplete or imperfect.\u00a0 It also considers some sort of multi-stakeholder agreement on some rules, while at the same time noting that the last time such a thing was attempted it went nowhere.<\/p>\n

This lack of a clear resolution is unfortunate because it can be expensive if you are wrong about needing permission from the sources to make your remix.\u00a0 In large part that is because of the way copyright damages work.<\/p>\n

Statutory Damages<\/strong><\/p>\n

Don\u2019t be put off by the fancy name.\u00a0 \u201cStatutory damages\u201d just means that the dollar amount you have to pay for infringing on copyright is written into the law.\u00a0 This is in contrast to most other types of damage, where the person suing has to show how much harm they were caused before they can recover damages.<\/p>\n

The statutory damage system is good for the person doing the suing because they do not have to figure out a way to calculate their specific losses.\u00a0 It can be scary for the person being sued because the number (even though it is a range) can be quite large \u2013 into the six figures per work infringed.<\/p>\n

When the U.S. copyright law was last redone in 1976, most copyright infringers were going to be commercial-scale criminal enterprises.\u00a0 Very few people inadvertently backed into significant copyright infringement. Today it really is possible to expose yourself to hundreds of thousands of dollars\u2019 worth of infringement liability with a few casual clicks of the mouse.<\/p>\n

Fortunately, the report actually contains some recommendations to make this system better.\u00a0 Essentially, the recommendations would give courts more leeway to consider the circumstances of the infringement before assigning large penalties to the infringer. \u00a0Hopefully that would make it less likely that small scale infringers or people who made a wrong guess about fair use end up owing hundreds of thousands of dollars.<\/p>\n

What\u2019s Next?<\/strong><\/p>\n

As I said at the beginning, this report is part of a longer review of U.S. copyright law.\u00a0 We\u2019ll keep an eye on the parts that may impact the Shapeways community and keep you updated as things happen.\u00a0 If you are interested in either of these topics, I would recommend taking a look at the report itself<\/a>.\u00a0 It is written in accessible prose and each section provides background on the issue, the points raised by both sides, and an explanation as to why the Task Force recommended what it did.<\/p>\n

As you look at the section describing the points raised by both sides, you might also consider taking a look at which companies and organizations raised points you agree with or disagree with.\u00a0 These companies and organizations are the ones that are participating directly in this process and might be worth checking out.<\/p>\n

In the meantime, Matt Schruers<\/a> over at Project Disco has a quick writeup<\/a> of some takeaways of the report generally.\u00a0 Heidi Tandy<\/a> \u2013 who is affiliated with the Organization for Transformative Works<\/a> \u2013 also has an analysis of what this means<\/a> especially from the perspective of remixers at her FYeahCopyright blog<\/a>.\u00a0 If you have gotten this far and are itching for your refund, the gift of the links to those two posts may scratch it for you.<\/p>\n

Have you ever tried to make a remix or has your work ever been remixed by someone else?\u00a0 Did copyright concerns have any impact on how you thought about it?\u00a0 Have you ever had to sue someone for copyright infringement, or been sued yourself? If so, did statutory damages make that process better or worse?\u00a0 Let me know in the comments, on twitter @MWeinberg2D<\/a>, or via email at mweinberg@shapeways.com.<\/p>\n

 <\/p>\n

Feature image by flickr user Horian Varlan<\/a>.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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