Posts published during April, 2009

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Improving the USPTO

Both Noveck and the “Committee on Intellectual Property Rights in the Knowledge-Based Economy” indicate the USPTO as one of the key things to be improved as part of any reform of the patent system. If one wants to become a patent examiner one can go to USAJOBS and type in “patent examiner” to view the available openings. There one will probably end up at job announcement LD220981 for a Computer or Electrical Engineer at a rate of pay between  $41,350.00 and $77,722.00. As with many government jobs, this rate of pay for a regsitered professional engineer seems to be substantially lower than that in the private sector. Indeed pursuing a career as a patent examiner in the USPTO it appears one can reach a maximum paygrade of GS-13 which works out to around $113007 for the top grade. Given this it seems unlikely that the USPTO will attract many of the so called best engineers to review the patents that are submitted. Given that the US has limtied quantities of engineers to draw upon, we might not want the best going to the patent office to review patents rather than researching or creating new devices, but it needs to be the case that the examiners are provided the resources and the time to stay abreast of the developments in the field they cover.  A similar disparity in pay exists for attorneys in government service and in the private sector.

In the past (and possibly the present) there has existed the possibility that an attorney might be ordered to serve as the defense counsel for indigents. Taking this, and jury duty, as guides one might propose that in the interests of promoting the progress of science and technology that it be the duty of professional engineers to review patents as an adjunct to the USPTO. Engineers could be selected by lot on some sort of basis to review a patent in their field. Naturally there could be some minor problems with this related to engineers objecting to this being a requirement of being registered as an engineer. More serious problems would arise from having to take measures to prevent conflicts of interest or the leaking of secrets prior to publication.

Such a system with the inclusion of the peer to patent system would decentralize the process of approving patents so that those actually working or at least expert in a field would be analyzing related patents. Furthermore it would solve the problem of finding and retaining appropriately qualified patent examiners because anyone with the appropriate expertise might be chosen as an examiner for a particular patent. It seems likely that there is some expertise that is related to approving patents separate from that of knowledge in the field, so it would most likely be necessary to assign the chosen field experts to correspond with an offical at the USPTO who would have the appropriate knowledge regarding patent policy and law.

A more detailed study would need to be undertaken in order to examine the feasability of this rather vague proposal. The most obvious issues are as follows. From what groups would the potential patent examiners be chosen? How would impartiality be enforced? How would the chosen examiners be compensated? In what capacity would the potential patent examiners be chosen, simple assistance or making decisions? Would appointed examiners be less diligent or skilled? How would this system affect the quality of patents issued? Would this system cause substantial disruption of industry given the number of patent applications in a single year? Would simply increasing the number of patent examiners in the current USPTO be a better solution? Would industry have a disincentive to apply for patents as applying for more patents could mean less work from their employees (as there would be an increased probability of some employee being chosen as an examiner)?

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Patents without Monopolies

There are almost as many ideas for reforming the patent system as there are patents. What most have in common, however, is their acceptance of the standard patent paradigm: monopoly as a reward for innovation. This is probably no coincidence, since the Copyright Clause of the Constitution apparently authorizes Congress to grant only limited monopolies and not more exotic compensation. Ignoring constitutional concerns, however, we can try to imagine how a patent system might function without monopolies.

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In “Peer to Patent” Noveck suggests that patent examiners often have neither the time nor the resources required to conduct a thorough evaluation of a patent’s novelty or investigation into potentially applicable “prior art.” As a result, she claims that too many patents are granted upon an insufficient basis (termed “low quality” patents), thus impeding progress and causing needless litigation when companies are accused of violating the patent and must demonstrate that the patent should not have been granted.  Her proposed solution is to adopt the “Wikipedia approach” so that anyone can contribute ideas, including the presentation of prior art, novelty and utility.  She suggests that the advance in information technology sharing makes public participation in the patent review process desirable and efficient.

One obvious problem, which Noveck begins to anticipate but whose importance she subsequently minimizes, is that opening the patent process to public review would likely result in teams of scientists from opposing companies each attempting artfully to trash their competitors’ patents.  For example, a patent examiner may be presented with highly deceptive arguments intended to persuade him that a competitor’s patent has a basis in prior art when in fact it does not.  She argues that “if people produce information that is useful to the examiner, their personal agendas are irrelevant” (156).  What she does not fully acknowledge is that not all “information” is created equal.  In particular, the language used to convey a particular set of “facts” may well be biased or intentionally deceptive, further obfuscating the matter rather than clarifying it.  In such cases, it may well be that the patent examiner would need more rather than less time to evaluate the patent, and he may not be the most adept person at making such an evaluation in the first place.

Noveck calls this potential flaw “unproblematic” by simply building into her model a requirement that contributors sign an affidavit affirming that they have no conflict of interest.  This idea seems much more effective in theory than in practice.  The people most eager to make contributions will be exactly the people whose stakes in the outcome are large.  Often with sizeable resources at their disposal, we can be confident that they will find creative ways of circumventing this requirement, by bribery, deception, or otherwise.

A system is only as good as its capacity to enforce its requirements.  If the contributors offer their “opinions” it would be extremely difficult to distinguish a good faith but differing point of view from profit based advocacy.  Likewise, prosecutions of contributors perceived to be biased (rightly or wrongly) despite their affidavits would drive from making any comment those who could not rely upon well-financed legal teams to come to their defense.

Would there not be a substantial danger that the battle of well-financed parties in interest is merely shifted from the Courtroom after the patent is granted to the examiner’s office before the grant?  If the examiner is now overworked, will not the fog of patent war resulting from too much information likewise gum up the process, and perhaps much more?

If we are going to require affidavits of no conflict of interest, set up elaborate structures and weed out processes to eliminate those who try to pervert the process for financial gain (i.e. have a competing patent denied, do harm to a competitor’s company, etc.) why is it not much more efficient just to hire more competent examiners and to expand the time they have to examine the patent and the resources which they have available?  In the end, it seems that trying to correct the flaws of the current system within its existing structure may be a much easier task.

A Balancing Act

We all interact with copyrighted works on a daily, almost constant, basis.  So when it comes time to update the copyright law governing the creation of, and our interactions with, these pervasive works, how do we choose to shape the law?

In the debate over how exactly to reform copyright, there seem to be two main factions.  Those who want to liberalize the current system and those who want to make it more stringent.  An emblematic movement for the first side mentioned is the free culture movement which advocates the benefits of legitimate fair use and remixing (among others) to  promote creativity.  In the other camp are copyright holders, typically corporate entities, who are working to safeguard the investments they have made in developing works they have copyrighted.  While this characterization of the debate is perhaps a bit simplistic, it hints at the underlying conflict related to copyright reform and the need for some sort of consensus to be drawn between these two opposing sides.

This challenge is the balancing act of copyright reform.  A balance must be struck  between securing freedom of expression and information (Stallman’s “free as in free speech”) while protecting the rights of copyright holders (avoiding having proprietary work taken for “free as in beer”).

Nevertheless, it is important to make sure that copyright law is not stifling innovation and limiting legitimate fair use in responding to copyright infringement.  There are clearly some  elements of the Copyright Act of 1976 that are dated, including the length of the copyright term and the failure to explore in depth new copyright issues related to rapidly changing technologies.  The 1998 Copyright Term Extension Act and the Digital Millennium Copyright Act only served to further lengthen the copyright term and introduce more strict controls over copyrighted works and their distribution.  In fact, under the current system a copyright term can last as long as 120 years!  While iconic works (such as Mickey Mouse) may have some commercial value that long after their initial creation, the vast majority of copyrighted works do not hold sustained economic value for that excessive length of time.  In fact, a Cambridge researcher found that the ideal length of copyright is just 14 years.  Taking this gross disparity into account (with the current term over 8.5 times longer than the ideal term) suggests a need to revisit and adjust the aging copyright system.

But at the same  time, there is a great deal of outright copyright infringement (estimated at $20 billion this year) which is severely impacting the business operations of major content producers (who are also copyright holders).  This infringement, especially in the current global recession, jeopardizes the future of the companies that entertain and employ individuals throughout our country and the world.  Going back to Stallman’s distinction, it is therefore important to critically examine current copyright law to allow expressions of freedom “as in free speech” while curbing abuses of “free as in beer.”

A concrete example of such a balance would be to reduce the length of copyright terms while streamlining and improving the mechanisms to curb copyright infringement.  The first provision would increase the number of works in the public domain, therefore putting these works at the disposal  of creative minds worldwide.  The latter provision need not astronomically increase fines or prison sentences for individual infringers but should determine a way to coordinate policy, law, and enforcement of these measures both domestically and internationally.  In so doing, the new system will preserve, as best as possible, the legitimate claim of copyright holders to their exclusive rights for the full amount of time allowed by the law.

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Rescuing Orphan Works

Copyright reform in the U.S. is an issue fraught with complications and frequently brought to a standstill by the desires of competing interest groups.  Still, there are a few areas of the law where reform seems relatively simple, desirable, and advantageous for all involved.  Near the top of this pile is the so-called “orphan works” problem.

An orphan work is a work whose owner cannot be found.  Because damages for infringement can be spectacularly high, even for works whose owners cannot initially be located, few artists or educators will dare to use such works.  Songwriters wishing to write variations on an early 20th century tune, families wishing to have their grandparents’ wedding photos copied professionally, and even filmmakers making documentaries about turn of the century American picture postcards are all confronted by the problem of orphan works.   Perhaps the greatest threat is in the realm of film, where priceless early films are literally disintegrating because their owners cannot be found to grant copying rights.

The problem is relatively recent.  Prior to 1976, copyright holders who wished to maintain their copyright for the full 56 year term had to apply to the Copyright Office for renewal after 28 years.  Copyrighted materials whose owners were no longer interested in using or licensing the material could simply choose not to renew after the first 28 year term, allowing the work to return to the public domain.  Passage of the 1976 Copyright Act and several subsequent amendments greatly expanded the scope of the orphan works problem.  In particular, the 1976 Act made registration with the Copyright Office optional (thus complicating search efforts), while a 1992 amendment instituted “automatic renewal” and removed the requirement to file a renewal application with the office.  Under current law, then, an author could have created a piece of art in 1950, died in 1960, and his work would still be under copyright for years to come – even if a potential user of the work was unable to find out who had created the art or who currently owned the rights.

To combat this problem, two bills (The Orphan Works Act of 2008 in the House and the Shawn Bentley Orphan Works Act of 2008 in the Senate) were recently proposed.  The House proposal stalled, but the Senate proposal passed and was forwarded to the House for deliberation.

The bill is relatively simple: a user of copyrighted material who is unable to locate a work’s owner (after a good faith search) is permitted to use the work.  They are, however, required to attach a special orphan works symbol.  If an owner later emerges, the user must merely pay “reasonable compensation” rather than face litigation and full liability.  The Copyright Office would also create and maintain a database of copyrighted works in order to aid in the search process.

The law is by no means perfect.  The standard used to determine reasonable compensation (“the amount a willing buyer and a willing seller would have agreed to” just before infringing began) is fuzzy at best, and it is unclear exactly what constitutes an appropriate search for a copyright holder.  If the requirements are too strict, such searches could be costly and time consuming, while if the requirements are lax copyrighted works might be unfairly characterized as orphaned.  Many visual artists have also objected to the bill, saying that the text-based registries the Office currently uses will lead to too many photographs and designs being designated as orphan works.

Nonetheless, the Act is a relatively simple solution to a major problem, and it would undoubtedly put many creative works back into circulation while maintaining owners’ rights.  New image recognition technology should allay the concerns of visual artists by making it simpler to track down the owner of the rights to a particular painting or photograph.  Notwithstanding the alarmists writing about the dangers of the Orphan Works Act and insisting that it will strip artists of their ability to hold copyrights, the Act seems reasonable and well tailored to its purpose.  Here’s to hoping that the bill will pass in this session of Congress.

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Two Thoughts on Copyright Reform

Lunch with the Yale Internet Society Project today provided the audience with mediocre chicken, excellent cookies, and some very interesting thoughts on copyright from William Patry, who is the current Senior Copyright Counsel for Google Inc. and has written more about copyright than I ever intend to read. His talk, “Copyright is a Government Program: Lessons from the Recession,” can conveniently be divided into two main lines of argument. The analytic thinking below is his; the mistakes are mine.

Copyright is a Government Program

Much like patents, when one thinks of copyrights they tend to think with a property-oriented mindset: authors have a degree of ownership of the particular arrangements of words and ideas they publish, photographers have the ability to control the use and distribution of their photographs, and so forth. This feeling is easily conflated with the common notion that copyrights are private property, which is basically held as an inherent good under U.S. law – property, and what one chooses to do with it, does not require explanation or justification, it simply is, and disrupting others’ property is generally illegal.

Patry, however, disputes the idea of copyright as a natural, common law, or private property right, pointing out that unlike most property rights copyright is purely a creation of the legislature (and was held as such in the first Supreme Court ruling on the subject). This positive right exists to advance the progress of science, and like any other government program should be both regulated so that it serves its purpose and also cut or reformed if it is failing. Unlike other programs, copyright isn’t given the burden of empirically proving its success or facing reform, and Patry feels that should change.

Lessons from the Recession

In the latter half of his talk, Patry drew a comparison between copyright and the current economic recession: in both situations, we have arrived in an undesirable position through an overreliance on economic freedom and a consequent lack of regulation – “free market fundamentalism,” in the pejorative words of Joseph Stiglitz. Patry advanced, though softened, the Keynesian argument that “It is not a correct deduction from the principles of economics that enlightened self-interest always operates in the public interest. Nor is it true that self-interest generally is enlightened; more often individuals acting separately to promote their own ends are too ignorant or too weak to attain even these.”

He concluded that companies often have a duty to act in the interest of shareholders instead of the public, copyright as currently iterated fails to serve the public. As it is a positive rather than common law right, copyright should be regulated more rigorously according to the public good.

Brief Reaction

As this post is growing beyond the point of quick readability, I won’t react in depth; feel free to talk to me in person or through comments to discuss in detail. Briefly, I thought the positive nature of copyright law was a useful and novel perspective to examine reform and shape its normative goals. I was not, however, as sold on his free market arguments; I would have liked to see at least a cursory look at the downsides of regulation. Finally, though the talk was very interesting, we need a means of reform, not further evidence that reform is necessary.

Also, a word of advice to future copyright scholars: get to talks early if you want chocolate chip cookies. They go fast.

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Mozilla and Trademarks

The Mozilla Foundation produces and distributes open source software, notably Firefox and Thunderbird. Since 2005, the Foundation has had a for-profit subsidiary, the Mozilla Corporation, which deals with the development and marketing of Mozilla technologies and products. The Mozilla Corporation shares the aims of the Mozilla Foundation, and reinvests all of its profits towards the mission goals of the Mozilla Foundation.

The Mozilla Corporation was established “to support the Mozilla Foundation’s mission to ensure choice and innovation on the Internet by leveraging the economic value of Firefox which has resulted from its growing marketshare. By forming a commercial subsidiary, the revenue-generating activities of the new entity can provide funds to support development, testing, and productization of the various Mozilla open source technologies.” Basically, though its conception was not profit-motivated, Firefox turned out to be such a good and widely-used product that its use could be monetized.  It just made sense to make use of that revenue stream to help support the organization.

Mozilla is a respected and well-known organization. Its model is nontraditional and generative. Its software is open source and free to use, and others are free to distribute and modify them. All the content of its site is copyrighted under a Creative Commons license. Interestingly, most effective restrictions on what one can do with Mozilla’s software stem from Mozilla’s trademark policy. Mozilla is happy to let you do what you want with its software, but there are limitations to how you can talk about and brand what you’ve done.

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Googlejuice?

Image courtesy of http://cssjockey.com.

Image courtesy of http://cssjockey.com.

Since Google.com’s inception in 1998, the search engine has quickly grown to become a part of the everyday vernacular.  A few years ago, both the Merriam-Webster and the Oxford English dictionaries added the term “google” to their official list of English words, as it had become clear that the world-famous brand name was more than just your garden variety “fanciful” trademark.  “Google” is widely used today as a verb, sometimes referring to use of the search engine itself — “Heyo, I googled that guy we met last night…Bad news…” — and other times simply a slang replacement for “to search for” — “I’ve googled all over the house for my shoes and can’t find them anywhere…” This use of “google” with a lowercase “g” has manifested a heap of issues for the company’s lawyers, as its induction into the realm of “generic” terms threatens to loosen their grip on the beloved trademark.

William Fisher’s “Overview of Trademark Law,” explains that “[a] word will be considered generic when, in the minds of a substantial majority of the public, the word denotes a broad genus or type of product and not a specific source or manufacturer.”  It is a phenomenon some have called “genericide,” whereby a trademarked term is legally demoted from “trademark” status.  Genericide has taken the corporate soul out of many former trademarks, most of which we don’t even recognize today as brand names: xerox, thermos, kleenex, rollerblade, band-aid, among countless others.

Many of these companies have taken action to prevent the demise of their trademarks, but to no avail.  An article from the LA Times points out that the lyrics of one of the most famous commercial jingles, the one created by Johnson & Johnson for their brand of sticky bandages known as “Band-Aids” — “I am stuck on Band-Aid brand ’cause Band-Aid’s stuck on me” — includes the word “brand” not just because it’s cute when little kids try to pronounce it: it was also a desperate effort to emphasize that “Band-Aid” is, in fact, a brand.  The same article points out that Xerox Corp. embarked on a similar campaign to reduce the frequency of their trademark “xerox” as used to refer to the act of photocopying.  Google, aware that it might soon fall into the same boat as the others, has begun shooting off C&D letters to websites like WordSpy who appear to be perpetuating Google’s non-brand-specific usage.  Here’s a screenshot of WordSpy’s official definition of the term:

snapshot-2009-04-15-11-50-27
Noteworthy is that this definition, unlike those located in the OED or Merriam-Webster, pushes the generic usage, adding the phrase “particularly by using the Google search engine” as a kind of afterthought.  Originally, no mention of Google (with a capital “G”) existed, until Google’s C&D letter requested that WordSpy remove or modify their definition “to make sure that when people use ‘Google,’ they are referring to the services our company provides and not to Internet searching in general.”  A special note now follows the WordSpy definition: “Note that Google™ is a trademark identifying the search technology and services of Google Technologies Inc.”  Despite their shout-out to the Google trademark, however, the site goes on to offer citations “illustrating the more general sense of the verb.”  What is more, WordSpy includes a slew of other new terms that have been inspired by “google as a verb.”  Some noteables:

“fridge Googling”pp. Running an Internet search based on some or all of the contents of one’s fridge, looking for a recipe based on those contents.
—fridge Google v.

“googleability” - (goo.gul.uh.BIL.uh.tee) n. The ease with which information about a person can be found on an Internet search engine, particularly Google.  Also: Googleability, googlability, google-ability.
—googleable adj.

“googleverse”n. 1. The products, services, and technologies belonging to or associated with Google Inc.  2. Web pages, newsgroups, images, and other content indexed by the Google search engine. [Blend of Google and universe]

and my personal favorite,

“googlejuice” – (GOO.gul.joos) n. The presumed quality inherent in a Web site that enables it to appear at or near the top of search engine results, particularly those of the Google search engine. Also: Google-juice, Google juice.

As with the definition of “google” itself, all of the above terms subtly push for genericness, clearly preferring to use the more general phrase “Internet search engine.”  Unfortunately for Google, in the face of this seemingly viral usage of its brand name in everyday speech, its lawyers really have no legal recourse.  Genericide is simply a social phenomenon with legal implications, manifested by a world where widespread communication leads to widespread notoriety.  I suppose today’s internet companies, if they wish to keep hold of their trademarks, ought to be careful what they wish for before dumping millions of dollars into becoming “a household name.”  Google must now struggle under the weight of its own astonishing popularity, or risk witnessing the end of legal protection for one of the world’s most recognizable trademarks.  One might argue that Facebook and Wikipedia are on the same course, though the terms so far have managed to refer only to their websites.  Still, the risk is in sight.  How many times have you said, “Dude, I got NO work done last night.  I couldn’t stop Facebooking,” or, “Seriously, Wikipedia that s***.”  The era of internet verbification has begun.  As a kind of ironic harbinger, Wikipedia itself even features a page devoted to the use of “google as a verb.”  I won’t link you, though.  Just google it.

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Trademark is soooo the new Copyright

The copyright of the cartoon character Popeye expired earlier this year in Europe.

The copyright of the cartoon character Popeye expired earlier this year in Europe.

At the beginning of this year, the copyright of the cartoon character Popeye expired in Europe.  However, the company King Features still owns the trademark, and intends to “protect its brand aggressively.”  Now, imagine that you are a European producer of canned spinach.  With Popeye in the public domain, you wish to include an image of Popeye on the label of your product.  However, King Features challenges your label as an infringement on their trademark by claiming “likelihood of confusion” and “trademark dilution.”  Even though Popeye now is in the public domain, can King Features contest your use of Popeye as an infringement of their trademark?  If trademark can be invoked in this way, then how is trademark not just an extension of copyright?

The US Patent and Trademark Office describes the differences between copyright and trademark as follows: copyright “protect[s] works of authorship, such as writings, music, and works of art that have been tangibly expressed”, and trademark “protect[s] words, names, symbols, sounds, or colors that distinguish goods and services from those manufactured or sold by others and to indicate the source of the goods.”  So sometimes copyright and trademark can overlap in the types of works they protect—the image of Popeye, for instance, is copyrighted as a “work of art” and trademarked as a “symbol” for King Features.   However, copyright and trademark were established for very different reasons.  The purpose of copyright is to incentivize the production of creative and artistic works, while the purposes of trademark are “to aid the consumer in differentiating among competing products,” and “to protect the producer’s investment in reputation.”  But the most significant distinction between copyright and trademark is the difference in their durations.  Copyright (typically) expires after 70 years plus the life of the author, while trademark can be renewed indefinitely without limit.  The unrestricted duration of trademark makes it more attractive and powerful in protecting works than copyright.

In theory, the distinctions between copyright and trademark seem clear, but in practice, it is difficult to predict how a court will treat one compared to the other.  Intellectual property specialist Mark Owen explains “the Segar drawings are out of copyright, so anyone could put those on T-shirts, posters and cards and create a thriving business.  If you sold a Popeye toy or Popeye spinach can, you could be infringing the trademark.”  The distinction between these two uses—that is, Popeye on a T-shirt rather than on a can of spinach—is not obvious.  For the canned spinach example, it seems unlikely that a claim of “likelihood of confusion” would hold up in court, because King Features is in the business of entertainment as opposed to produce.  A claim of “trademark dilution” seems more believable because the image of Popeye is extensively “famous” that putting him on a can of spinach might result in brand “blurring” or “tarnishing” side effects.  However, I question whether the trademark of Popeye is valid in the first place, because how well do people actually associate King Features with the image of Popeye?  We will not know for sure whether the public domain Popeye or the trademark Popeye will prevail over the other until a court makes a ruling.

The case of Popeye reflects a troubling trend in intellectual property: companies invoking trademark as an unlimited extension of copyright.  The law clearly defines the purposes and extents of copyright and trademark, so it is unsettling to see when these intents are not followed through in practice.  As the first prominent cartoon character to enter the public domain, Popeye will set an important precedent for when his copyright expires in the US in 2024, and for other substantial characters such as Mickey Mouse, who (barring any further successful lobbying by Disney to extend the duration of copyright) is due enter the US public domain in 2023.

I feel sorry for the French. When it comes to the Digital Age, they just seem to not get it. On multiple occasions, they have proven that they don’t get online advertising, they don’t get how trademarks are used and diffused in today’s connected culture, and they just seem to not get the Internet in general. Read the rest of this entry »