Posts Tagged ‘creative commons’
William Lyon Mackenzie King and friend on railway platform, Montreal, QC, about 1930
Anonyme – Anonymous
About 1930, 20th century
Silver salts on glass – Gelatin dry plate process
12 x 17 cm
Purchase from Napoleon Antiques
© McCord Museum
An anonymous person took this vintage photograph, which found its way to Napoleon Antiques.
Because one of the subjects of the photograph was a Canadian Prime Minister, William Lyon Mackenzie King, the photograph has some instrinsic value. It certainly isn’t a Karsh portrait, but either the photographer or the person who commissioned the photograph would be the copyright holder under Canadian law.
The fact we don’t know who that was makes this an “orphan work”.
When this photograph was sold to the McCord Museum, the antique shop had the right to sell the physical property of the photograph, but did not own the copyright.
The fact that the photograph wound up in an antique shop suggests an estate sale, so there is reason to believe the work may be in the public domain. 1930 was over eighty years ago, after all.
Clearly, though, Napoleon Antiques would have bought the physical photograph. The name of the photographer would most certainly been known had there been an assignment of copyright. And in 1930, Canadian copyright terms were much shorter than they are now.
Wikipedia tells us that the Canadian copyright term:
“For anonymous works, 50 years from publication
or 75 years from creation,
whichever is shorter.”
So how does the McCord Museum come to own copyright in this work? Clearly a photograph taken by an anonymous photographer in 1930 would be in the public domain now, so the McCord Museum can’t own the copyright.
If owning a physical copy of a work conferred copyright, well, anyone who bought a CD would be able to take down the recording artist’s MySpace page…
I really don’t have any problem with McCord, or any museum, educational facility or even private individual selling copies of historic works that they physically possess. This is an acceptable business model. But I do take issue when they lay claim to copyright of public domain images.
Because work in the public domain belongs to all of us. As our history belongs to all of us.
If McCord actually owned the copyright in these works, then placing a Creative Commons Attribution-NonCommercial-NoDerivs 2.5 Canada (CC BY-NC-ND 2.5) would be reasonable, perhaps even generous.
But the museum does not own the intellectual property in this work. Since the image is in the public domain, placing such a notice is horrendously and unreasonably restrictive, and the McCord has absolutely no legal or moral right to impose such restrictions.
Worse, this is actually a case of copyfraud. I don’t think that is the McCord’s intent, considering that its founder:
“David Ross McCord wanted to make history accessible to all. His dream has become the McCord’s mission – a mission whose importance is reaffirmed each year by thousands of visitors.”
Locking up our history in copyright, preventing us from using historic works — works in the public domain — whether to create derivative works, or even commercially, is the very antithesis of making history “accessible to all”.
I don’t think David Ross McCord would approve, do you?
Jamendo gives us back the ability to discover music through sharing.
I’m emailing my nominations for the Jamendo Awards, but I thought I’d share them with you too. I don’t think this music is every bit as good as what you would hear on the radio.
My Jamendo Awards Nominations
Allison Crowe (pop)
ALÓ DJANGO (world)
Distimia (España) (Instrumental)
Revolution Void (Electro)
Josh Woodward (rock)
The James Quintet (urban)
i am this (experimental)
Because the music on the radio all started sounding the same.
Can you differentiate between Justin Bieber and Brittney? I can’t. That’s why I stopped listening to the radio.
So for a long time I was only listened to my vinyl, cassettes and CDs. My only possible introduction to any new music was been what I hear at venues like the Beaches Jazz Festival or Uptown Waterloo Jazz Festivals. If I like it, I buy the CDs the artists are selling.
But I found Jamendo just when my record player pooched and I’d worn out Paul Simon and Huey Lewis cassettes.
Since I’m a wee bit older than the average university student, I had to research what was currently hot for my novel, “Inconstant Moon.” and frankly the only new mainstream music that I could find worth listening to is Black Eyed Peas. The E.N.D. is the only Big Six CD I’ve bought in years.
In the normal course of events, it takes hunting and sampling to find the music that resonates with me. I’m not about to stop listening to the old music I’ve grown to love, but I find it far easier to find great new music on Jamendo than on the radio.
More than any other single source I am aware of, Jamendo is the source for music that can be freely downloaded for personal use.
Which means that, since discovering their website, I have been able to discover new music again. And I know full well that I have barely scratched the surface of what awaits me on Jamendo. That’s why I love Jamendo, even though technical difficulties have sometimes prevented access, or as now, voting in their contest.
It’s crazy. At a time when the technical barriers to people being able to share culture are at an unprecedented low, and the large distributors that have been milking and funneling culture into homogeneity have been seeking to prevent it with copyright law.
As a blogger, I make use of images in all of my blogs. But when i can’t take my own, I look for photos online. But © copyright, all rights reserved means I can’t use an image. And Canadian copyright law makes every photograph copyright © all rights reserved as the default.
Both Google and Flickr offer an Advanced Image Search option. When looking for images to use in my blog, I choose to search “labelled for reuse.” I can tell you right now that Google returned zero labeled for reuse image results for the incumbent in my riding.
[I would have screen captured the Google page to show you here, except that I can't, because the page is "protected by copyright"copyright. Isn't copyright fun?]
Canadians can’t even use images included on Government of Canada web pages paid for with our tax dollars because they are protected by Crown Copyright. And if you haven’t heard, CBC does the same thing. They don’t allow citizens to reproduce anything from their website, even when it is of a non-profit public service nature.
That makes it copyright infringement to reproduce the photo without permission. As a blogger, I don’t have time to ask, so it is easier for me not to not use photos unless they are licensed for re-use, rather than risk legal ramifications (EFF calls that the chilling effect). So people who want to include your photo – and provide you with needed publicity – won’t.
The flip side is that when you are in public life, total strangers can legally take your photograph and publish it without your permission. So what is likely to happen is that unflattering images will appear on flickr or WikiMedia Commons that are licensed for reuse. Unflattering images make attack ads possible.
Privately granted permission can easily be withdrawn, disavowed or legally challenged. Most bloggers don’t have legal departments, nor pockets deep enough to risk spending the rest of our lives in court arguing this.
Wikipedia is not an advertising medium, which means that famous people or political parties can’t make their own (presumably biased) pages.
One photographer who takes photographs of politicians to include in Wikipedia explained how he was forced to include an incredibly unflattering photograph of a highly placed Canadian politician in Wikipedia page. He had never been able to get a good picture of the man, and an unflattering photograph is better than none.
Which is an excellent reason for famous people or political parties to license images they can live with for reuse. You can post licensed images anywhere online, on your website, blog, even as an Identi.ca avatar, or on a free Flickr page.
If you don’t, someone else will.
There are other ways of licensing to get around the over-stringent copyright law we have today, but the one I know about is Creative Commons on licenses. I’ve blogged a bit about it in CC is for Creator’s choice.
The photographer owns the © copyright, and can license a good image through on the Creative Commons license choosing page.
For the widest possible dissemination of any information, the best license is CC0.
Glyn Moody directed me to an article taking aim at non-commercial Creative Commons licenses, miscellaneous factZ: Creative Commons and the Commons.
Rufus Pollock makes some interesting arguments, and points out a possible problem in the Creative Commons organization: that it is an independent hierarchical organization, and unaccountable to anyone, really. Still, what was most ironic to me was his interest in removing data(base) material from the public domain (which impacts on his work) while advocating elimination of the noncommercial option from CC licenses (which impacts on mine).
As a writer about to self publish my first novel, I have considered carefully, and chosen to license it with a Creative Commons Attribution-Noncommercial-Share Alike 2.5 Canada, or CC by-nc-sa.
This license allows any type of remix desired save commercial. I think all cultural material should be absolutely free for personal use. Personal use must be sacrosanct for culture to grow.
Since I’ve been mulling over and learning about copyright over the past few years, I’ve become an advocate of free culture. I’ve learned a lot, beginning with the copyright consultation submissions made by thousands of Canadians (who were led to believe that the government was interested in what citizens felt to be important in any new copyright law*), and from reading, and having online discussions with many people.
Drew Roberts is a multi-disciplinary creator who passionately champions free culture, going so far as to publish his NaNoWriMo novels as he writes. His credo is “Free the Art and Free the Artists.” Although I admire his bravery, for myself, no one reads a word I write until I am satisfied with it. In his inimitable way, the eminently reasonable Drew has gently encouraged me to release Inconstant Moon without the non-commercial restriction.
I’ve also had discussions with copyright abolitionist Crosbie Fitch, who naturally looks askance at the very idea of self publishing, as he feels that all art and creativity rightfully belongs to everyone, and should be firmly in the public domain. Not that he thinks artists should be denied the opportunity to make a living, just he thinks that they should be paid properly first, but once art is released into our culture, it should be free to copy.
Both Drew and Crosbie are highly intelligent, informed, committed and passionate about the issue, and I’ve learned a great deal from them both. But still, these are radical ideas. Change is difficult. It takes time for new ideas to be understood, and take root. So like many other independent creators today, I am feeling my way in an attempt to decide what combination works for me.
Yet I believe very strongly in the importance of the public domain and the commons.
I may at some point decide to venture the release of a novel without the noncommercial restriction, but not this time. The law of my land (Canada) places all IP under full copyright by default, and contrary to what our American neighbors contend with their absurd USTR propaganda, existing Canadian copyright law is both “stronger” and more restrictive than is good for our culture. Canadian culture is fighting its way to freedom from all the restrictions imposed by both corporate special interests and copyright collectives wanting to lock down our culture even further through the imposition of bad laws and DRM.
If creative commons licensing did not exist, the only choice available to me as a creator would be to publish my novel under full copyright restrictions. I don’t want that. But again, I am trying it on, seeing what’s what, whistling in the dark.
Lately there has been talk floating around that Creative Commons licensing is too confusing. It is certainly more confusing than outright copyright abolition would be. Some people feel more strongly about various elements of Creative Commons licenses. Like Rufus Pollock, many people think that the Noncommercial restriction should be dropped altogether. Others, like @openuniverse, believe there is no place in the Creative Commons for a “no derivatives” restriction. Others feel share-alike is too restrictive.
Rufus suggests that since most Creative Commons licenses are designated noncommercial, we should be dropping it altogether. He thinks people are dazzled by the Creative Commons “brand” and thinks that it should all be perfectly interoperable. But what Rufus doesn’t look at is the only way for all IP to be perfectly interoperable is Crosbie’s way: through the abolition of all forms of copyright. Crosbie is perfectly correct: the only perfect cultural interoperability is to be found in the Public Domain. Because for some, even a compulsion to provide attribution is too onerous.
[I confess I am looking forward to sinking my teeth into Crosbie's "The 18th Century Overture · A Crescendo of Copyright, Natural Finale and Reprise" as soon as this novel distraction is in hand.]
The point is, it shouldn’t be up to Rufus or anyone else to tell me how I can or cannot release my own creative work.
Existing copyright has long since ceased to be beneficial to creators (if it ever really was). And it is because existing copyright law is both dictatorial and stifling that creators have begun to reject it. Creative Commons licensing offers a work-around that allows creators to get free of the yoke of copyright.
The reason Creative Commons is so successful is precisely because it offers all these choices. It is the variations in licensing that gives creators the confidence to release our work in this fashion, in the way in which we feel most comfortable, rather than allow the status quo of full copyright.
Something to remember is that once work is licensed, the license can only be altered to make the work more free. So in many ways, it seems more natural to begin with a more restrictive license. After all, it can always be lightened later.
As beneficial as I believe Creative Commons licensing to be, my concern is that restrictive license provisions will remain in place as long as the current copyright terms. Which can only be a disaster for the Public Domain.
And one of the most harmful aspects of existing copyright law is the ridiculous terms. It shouldn’t outlive the creator, nor should it be transferable, particularly to inhuman corporations. That’s a large part of why copyright has become such a problem today; corporate interests do not coincide with creator interests.
So I’ve decided to put my money where my mouth is. I really don’t know what will happen.
Although I believe it to be good, “Inconstant Moon” may or may not generate income.
Either way, it is my test case. Regardless of how well it does,
“Inconstant Moon” goes into the public domain 5 years after publication.
I want to do this for two reasons.
First: because I truly believe that a strong and healthy public domain is essential for all of our shared culture as human beings.
But my second reason for emancipating my work is far less altruistic: I want to give my creative works a fighting chance of surviving me.
* The later unveiling of Bill C-32 indicated a total disregard for the feedback provided by Canadians in the Copyright Consultation.
All Creative Commons logos licensed by Creative Commons with a Creative Commons Attribution 3.0 License
Inconstant Moon banner and cover art Creative Commons Attribution 3.0 Unported (CC BY 3.0) lothlaurien.ca
When I decided to start writing my novel, “Inconstant Moon“, I bought a refurbished IBM Thinkpad to use exclusively for writing. This laptop came with a truncated version of Windows 98, because anything more recent wouldn’t fit on the tiny hard drive. Originally the machine would have came with a floppy drive, or perhaps a CD writer, but it has neither now.
Instead it’s got a DVD player and a slot for an Internet wireless card. I suspect the computer shop cobbled it together out of bits and pieces with the intent of creating a DVD watching laptop, though I’ve never even played a DVD in it. Today probably opt for a netbook, but for the moment, my laptop remains an excellent dedicated writing machine. And any technology we can keep out of the landfills is to the good.
I was relying on the USB port to be able to get documents in and out of the laptop. The problem is that Windows 98 didn’t recognize the USB port. Rather than mess around with Microsft patches, I decided to dump Windows and instead install Ubuntu, a gnu/linux free software operating system. [If you're interesting in finding out more about free software, Richard Stallman, founder of the free software movement, explains the four freedoms. here.]
So my my debut novel, “Inconstant Moon”, was written on a Linux machine, using the free OpenOffice Writer software.
But there was another problem with my laptop. I was unable to connect the wee beastie to the Internet. So when it came time to upload the novel, first to NaNoWriMo for the “win”, and then to CreateSpace for the proof, I hadn’t yet resolved the problems of connecting to the Internet with my laptop, so I used the USB thumbdrive to transfer my manuscript to my desktop machine, which was running Windows XP.
And transferring my novel into Windows meant the Ubuntu fonts didn’t work properly because Windows didn’t support the free software fonts (surprise). So transferring “Inconstant Moon” into Windows made it a visual disaster. But it was my only option. I had to replace the free fonts in Ubuntu with Windows proprietary fonts. It required reformatting, which was a great deal of work. But I did it and the whole thing looked good. All the subsequent editing on the desktop Windows machine for one reason only: I didn’t want to have to reformat every time I switched machines.
When the proof came back from Create Space it was gorgeous. I planned to proof read and then publish, but excellent new feedback from my beta readers transmogrified “proof reading” into “major editing”. The Windows fonts I had selected printed nicely in the proof, so I wanted to keep them. Nienke was quite taken with the look of the overall book design, which is a great compliment, and gratifying, as she is one of the people I look to as a natural arbiter of style. Everything in the proof looked so good I didn’t want to risk the book design by messing with the fonts.
And the next proof looked great, too. But again, proofing turned into editing, including the addition of several new scenes. Even so, this time through it was only a minor edit. The final rounds of editing “Inconstant Moon” took much longer than I thought, but I have to say I am very happy with the result.
@notveryalice has lately been exploring what makes art “good” in her blog. Personally, I find it extraordinarily difficult to tell if my own work is doing what I want it to without a lot of distance. I can read my own work with perfect objectivity… years after I’ve written it. First I have to get beyond remembering the writing with perfect clarity.
That’s why beta readers and/or editors are essential to the business of self publishing. Beta readers provide feedback and allow me to get a different perspective. Much of my confidence that I’ve written a good novel is from the feedback I’ve received. It is always a good sign when beta readers are so drawn in to the story they forget to flag the typos. The last rounds of editing have smoothed off the last rough edges and enriched the story. So I’m pleased.
The most important thing I’ve learned as a writer is when to stop. You can keep editing forever. That’s not what I want, I want my work to be out there. Anyway, although theoretically there is always room for improvement, once you go beyond the sweet spot, my experience tells me that the work generally goes downhill. With the final edit complete, the last bit of business before uploading “Inconstant Moon” to CreateSpace was research for an afterward “Notes on the Type” page.
I was aware that fonts might be covered by copyright, but, self publishing noob that I am, I foolishly had the idea that “Windows XP Professional” would have licensed the fonts they made available to me so that I would be able to use them in desk top publishing. But now the novel is done, and I’m planning to finalize it.
Just to be certain, I wanted to check that I could use the selected fonts for a commercial project. So I tried to find out what the license was. I spent days jumping through Windows hoops trying to find out what the license was. I’d chosen four fonts in the manuscript and on the cover. Perhaps some or all might not allow for self publishing, which is, after all, a commercial use.
What a shocking concept: the possibility that I might not be legally entitled to use the fonts included with the software. All I need to know is whether or not I can legally use the the fonts I’ve chosen in my novel. Like most self publishers, I don’t have legal advice on tap.
After a week of trying unsuccessfully to find out from Microsoft if I could legally use the five fonts I’d selected, I decided instead to dump all the old fonts and find free alternatives. What it came down to is that I simply couldn’t find out. Microsoft is much tougher than I am. [I expect I'll blog the details later.]
For me, of special importance is the ability to have licensing that will allow me to release my novel “Inconstant Moon” under a Creative Commons license. There was a moment of weakness when I considered paying the license fees just to get it over with. But the language of the license was disturbing. Although I’m not a lawyer, it certainly made it sound as though the font licenses might restrict my ability to use the Creative Commons license I want. Most frustrating is the fact that Microsoft does not make this information available on one of their web pages.
But it is simply not worth risking a copyright infringement lawsuit. The amount of time invested in this wild goose chase was more than enough, and it was time to pull the plug and look into free fonts.
the world of free fonts
Because I didn’t want to risk the successful book design, I had put off making the full fledged migration to Ubuntu I planned so I could keep the Microsoft fonts. But when I began looking for alternatives, the irony is that the wider world offers better choices under free licenses, and makes what’s on offer from Microsoft look pitiful by comparison. I will blog more about my situation later, in hopes of trying to help others avoid the problems I’ve been having. But first I need to get my novel finished.
Libreleft Books logo
When I decided to self publish, I decided I wanted my own imprint, so I came up with a name, “Libreleft Books.” The logo I designed for it consisted of encircling the ‘Libreleft Books’ text with a wreath of laurel leaves. It seemed like a good idea, as my name is Laurel, after all. The Laurel wreath has long been used as an emblem of quality, a symbol of superiority. Or, as @CharlieSheen famously says, #winning.
But. A conversation with @notveryalice reminded me that the movie festival circuit has embraced the laurel wreath as a symbol of festival winning. Which means that using my laurel wreath design might open myself up to charges of copyright or trademark infringement.
I have read about the ways copyright and trademark law are being used to suppress creativity and competition. And while no one is likely to confuse a book with a movie festival, lately the law no longer seems to make such distinctions.
Back in the days I wrote for television I had learned it was always safest to name a character something terribly common, like John Smith, or incredibly uncommon, like John Dortmunder. The most dangerous in terms of lawsuits is a name that only one person has. The extrapolation is that the safest course would be the redesign of my lovely Libreleft Books logo.
The very definition of chilling effect.
For an eleventh hour change, instead of my wreath, it would be safer to use a book. I’m pretty sure that the most common book publisher logo going is some graphic representation of a book. And the very commonness of the symbol is in itself protection. So I after dumping my beautiful wreath graphic, I drew a picture of a book to be the background. It has entailed a huge amount of effort, and what is galling is that it has delayed my self publication. I like this one too, but not as much as my crown of laurel leaves. But between the Caslon font and the wreath… well. Chill.
“but if there’s any profit, pls make a donation to organizations like Doctors Without Borders.”
I’ve done a wee bit of modification, adding a copyleft arrow as a serif on the capital L, extending the serifs into swashes to join the letters k and s. But that’s the thing about free: I am legally free to make these alterations. I’m not sure I’m happy with it, but I don’t have time to second guess just now. Maybe it’ll grow on me, or maybe I’ll change it down the road. The point is that I can proceed. So, thank you, Manfred Klein — and all the other designers and digitizers — for making sure to populate the Internet with free fonts.
So. There is a happy ending.
I am finishing up the reformatting, and my novel “Inconstant Moon” will be uploaded to CreateSpace by tomorrow. The chilling effect for fonts and logos hasn’t stopped me, but it did slow me down. And I will share the information in an effort to try to help others avoid the same trap, because the ability for writers to self publish is a good thing. And important.
January 31st, 2011
To: The Legislative Committee on Bill C-32 (CC32)
As a writer, one of the people copyright law is supposed to serve, I’m concerned with effects of Bill C-32 on my ability to use technology to create and disseminate my work.
I was willing to trade my creative sovereignty for the opportunity to have my work produced and distributed on television when I was young, because it was the only game in town. That was then. Today, advances in digital technology and the Internet have made a host of new options available to creators. And even though Canada’s current copyright law is problematic, Creative Commons has introduced work-arounds which make it possible for creators to release our “Intellectual Property” as we see fit.
Canada’s current copyright law is harmful to me as a creator, and there is evidence that it is harmful Canadian culture as a whole from aspects like copyright terms that are so long they are detrimental to both creator and public interest. Yet Bill C-32 doesn’t reduce copyright terms or protect the creator’s right to share.
There is also no justification for the existence of Crown Copyright in a democracy. Why doesn’t Bill C-32 follow the good American copyright example of releasing of government funded work directly into the public domain (on the understanding that taxpayers have already paid for it)?
Culture grows through sharing. It used to be Canadians bemoaned the lack of a Canadian “identity.” This cultural void was certainly tied in to the limited exposure Canadians had to our own culture since a few corporations controlled all of our culture.
Today’s combination of hardware, software, media devices, and the Internet makes it possible for creators to create and distribute our work directly to our audience. The new technology has been an incredible boon to both creators and consumers.
The independent Canadian music industry is ushering in an incredible golden age, in spite of the CD levy which penalizes independent creators. Canadians are leading the world with Independent music production and distribution. And nobody is looking for a “Canadian Identity” anymore since Canadian culture is thriving– through sharing– on the Internet. For the first time in more than half a century, Canadian musicians don’t have to sign away the rights to their music to get recorded and distributed.
Special Interest Groups
The major record labels find this a problem because as more musicians choose independence, the established record industry loses market share. CRIA used to own 99% of the recording industry. Now they’re lucky if they have 70% of it.
It’s a challenge for corporations. Historically it would have led to corporate adaptation or demise. Today’s conglomerates have instead chosen to influence legal change.
But copyright law should not be employed to force creators into unsatisfactory arrangements in an attempt to prop up an industry unwilling to adapt.
What is Copyright Law Supposed to Do?
Isn’t copyright supposed to recognize and support the creator’s authorship?
Where did the idea that copyright law was somehow responsible for monetizing the ‘intellectual property’ industry came from? It makes no sense at all. Isn’t it customary for Industry to establish business practices through negotiations and contracts?
If we are to accept this as a valid premise, and proceed to impose Bill C-32 legislation that runs contrary to societal expectation, why stop there? Wouldn’t it be reasonable to apply the same thinking to all other Canadian business endeavors? Instead of contracts and negotiation, the government could legislate precise terms for all industries. The government could set the rates of pay for each job, define the responsibilities. Is that what we want? I suspect we don’t. Why is copyright treated this way?
The needs and best interests of corporations are almost always very different from the needs and best interests of human creators. Copyright should not be transferable, certainly not to corporations. At most, corporations should be limited to licensing copyright for a limited time. A great many of the current problems with copyright law are directly attributable to undue influence of corporations and copyright collectives. We have seen little or no input or consideration for the two most important copyright stakeholders: creators and citizens.
Like corporations, the interests of copyright collectives can differ from the interests of the people who are members. But if membership needs would be better served by removal/reduction of the collective, the existing collective will work to ensure continued existence, even if it is contrary to the best interests of the membership.
Yet some copyright collectives have been vocal in claims they speak on behalf of their entire membership, while others have claimed to speak for all Canadian authors.
There has been copyright collective support for both the CD levy, as well as expansion of it, as well as opposition to the expansion of fair dealing in Bill C-32. That isn’t surprising because the collectives benefit financially from both of those misguided initiatives. That is my perspective as an independent writer, consumer and parent.
Technical Protection Measures, Digital Rights Management, Digital Locks
Regardless of what term you choose, digital locks should not fall under copyright jurisdiction for the simple reason that creators have no control over them.
As written in the current incarnation of Bill C-32, technical protection measures are the most important provision.
This effectively strips all authority from creators. Because creators– and most especially independent creators– don’t hold the keys to these locks.
As an independent writer I oppose digital locks that can be used against me.
Digital locks can be employed to prevent my utilization of digital media, devices or Internet protocols to distribute my work as I see fit.
The freedom technology has lately made available to creators will taken away by Bill C-32.
As a consumer I can’t support a law that allows digital locks to prevent citizens from legitimately using media and devices. It should be illegal for digital locks to impede access to digital material that is in the public domain.
Made In Canada?
Canadian cultural sovereignty should belong to creators, not corporations.
There have been some very persuasive arguments that Bill C32, like Bill C-60 and Bill C-61 before it, has been written to appease our American neighbors. In itself, sacrificing Canadian sovereignty to appease foreign interests would be problematic enough if Canadian copyright law were made to conform to the contours of the American DMCA.
Worse: Bill C-32′s digital locks go far beyond the terms of the American DMCA provisions, so it would not simply be a case of leveling the playing field, Bill C-32 as will effectively put Canadians at a distinct disadvantage.
Iceland is contemplating putting all Icelandic literature online to foster and spread their culture. I submit this would be a better model for copyright emulation than the American DMCA.
The American DMCA contains provisions for mandatory adjustment every three years, and over time it has in fact been lightened up as unintended consequences have been addressed. Yet Canada’s Bill C-32 simply contains a suggestion to look at it every five years. In terms of the speed of digital change, 5 year suggested revision term is horrendous. Bill C-32 would require annual review as a feature.
Copyright needs to be simple enough for all citizens to understand, because more and more people are participating in our shared culture. Many artists believe things must change. The existing law is too strong, but rushing to enact legislation as flawed as Bill C-32 because we are tired of copyright is not the answer.
There are many reasons to use Free-Libre Open Source software for our endeavors. Yet the primacy of digital locks will impede access to such software for all of us.
I want to be able to make my work freely available. My right to do so should not be sacrificed to special interests. Canadian copyright law must support all Canadian creators, even those of us who believe in the importance of sharing.
I cannot support Bill C-32 as it is.
Perhaps I could if you were to remove TPM/DRM/Digital locks altogether. Some people think amending the Bill to permit circumvention for lawful purposes would solve the problem. I disagree. I don’t think consumers should have to circumvent digital locks. If digital locks are applied, it must be up to the parties holding the keys to guarantee the locks will be opened for lawful purposes.
Thank you for the opportunity to be heard. I will of course post my comments to my personal blog. [ http://laurelrusswurm.wordpress.com/ ]
Laurel L. Russwurm
CC: The Right Honourable Stephen Harper email: Harper.S@parl.gc.ca
CC: The Honourable Tony Clement email: Clement.T@parl.gc.ca>
CC: The Honourable James Moore email: Moore.J@parl.gc.ca
CC: The Honourable Michael Ignatieff email: Ignatieff.M@parl.gc.ca
CC: Legislative Committee Members
(Charlie Angus email: Angus.C@parl.gc.ca , Sylvie Boucher email: Boucher.S@parl.gc.ca , Peter Braid email: Braid.P@parl.gc.ca , Gordon Brown email: Brown.G@parl.gc.ca , Serge Cardin email: Cardin.S@parl.gc.ca , Dean Del Mastro email: DelMastro.D@parl.gc.ca , Marc Garneau email: Garneau.M@parl.gc.ca , Daryl Kramp email: Kramp.D@parl.gc.ca , Mike Lake email: Lake.M@parl.gc.ca , Carole Lavallée email: Lavallee.C@parl.gc.ca,
Dan McTeague email: McTeague.D@parl.gc.ca and Pablo Rodriguez email: Rodriguez.P@parl.gc.ca )
CC: Harold Albrecht email: Albrecht.H@parl.gc.ca
[Image Credit: the copyright jail from Question Copyright Sita Distribution Project remixed with my “Inconstant Moon” cover art by laurelrusswurm]
Like any good writer I am a firm believer in procrastination.
Blogs can be supremely helpful in that they provide a wide variety of features just begging to distract us. Not only can blogging itself provide a choice procrastination activity, but all the related bits can lead to hours of procrastinating fun. Links, and blogrolls and pages– oh my!
For instance, instead of working on my 2010 NaNoWriMo outline today I’ve added a new page to the sidebar, called CC Licensed. It’s sort of a companion page to the free culture page, which lists material I’ve found online that qualifies as free/libre under Richard Stallman’s definition.
These pages are my little contributions to helping people find and share content online. Legally. Actually Book Resources has some good stuff too.
And also a great form of procrastination. All good things must come to an end, though, so now it’s back to the outline.
I have written a lot about ACTA mostly in my other blogs. But this little film distills it’s into an easily digestible morsel which beautifully explains what the fuss is all about.
It’s important to spread the word.
ACTA Stop the Kraken
For free software users I’ve loaded the highest quality
ogv version I could get here
along with a smaller version here.
And this is the transcript of the text from the film.
Or you can watch it on YouTube http://www.youtube.com/watch?v=qlFyoEKV0dE
[Thanks Wayne & ppi!]
OGG transfers via TinyOGG
Released under a Creative Commons
Attribution Non-Commercial Share-Alike License (CC by-nc-sa)
Video & Audio: Anonymous
Music by Wasaru – New Andromeda Theory