Product disparagement as trademark dilution?

Ferring Pharmaceuticals Inc. v. Braintree Laboratories, Inc., 2014 WL 3850072, No. 13–12553 (D. Mass. Aug. 4, 2014)
This is mostly a false advertising case, but stick around for the weird dilution ruling.  The parties compete in the market for bowel preparation drugs that are administered prior to colonoscopies.  Ferring sells Prepopik, and Braintree sells Suprep.  They sued/countersued each other for false advertising under the Lanham Act and unfair business practices under MGL ch. 93A.  Ferring also alleged that Braintree diluted the Prepopik mark by suggesting that Prepopik (the product) poses the same risks as a chemically identical product sold in Canada, Pico-Salax.  Braintree also sued for trade secret misappropriation.
The court here resolved Ferring’s motion to dismiss Braintree’s counterclaims and Ferring’s motion for summary judgment.
Ferring’s motion, trade secrets: Ferring’s VP and GC contacted Braintree to express concerns about certain Braintree training materials that he’d come to possess, supposedly “sent in from the field” by an unknown source.  Ferring returned six pages, but Braintree believed Ferring had the whole set of materials because it didn’t disseminated only those six pages. 
The court found that Braintree failed to state a claim; it didn’t adequately specify any trade secrets, and the six pages Ferring admitted possessing didn’t contain any protectable trade secrets.  They included publicly available information about Prepopik and information about Ferring’s marketing strategy.  “Braintree cannot plausibly claim that information it has obtained about the marketing strategy of a competitor is a protectable trade secret.” 
The materials did recommend strategies for Suprep in light of Prepopik’s marketing strategy: claims that Suprep was more effective, less expensive, and safer for patients with low renal function; encouragement to sales representatives to emphasize the link between Prepopik and Pico-Salax (“Don’t hide from the fact that Pico is out there and discuss this with accounts”); and suggestions to leverage existing relationships (“BLI has been servicing these accounts for over 3 decades, don’t be fooled by a foreigner!”).  Though one court suggested that marketing strategies could be protectable trade secrets under Massachusetts law, there was no evidence that the information about price, efficacy and safety differences was proprietary to Braintree. “Furthermore, it is implausible that platitudes such as ‘Cash in on relationships!’ are the product of significant effort or investment or are valuable to Braintree’s competitors.”
Lanham Act false advertising: Braintree alleges that Ferring made four false or misleading claims about Prepopik: “superior cleansing efficacy”, “lowest volume”, “flexible dosing” and “helps achieve success.”  Because literal falsity is a question of fact, it’s rarely susceptible to a motion to dismiss.  The court also declined to apply Rule 9(b) heightened pleading to false advertising claims.
The “superior cleansing efficacy” claim was, according to the relevant ad, backed up by study results; it was a statement of fact, not puffery.  In fine print, the relevant ad explained that the claim was based on “demonstrated non-inferiority” during randomized trials. The claim was allegedly falsified by evidence from a head-to-head study, and allegedly overstated Prepopik’s efficacy. That was enough to plead literal falsity.
Ferring repeatedly advertised Prepopik as  the “lowest volume of active prep solution/ingredient,” but Braintree alleged that this was false and misleading because there are tablet-only prep products requiring no solution.  Ferring argued that a reasonable doctor would be aware of the different kinds of prep regimens and would understand that the ads only compared Prepopik to other products that required some amount of liquid.  The court doubted that any reasonable doctor would find the claim misleading, but evaluating audience reaction wasn’t its job at the motion to dismiss stage.
Braintree alleged that Ferring’s “flexible dosing” claim was false and misleading as patients must take certain identified doses, must drink certain requisite quantities of other liquids, and must finish drinking all requisite liquids at least two hours before their colonoscopy. The relevant ad claimed “FLEXIBLE DOSING using either a split dose or day-before regimen.” Ferring argued that the ad didn’t claim that there were no restrictions on use.  Unlike the two previous comparative claims, this one didn’t draw any implicit comparisons or assert a specific and measureable benefit that could be proven true or false.  At most, “flexible” was ambiguous, and no reasonable person reading the advertisement as a whole would fail to understand that, as used in context, “flexible dosing” refers to “either a split dose or day-before regimen.”
As for “helps achieve success … with the lowest volume of active prep solution,” Braintree didn’t identify a specific ad that made the “helps achieve success” claim, so it was gone and would’ve been puffery anyway.
The court did apply a heightened pleading standard to related New Jersey Consumer Fraud Act claims, and found that Braintree hadn’t pled enough facts to establish that Ferring actually distributed a different set of claims—information and belief was enough.  Also, the court held that unfair competition under New Jersey common law doesn’t cover false advertising, only palming off.
As to Braintree’s motion for summary judgment, Ferring alleged that Braintree engaged in a nationwide campaign to disparage Prepopik, and that Braintree’s false and misleading statements about Prepopik’s risks “diluted Ferring’s trademark in Prepopik.”
Allegedly false claims that Prepopik was “dangerous” or “deadly”: Ferring’s press release announcing Preopik’s FDA approval stated that “Ferring has a long history in the international gastroenterology market, where PREPOPIK is available in Canada (marketed under the name PICO–SALAX), U.K., and other countries ….”  Pico-Salax and Prepopik are chemically identical, but Prepopik is approved in the US for only one indication, while Pico-Salax is approved in Canada for the additional uses of preparing for x-ray examinations and surgeries and is also approved for pediatric use.  The dosing instructions also differ; the Prepopik dose is smaller, which can change risks associated with fluid and electrolyte imbalances. Pico-Salax is available over the counter while Prepopik is prescription only.
A Canadian agency published information about Pico-Salax in Canadian Adverse Reaction Newsletter, stating that “[t]he diarrhea produced by [Pico–Salax] can lead to dehydration and loss of electrolytes, particularly sodium which may result in hyponatremia and convulsions…. As of June 30, 2012, Health Canada received 11 reports of convulsions suspected of being associated with Pico–Salax.”  Ferring alleged that Braintree was using the newsletter and related statements to claim that Prepopik was unsafe.  One rep allegedly wrote “Pico-Salax = Prepopik” on a copy of the newsletter given to a doctor.
Braintree argued that it was true that Pico-Salax was dangerous and that Pico-Salax was Prepopik give their chemical equivalency. The court found genuine issues of material fact, including what conclusions should be drawn from the newsletter and whether the different dosages eliminated the risk of convulsion.
Allegedly false or misleading claims about Suprep’s efficacy and superiority:  Braintree’s marketing materials say Suprep is 98% effective whereas Prepopik is only 74% effective, but Ferring alleged that there were no head-to-head studies and its own clinical trials showed greater effectiveness.  A Braintree ad claimed superiority in bowel cleansing based on investigator grading compared to a control group treated with polyethelene glycol, but Ferring argued that the prescribing information and FDA approval documents for Suprep indicated that no statistically or clinically significant differences between groups treated with the two preparations.
Ferring argued that the ad made an establishment claim, and Braintree disagreed, but it was wrong. “While the claims do not expressly reference a study or test, claims of 98% effectiveness and superior results ‘based on investigator grading’ are not ‘general claims of superiority.’” Thus Ferring’s burden would be to show that the tests weren’t sufficiently reliable to permit a conclusion that Suprep was superior.  There were genuine factual disputes about this; a study abstract alone couldn’t establish reliability, and Ferring hadn’t been provided the full results.
As a result, the ch. 93A claim, which in a competitor action requires “rascality,” also survived past summary judgment.
State trademark dilution: here we take a turn into the completely wrong.  Ferring alleged that Braintree’s negative comparisons were likely to dilute Prepopik’s distinctive quality as a mark—and the court bought it, at least for summary judgment purposes.  Ok, deep breaths.  Of course, even dilution proponents should immediately see the fatal problems.  (1) The mark is not the product.  Dilution protects marks, not products.  Braintree disparaged (truthfully or not) the product.  False advertising can be a legitimate cause of action in such cases, along with commercial disparagement/trade libel.  (Which, not at all incidentally, are subject to important First Amendment limitations, like “falsity.”)  Dilution cannot be implicated here.  Braintree didn’t suggest that the product had a stupid name.  (2)  Relatedly, comparative advertising does not have any effect on the “distinctive” quality of the mark, other than to reinforce it as being connected to its producer and distinguish it from the advertiser’s own product.  Using a mark to describe the mark owner’s product can’t be dilutive.  Not even Deere v. MTD would go that far.
What went wrong?  Braintree may have put too much emphasis on another logical, but much less powerful, argument, which was that it’s impossible to dilute a mark by comparing it to another mark owned by the same entity, Ferring.  But “[w]hile Braintree is correct that no Massachusetts case has expressly held that Ferring may assert a trademark dilution claim based upon confusion between two of its own marks, it is also the case that no court applying Massachusetts law has foreclosed that theory.”  (And note the incidental slippage between confusion and dilution.  But I’m not even mad about that.)  The court found that a federal court’s previous statement that dilution arises from an association with “products or services marketed by others” was “clearly dicta,” which again, argh—that is the classic definition of dilution used even by its profoundest believers.  Kodak pianos, anyone?

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IPSC part 10: hodgepodge

Sixth Breakout Session
The Patented Design
Sarah Burstein
What should the patented design cover?  Require the design to be applied to a particular product, and signal that in the name/title.  That better respects First Amendment concerns, notice function of patents, better fit with presumption of validity.  Better allocation of search costs generally.  There’s a new search service for searching designs, but there are still issues of search costs to figure out if things are infringed/valid/invalid.  Abstract protection puts the risk all on competitors in an inappropriate way.
Nominative uses of design: stories about iPhones should be able to depict the product.  Also “transformative” uses.  If someone takes the iPhone size and shape and creates a sketchpad allowing designers to sketch (allowing them to plan apps), that shouldn’t infringe the design patent on the actual phone—Apple doesn’t need to control that market for incentives.  Other creative adaptations: various designs can be adapted from other products; that should be encouraged rather than discouraged.
Scope of prior art would be immediately affected if she’s right. Case about batter dividers for cupcakes.  D came up with purported prior art, like a cookie cutter; a muffin on a stick; a cupcake shaped cupcake holder; a toy figure shaped like a cupcake with a six-pack, arms and legs; a cupcake. If she’s right none of these should be novelty destroying—cookie cutters couldn’t cover cupcake dividers, and vice versa.
What regime if any should protect product designs?  If she’s right, other regimes look less attractive, at least in this one respect.
McKenna: how do you assess nonobviousness? Understands novelty argument, but why doesn’t that destroy nonobviousness?
A: Argued about that in other work. There’s not a clear motivation, to the extent that survives, to move from cupcake container to cupcake divider.  Not close enough.
McK: what does close enough mean? What’s the conceptual space b/t prior art and claim design?
A: her first paper.  If it’s not so close that it’d be perceived as the same thing—primary reference.
Q: how do you distinguish trade dress from design patent?
A: you do get visual representations and the things she wants to leave out in the trade dress arena; however her proposal might undermine attempts to get trade dress protection insofar as someone could make a note pad or a chandelier in the shape of an iPhone, which she thinks would be fine.
Sheff: help explain why this is so challenging. If we think design, like utility, is progressive, that explains some problems; if we think it’s aesthetic, we may find other features difficult; if it’s about distinctiveness it’s just TM and doesn’t make any sense to think about doctrinal problems in this way.  Why is it so important that design patents not be ported out of the products for which they’re granted?
NPE II
Policing the Cease-and-Desist Letter
Leah Grinvald
Larger project on abusive enforcement. Thesis: there is a problem, and current regulations are ineffective.  Need multifaceted approach.  Antiabuse cause of action; look at bar involvement; more aggressive enforcement of consumer protection laws by state AGs.
Vast majority of disputes typically settle through C&Ds, but there are incentives to send abusive ones. Not saying C&Ds are per se bad, but some are. What’s abusive?  Threat of litigation and unnecessary legalese/unsubstantiated legal citations; demand for settlement in short time frame; demand for upfront payment of money including licensing fees/attorneys’ fees (I just saw this recently with an unbelievable—I wish I could say sanctionable—demand for attorney’s fees as if they were ordinary relief in a Lanham Act case); weak legal claims. 
They’re effective because of asymmetrical disputants: well resourced rights holder v. low resourced small business or individual. Low resourced entities have inability to gather information; vulnerable to emotional response/inducement in the abusive letter.  Finally, they are unable to follow through with litigation. Say they have business insurance that will cover trial—they might not be able to deal with an appeal, which forces them to settle.
Model Rules of Professional Conduct are not helpful.  State anti-patent troll laws?  She argues they don’t go far enough.  State AG actions are limited so far, but should be expanded.  Bar associations should issue formal opinions on ethical rules against abusive C&Ds.  “Civility campaign” by San Diego bar ass’n.
Gaia Bernstein: is there any evidence that abusive C&Ds are more effective than nonabusive ones?
A: hard to study. Some attys say nastygram is scarier and more effective.  (Why should we want the rates of effectiveness to be the same?)
Mary LaFrance: how do you decide what’s abusive, given TM owner’s burden of policing/avoiding being deemed to be weak mark?
A: hard at edges, but there are core cases.  Louis Vuitton v. Penn: it’s a famous mark, but it did not need to threaten.  (I think we overstate the burden of policing to excuse TM owners; courts are very forgiving especially when the uses are small or outside the TM owner’s products/services as with many expressive uses.)
Lisa Ramsey: qs about definition.
A: various issues, like timeframe: give a reasonable one to a small entity, which among other things might need to find an att’y. Demand to halt at once is a problem.  3 days to respond—even an IP clinic takes time.
Q: are there constitutional limits on laws against abusive letters?
A: Yes, but laws can be written. Anti patent trolls are drafted similarly.
Rosenblatt: Cal. Lawyer article from this month: Demand Letters as Extortion—about the Cal. Penal Code.
Gallagher: like multifacted approach, but why do you think anything will work?  Will AGs be effective?
A: AGs could work—did affect scanner patent troll, even with investigation alone. Helps w/small  entity’s inability to follow through w/litigation.
RT’s thoughts: I think AGs can be very effective!  People are very interested in complying w/the gov’t, and counsel start giving advice/practice seminars on how to comply when the AGs get involved.  Sort of random thought: I think the preemption questions about anti-troll laws are super interesting. Since the Lanham Act doesn’t displace state laws, what effect should that have on possible preemption analysis?
IP Theory II
The IP Constitution: Private Power and State Power in IP Law
Ariel Katz
[missed intro]  Older cases: Extending the monopoly in IP is illegitimate—but what counts as extension?  Chicago school criticized this approach in the 1960s. IP rights don’t necessarily create market power.  Even if they do so, not clear what extension would occur or mean. Many challenged practices, they argued, were efficient and should be subject to rule of reason.
Chicago critique barked up the wrong monopoly tree. Monopoly has an economic meaning of controlling a market, but it also has an overlapping but distinct legal/political meaning.  Courts concerned about IP monopolies are speaking in the legal/political sense.  Motion Picture Patents v. Universal Film (1917)—patents on projectors for film; conditions of patent license was you were only allowed to exhibit movies sold by the patentee.  Court says you can’t do that, despite argument that this was efficient b/c it allowed the sale of the machine at a low price.  Court isn’t ignorant of the Chicago argument, but Court views that as clearest possible condemnation, b/c it proves that the patentee tries to get its profit not from the thing patented, but from things wholly outside of the patent monopoly.  Extending the patent to fix the price of unpatented supplies. That’s not why we grant patents.
Monopoly = private regulatory power.  Remote control—control people without privity. That’s the legal meaning of monopoly (cf. monopoly on legitimate violence).  The struggle of regulatory power over the centuries—Statute of Monopolies, 1623 declaring crown monopolies ineffective; only Parliament can grant monopolies.  Exception for letters patent to true inventor. Also, Parliament’s use of the power is fine—democratic deliberative process would be our analogy today.
Statute of Monopolies is political-constitutional, not an economic regulation. Antidelegation principle: if police regulatory power can only be exercised/granted by state, it can’t be assumed by individual nonstate actors. Nondelegation doctrine, due process, and antitrust implement this.
Camilla Hrdy: today, patents don’t necessarily confer monopoly. How would this apply where patent holder doesn’t have much market power?  Statute of Monopolies: Parliament reserved the right to itself; isn’t it different in the US because the Constitution granted Congress the power and Congress decided to implement via a patent statute?
A: Problem begins when lawful monopolies begin to exert regulatory powers over what’s not their writings and discoveries and asks the court to enforce it.
RT: Isn’t your argument somewhat circular? Why not read the patent statute as Congress saying: We grant you whatever regulatory power comes from owning your particular patent? 
A: Holmes dissent says that patentee doesn’t have to license at all, and can set conditions.  Court majority says the Constitution isn’t about getting control beyond the scope of your patent.  May be a question of property v. regulation.  The basic distinction is still valid.
Q: Congress amended the Act to say explicitly that certain things don’t count as patent misuse, if you don’t have market power.  How does that tie into the constitutional issues?
A: The other cases are still good law.
Data Pools
Michael Mattioli
Looking at data pools, mostly in medicine/agriculture, e.g., CancerLinQ, Open Ag Data Alliance, Biomarker Consortium, etc. Trying to aggregate data to find research questions, etc.
Proposals for sui generis data protection—no law yet, but perennial topic for debate (10 bills considered since 1996).  Traditional IP gives only thin/no protection.  Big data is becoming more important.  Can data pools reveal new insights?  Do these groups privately craft incentives similar to those that sui generis data protection would offer? What challenges do they face/new opportunities for policymaking? Merges argued that patent pools amount to private rejiggering of patent law—could there be something similar here?
Q: antitrust is an important issue.  (Some discussion of that; I’m not an antitrust expert.)  Exclusivity may be the start of the problem.
Q: what about tying this to health law issues?  Purse strings: gov’t can use them to get data disgorged. 
A: was considering charitable tax deduction; interesting idea.
Q: there might be not so laudable uses of data—touches on privacy, but underlying this work seems to be normative view that big data is good.  But that’s not always true.
A: tends to be an optimist, but that’s an important consideration.

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IPSC part 9: copyright plenary session

Plenary Session
Making Copyright Work for Creative Upstarts
Sean Pager
Imagine you’re a singer in a rock band, and hear your song used unauthorized for a car commercial. You call and they brush you off.  You can’t afford a lawyer, and costs of litigating in federal court could dwarf any license fee you might recover. If you never registered you have no eligibility for statutory damages and attorneys’ fees. You quit and go to law school.
Our standard theory of copyright is that we give rights to incentivize creation, but rights aren’t self executing. Without capacity to use them, they’re not useful. Copyright might not be doing the work it’s supposed to.  Our system assumes sophistication—simple Qs often have convoluted answers, and that’s just the formal law, not the institutions that implement them and have complexities of their own.  Registration alone; signing up for ASCAP/BMI; SoundExchange; Google’s Content ID—a lot of registries to keep track of. 
Broader Q: who is our © system for?  19th c. might have been reasonable to assume that © users were capital-intensive endeavors.  What to do now that creation doesn’t look like that?  Mobile app designers, indie filmmakers, graphic artists—how are they doing in the © system?
What would an upstart-friendly system look like?  Increasing legal certainty—more safe harbors and bright line rules.  Small claims process—better if mandatory.  Enhanced damages tied to registration should be reconsidered.  $35-55 to register is a lot for a graphic artist.  Tech can be used—interoperability, common-sense standards to allow one-stop registration; streamlined online licensing, as w/UK’s Copyright Hub targeted at low-value works to be licensed efficiently using automated mechanisms.  Or expert systems automated to give advice—compare increased ease of tax now that we have TurboTax—similar system for copyright users. (Note that TurboTax has engaged in a lot of funky behavior to prevent tax simplification—a Copyright Hub might do the same, especially if it were a private, profit-seeking organization.)
Menell: Creative upstarts should be able to find works/use Content ID to quickly ID ownership, and on backend streamlining system would be good, but more worried about front end of enabling people to find and navigate.  If they’re not willing to pay $35 to register, should we give them such strong protections for how their works float in the ether.
A: maybe find way to register high volume of works at once.
Lemley: useful points about small creators. Q is what are we to make of the fact that we are nonetheless seeing an unprecedented wave of such creators. We have more video, music, books than ever before, most coming from people outside the © industries. What does that mean? They don’t seem to be quitting and going to law school, whether they should or not.
A: Commercialization—amateurs may create a lot, but don’t invest as much. Making a full length feature film takes resources, while you can write a book on your own.  iPhone filmmakers are limited in what they can do, so we need to find a way to make film pay.
Lemley: sounds like there’s sorting between upstarts and more commercially oriented folks, but those may be more attuned to © system as already exists.
(I agree w/Lemley.  W/r/t the opening story: If most commercializers behave most of the time, though, is that so much worse than other elements of starting your own business?  There is plagiarism of works on Amazon’s self-publishing, but there’s also persistence.  Overconfidence about success is often important in incentivizing creation/starting a business/etc. Is © any different than the other rules that aren’t necessarily enforced (e.g., wage theft)?)
A: there’s a spectrum. Better access to © system may enable you to negotiate better terms.
Q: valid points about accessibility. Is enforcement necessarily the issue? Even in perfect enforcement world, would their captured revenue stream allow people to avoid going to law school?  It could just be that people are flocking to fewer and fewer items—how big is the pie?
A: demand is partly influenced by supply.  Change the system to make it easier for independents to have access—not just ©–people might embrace more products, not just blockbusters.
Q: so the issue is that people aren’t entering the market who otherwise would? Or that they’re entering without being able to recoup value?
A: Soundexchange has $100 million unclaimed royalties—there is money to be had.
Rosenblatt: are creative upstarts any different from other kinds of upstarts? We expect people starting out to do their homework to make a living—get a professional license if they need it, pay taxes. TurboTax is a solution to what we expect from people. 
A: does think tax code should be simplified; does get to whether it’s the gov’ts role to act.  Gov’t may help make TurboTax available to poor people (or better, pre-fill the return like they do in other countries).
Copyright’s Private Ordering: Lessons For Congress
Jennifer Rothman
Congress should largely leave room for private ordering, but sometimes codify uniformly accepted norms and support private ordering/avoid calcification.
Different attempts to address uncertainty in law/uncertainty about fair use: arguments that it’s more predictable than some say, but in individual cases it’s still uncertain so risk-averse people will still license. Campbell is an object lesson in why you should license—district court reversed by court of appeals reversed by Supreme Court, which remanded; ultimately settled with licensing fee—in practice this was a total loss for 2 Live Crew.  She worries about courts interpreting risk aversion as customary licensing practice worth respecting: her favorite example is Ringgold, where a poster was on screen for less than 30 seconds, but court found unfair in part because it bucked an industry custom of licensing set dressing.
We could revise §107 to limit on reliance on customary licensing, use guidelines and alternative licensing.  Not saying that licensing shouldn’t be relevant—availability, feasibility and reasonableness of licensing is relevant. But that’s different from whether people usually license or usually don’t license in an industry.
Use guidelines trying to address uncertainty: the Classroom Guidelines developed after Congress threw up its hands. This didn’t turn out well.  Negotiated by authors and publishers mostly; didn’t include educators, students, or universities; courts have often incorporated them despite their unrepresentativeness and have used them as a ceiling on fair use. We might want to codify some changes: don’t use their violation to determine whether something is fair use; maybe try again with representative group. 
Best Practices largely coming out of AU: valiant effort to push back against clearance culture. Done some important work, but concerned about codifying them as standard in particular industries. Again, they’re not representative of large content owners whose content is most likely to be used. Documentary guidelines can be more limiting than necessary, like not allowing cutting to the beat in incidentally captured music or creating a work around a copyrighted work.
Alternative regimes on top of copyright: Creative Commons—also a reaction to fair use uncertainty.  Allows authors to express what uses they think are appropriate. Maybe we just want Congress to leave this alone—w/exceptions: codify favoring attribution for fair use analysis (maybe even safe harbors); clarify that violation of private contract doesn’t alter analysis of infringement v. fair use. Documentary filmmakers often can’t comply with CC; they shouldn’t be hesitant to make fair use anyway.
Technology/contracts altering ©’s boundaries, technology and DRM—private agreements like Content ID.  We should restrict the ability of tech and private party agreements to eliminate fair use.  © can leave breathing room for private ordering and experimentation, but adopt good ideas.
Other good ideas: faculty ownership of scholarship and course materials, a universally accepted norm that nonetheless seems to run afoul of WFH; maybe attribution should be a requirement; a la carte copyright where you can register and choose to allow, say, educational use.  © can protect against lock-in effect; protect fair use from obsolescence; support fair use.  Clarify whether transformativeness requires content change or just purpose.  Additional safe harbors; limit scope of statutory damages in certain circumstances, esp. where people erroneously predict that use will be fair.
Q: what about webcasting v. streaming in §114?  Private streaming services’ deals—a lot of the terms end up mimicking the terms in webcasting, even the weird performance complement rules; public/private distinction gets blurred.
A: in general there’s a lot of interplay, and there’s not a bright line—operates in the shadow of the law. Warps in response to law; we need what Kozinski was talking about, interplay with courts and legislature.
Gordon: do you have in mind a sort of anti-DMCA: if you use tech improperly we can stop you?
A: Does interplay w/DMCA in gov’t authority.
Q: PTO roundtable suggestion—require tech to leave breathing room for some use of works—e.g., let’s have at least 5 seconds of a work up, not auto takedown even if tech permits.
Secondary Copyright Remedies
Felix Wu
Proposal: Remedies for secondary © infringement should be more limited than remedies for direct infringement, whatever they are.  Statute doesn’t codify secondary liability at any point, leaving no room for judges who expound on secondary liability to provide for different remedies.
Relation to tech innovation.  Why not borrow from patent law?  Patent specifically defines secondary infringement, but the relation between infringement and innovation is different in © and patent. Courts borrowing from patent face a very different context—misborrowing.  In patent, the statute speaks of articles w/ no substantially noninfringing use. It’s not possible for tech to relate to the underlying ©ed work in the same way. What would it mean for something to be specifically adapted to infringe a specific work, as the patent statute requires?  The tech is always capable of processing public domain/authorized works. Taken seriously, there’d be no contributory infringement at all.
That’s not where we’ve gone.  This concept is not a nullity in patent because tech innovation is wrapped up in the primary monopoly we grant to patentee, and orthogonal to primary monopoly we grant to copyright owner.  Thus secondarily liable actor is differently positioned than primarily liable actor.
Second concern: free expression. Protect tech/platforms because of externalities they create. That by itself can’t be enough to protect secondary actors more than primary actors, who also often exercise some kind of speech right.  But the primary actors get benefits that are difficult to transfer to secondary actors—primary actor is willing to take on more risk than secondary actor, since primary actor receives sense of belonging/creativity/community that they can’t monetize and transfer.  Thus externalities will be greater for platform.
Why not an immunity? Might be right in certain circumstances, but not all.  Free expression is at the fore w/r/t §230.  But in © we might be concerned about uncompensated harm/mass infringement.  Platforms could be least-cost avoiders in screening out infringement.  Potential for moral hazard: immunity means incentive to make money off of interest in infringing works. 
What can we do to avoid overdeterrence?  (1) Reduce/eliminate statutory damages for secondary liability. (2) Give restitution/disgorgement but limit their ultimate exposure.  (3) Shift burden of proof from defendants in calculation of damages/profits to avoid overcompensating Ps. May not be possible to show effects of one particular copy, but secondary liability cases are generally large in scope.
Lemley: run away from restitution.  Damages would be worse. You mean disgorgement w/causation.  Too easy in remedies for disgorgement to be all your profits.
May not need statutory change. Statute is silent on remedies for secondary infringement.
A: courts don’t think they’re creating secondary liability out of whole cloth—meaning of what counts as an exclusive right/triggering full panoply of damages. But sees potential. He wants to use profits as a ceiling and shift the burden of proof to avoid that problem with disgorgement.
Q: curious about moving away from patents. If you’re saying anything that could be used to infringe © could be used for public domain works, you’re begging the Q of whether that use is substantial. Is that really different from patent?
A: substantiality is really small in patent—you could use this item as a doorstop = that’s not substantial. Value of use for that purpose is what courts look at. In ©, using it for public domain would have value. 
RT: In terms of why not an immunity: You give three reasons, but none of them seems to differ from §230 to me.  Even w/respect to “mass infringement,” many of the actors that people hate in the §230 context do aggregate gossipy/defamatory content or revenge porn, and most of the visitors are happy to consume lots of different humiliations, which is the business model of those sites.
A: interest in speech is different as between those types of content—© is less speechy.  I know you disagree.

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IPSC part 8: second plenary: copyright reform/innovation policy

Copyright Reform and the Academy
Shira Perlmutter Chief Policy Officer & Director for International Affairs
US Patent and Trademark Office (USPTO)
We seem to be poised at the brink of very significant change.  Matching tech change, but policy evolution has not been smooth or consistent recently, and stalled in the US for about 10 years after flurry of initial responses to digital tech (Digital Performance Rights Act, WIPO Treaties, DMCA, Digital Distance Education amendment; EU E-commerce and InfoSoc directive).  Why stall for 10 years?
Factors that converged to gum up the works: Increasingly central/visible role of © in society. Increased focus on metrics for measuring that—Dep’t of Commerce says 4.4% US GDP in 2010 was from © intensive industries. Part of daily life as it never was before—every consumer is user, creator, transformer, publisher. Resulting public visibility/press attention. Increased lobbying from all sides, parts of industries formerly with no presence in Washington are now there; cacophony of voices. Greater grassroots consumer involvement, using internet to inundate members of Congress with messages. Greater range of actors/more complex distribution chains. Finally, more overlap with other areas of law—telecom policy, privacy, cybersecurity.
That had a major impact on SOPA/Protect IP act in 2012.  After that happened, everyone who works on these issues in DC was in shock; a year of quiet reflection and wound-licking. A lot of activity last year.  2010: Dep’t of Commerce formed Internet Policy Task Force—NTIA, telecom, PTO.  Listening sessions, public comments—then interrupted by SOPA.  March 2013, Register spoke on Next Great Copyright Act, and Chairman Goodlatte’s announcement of a review of the © Act.  July, Dep’t of Commerce released green paper on copyright policy, creativity and innovation in the digital economy. Legis. and executive branches getting very involved.  Stakeholders sometimes complain it’s too much to submit all the comments, but we’re trying hard to be collaborative and respectful of time, but there’s a lot on the agenda.
Cellphone unlocking: one bit of progress. We welcome that but it’s not new or controversial; restoring previous exemption from last rulemaking. Relatively easy lift as policymaking matter.  It’s still important that we not underestimate difficulty of legislating in today’s environment.  Her view: legislation that’s narrow and incremental; things in packages of related issues where there can be tradeoffs. Public legitimacy is also vital.
Also, don’t assume legislation is the best/only answer. Be pragmatic in approach: what can work in reasonable amount of time.  Any solution that takes 10 years to get through Congress isn’t a solution.  Rulemaking is a possibility: 1201.  Private sector best practices. Guidelines from gov’t or private sector—set up ongoing forums to bring people together. Tech solutions.
What’s going on in Copyright Office/Hill.  © reform has become a loaded word, and now it’s being called “review.”  Throwing out the whole thing and starting from scratch is in some ways appealing, but that’s a difficult political lift w/major int’l implications. [RT: of course we’re happy to tell other countries to make huge changes, but American exceptionalism.]  14 House hearings so far; Senate is starting to think about it. General topics rather than specific proposals.  There’s been 1 hearing or less on each issue, except for 2 on music licensing. Only a few witnesses on each; some are academics, but there’s not really time for discussion. A quick tour through basic issues. Hearings are expected to continue all year, culminating in drafts for comment early next year.
Copyright Office is also active right now, issued 2 reports last year on resale royalties where it recanted its prior rejection of legislation and were now more open to it and on establishing a small claims court for individuals and small entities that find going to federal court too expensive/difficult.  Public roundtables/studies, planning to issue legis. recommendations on, e.g., making available right—whether it should be made more explicit in §106.  Music licensing study; orphan works; mass digitization (complicated by Google Books) [RT: or simplified?]; Section 108/libraries; a lot of work on recordation and registration; summarizing fair use case law as an element of the IP Enforcement Coordinator’s last strategic plan to help people understand what they can and can’t do in reusing existing works.
On our side, green paper was supposed to be objective and calm overview of issues and framework for analyzing them. Given recent levels of controversy, we tried to lay groundwork for moving forward more productively.  CO is Congress’s chief advisor, but PTO is President’s chief advisor on all IP including © and has always had lead in int’l negotiations but green paper is first time in 20 years that PTO has been involved in domestic policy discussions (NII White Paper from Clinton administration).
Relation of green paper to congressional review: narrower and broader. Looking only at internet issues, but goes beyond © Act and focuses on legislation and enforcement. 
Summary of recommendations: (1) maintaining balance of rights and exceptions; (2) enforcement of rights in internet environment; (3) helping to ensure functioning/streamlining online licensing marketplace.
Balance: a lot of descriptive work about what’s changed in 20 years.  New attention now warranted in public performance right for sound recordings.  Revision of licensing.  CO’s work on orphan works, mass digitization and libraries.  Need for more clarity in fair use.  Two areas for NTIA/PTO work: (1) remix—is the current combination of some licensing options like Content ID and reliance on fair use leading to adequate results, or is greater clarity advisable and if so how should it be done—microlicensing, specific exception, etc.; (2) scope and relevance of first sale doctrine in digital environment, updating CO’s 2001 study.
Enforcement: Called for providing same range of penalties for criminal acts of streaming that exist for criminal reproduction/distribution. Voluntary initiatives to increase online enforcements—support initiatives for advertisers and payment networks, as well as graduated response through Copyright Alert system.  PTO has taken on itself to assess effectiveness of these initiatives to see how they’re working and has solicited public comments on the methodology for doing so, which is difficult b/c the initiatives are new.  Supported CO’s work on considering small claims system.  Encouraged enhanced public education and outreach—critical to legitimacy of any proposed enforcement approach. 
Further work: (1) statutory damages in individual filesharing cases and online services that make many works available to the public and secondary liability could be billions (trillions); (2) stakeholder dialogue on improving operation of DMCA notice and takedown system.  We heard from many that the system is working well, but there are various difficulties experienced by users on all sides, including rightsholders, ISPs, and consumers.  Difficulties related to (1) sheer volume of notices; (2) content that had been taken down being immediately reposted; (3) abuse of the system; (4) feasibility of using system for individuals and small players.  Significant fears about reopening carefully struck balance of §512, but voluntary cooperation could alleviate some burdens.
Online marketplace: State of play—many positive achievements in making content available in multiple diverse formats, but there are still some gaps/barriers to licensing. Mainly: comprehensiveness of ownership/licensing info, and connections across sectors and geographical boundaries, as well as interoperability. (1) Licensing of musical works—compulsory licensing is anachronistic; problems with divided rights for the same use; old consent decrees—support congressional efforts to simplify and update the licensing system. CO and Congress are also working on this, and we expect some action; DoJ is engaged in public examination of consent decrees. (2) Importance of access to ownership info as foundation of licensing; ways to improve CO records and give incentives to use them short of formalities.  CO has resource constraints but is working.  (3) Potential for streamlined online licensing transactions, which so far are limited to CCC, Creative Commons, and some individuals publishers.  Private sector should do most of the work, but gov’t might have role in improving the licensing environment.
We’ve had written comments and public roundtables.  Now we are looking at policy issues—potential legis. solutions w/r/t first sale, remix, calibration of statutory damages.  Also multistakeholder forum on improving DMCA notice and takedown. And finally gov’t role in facilitating online marketplace.
Where are we?  First sale and remix: Four public roundtables around the country: Nashville, Boston (publishing/library/tech), Los Angeles, Silicon Valley/Berkeley.  Plan: issue white paper with conclusions on those issues in next 6-9 months.  Multistakeholder DMCA meeting: four public meetings; will continue about every 6 weeks at least through end of year.  Smaller working group is looking at standardizing DMCA notices and their processing. Reporting back to full group on Sept. 10.  Goal: outcome by the end of the year w/some sort of best practices. Success is defined as establishing a constructive process and making at least some improvements in system’s operation.  Congressional pressure as backdrop: several members of Congress expressed interest in voluntary improvements before considering legislative change.  Avoid legis. change by agreeing on some ways to make process work.
Online marketplace: we’re a bit further behind. In comments, considerable caution expressed on scope of gov’t role.  We’ve been brainstorming. CO and NIST (Nat’l Inst. for Standards & Tech.) has also gotten involved.  Another conference in the fall coming.  Likely to focus on standard identifiers in different sectors and how they can be interoperable/relate to CO database; desirability of Copyright Hub as under construction in UK—gov’t could bring private sector together to encourage them to make something.
Is optimist about incrementalism, not needing to wait for legis. change that may take some time.
Role of academy: participation by academic contributors can make a huge difference. Academics increasingly integrated into policy development in this administration. Many opportunities to give testimony, comments, public participation.  You can sign up at the PTO website for copyright alerts. Help navigate polarized stakeholder views, which gov’t can’t always do, and offer innovative ways to break logjams.
Q: what about the interface b/t USTR and bilateral/multilateral agreements w/IP enforcement or other issues in them (term, safe harbors) that limit the extent to which US can consider domestic reforms?  Hamstringing our own ability to reform internally.
A: Her office works closely with USTR. Necessary for negotiators to work from some level of certainty about what US law is.  But tension is what you’ve articulated—don’t want agreements to be straitjackets.  Personally, would have been better if earlier trade agreements had gone into less detail and been more statements of principle. This is work in progress/needs to be kept in mind. TPP negotiations: USTR has announced built in goal for countries to put balance in with exceptions as well as rights, which is consistent w/US law.  We want to see US law reflected in these agreements but leave room for change/adaptation.
Gordon: right now there’s supposedly a big difference between copyright and patent in the status of works that infringe in part—improvement patents. Copyright has the odd §103A where you don’t get copyright in the part that is used unlawfully. Patent approach is better.  A number of cases drastically broaden the ineligibility for © of a partially infringing work, like Pickett v. Prince.  Green paper talked about freedom of mashups from infringement—but don’t they deserve © in the rest of what the musician has made?
A: We focused on issues raised to us, but agrees it’s worth looking at.
White House Innovation Strategy
Colleen V. Chien Senior Advisor to the Chief Technology Officer, Intellectual Property and Innovation White House Office of Science and Technology Policy (OSTP)
Strategy for American innovation.  Looking for “gettable” and good ideas.  Submit your ideas for update of our strategy—responses are due on Sept. 23.  Look for fit between your ideas and the questions we asked in the RFI (link at beginning of paragraph). What idea should you pitch?  How should you pitch to a nonacademic audience?
Read the question, as we tell our students!  Two Qs mention IP: (1) What new challenges for IP/competition policy are posed by increased variety of innovation (e.g. user innovation, computational, internet-enabled)?  (2) “Beyond current Federal efforts to promote open data and open application programming interfaces (APIs), what other opportunities exist to open up access to Federal assets (such as data, tools, equipment, facilities, and intellectual property from Federally-funded research) in order to spark private sector innovation?”  How do we allow public access to what public has already paid for?  Need not answer the other 20 questions, but consider them—e.g., regional innovation ecosystems. Also: “What are specific areas where a greater capacity for experimentation in law, policy, and regulation at the Federal level is likely to have large benefits?”
Writing with your audience in mind: Think broadly about which projects make most sense—10-year timeline for Congress; 900 days for this administration. What’s desirable and gettable.  What’s within the control of the decisionmaker; don’t exclude bigger lifts. Specific proposals for actual policy changes are more useful than general observations and recommendations.  Best practices guidelines, executive actions, data release.

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IPSC part 7: copyright limitations

Fifth Breakout Session
Copyright Limitations
Inventing Around Copyright
Dan Burk
Recurring pattern in ©: Napster/Grokster, where Napster was held liable for having centralized architecture/ability to know what’s on the system and thus being contributorily/vicariously liable. Not surprisingly, next generation P2P got rid of centralized architecture.  Initially successful in that, but the SCt invented a new kind of liability and held them responsible for that instead.  Similar result in Aereo. Judge Chin saw Aereo as Rube Goldberg contrivance to get around Copyright Act, and SCt basically agreed.  When a company tries to design something that would be legal, that’s usually not culpable, and we try to encourage it in the patent area.  Long tradition of inventing around in patent, and Federal Circuit has often said this is a positive feature of the patent system: trying to avoid infringement encourages innovation.  Innovators become more muscular/innovative.
Why is this supposedly good in patent but bad in copyright?  You can look at inventing around in patent as a kind of bargaining breakdown—will invent around if licensing isn’t cheaper—patentee has incentive to license if the alternative is a competitor who’s invented around.  Failure to agree = mismatch in valuation between parties.
But in patent law, this isn’t avoidance/evasion—not a loophole, but engaging in socially beneficial activity.  Also, Aereo/Napster/Grokster are not trying to create substitute for copyrighted work.  Trying to develop an alternative delivery system.  So the copyright owner and innovator aren’t racing in the same space. 
Might justify more generous view of inventing around, because in inventing I’m up against a range of rightsholders and not just a single rightsholder (breakdown in bargaining). 
Is Judge Chin correct that this is just socially wasteful redesign?  Netflix is looking at Grokster style distribution to deliver films; might be worthwhile.
Q: aren’t there successful examples of inventing around in copyright?  They don’t call it designing around.
A: yes; it’s common but that makes it interesting that we haven’t talked about it much.  Some of the examples will be more in Fishman’s area of creating around, as opposed to inventing around.
Gibson: Is Grokster really an example? The SCt decision wasn’t really about the architecture (indeed Bittorrent remains extant) which is ok if you don’t say the magic words.
A: was about the architecture in a negative sense, in the sense that it was avoiding Napster liability. SCt would’ve loved to have found justification in existing doctrine for finding control, but had to borrow anew from patent.
Q: is there a constitutional argument against giving copyright owners veto power over non-Writing innovations?
A: Sympathetic to the notion, but surprised if there were a constitutional problem because both in patent and copyright the secondary liability doctrines extend outside the scope of the right granted.  Something that’s specially adapted to infringe that’s outside the patent still is subject to the patentee’s control. 
Q: copyright owner doesn’t have much influence over text once created, while patent owner has control over scope of claims, so it’s not just encouraging production but about shaping what incentives different people have to make claims in the first place.
A: doctrine of equivalents forces you to invent way around—so patentee has some control, but not all.
Beyond the Readymade: Michael Asher’s Skulptur Projekte Münster Caravan and the Challenges for Copyright Law
Shane Burke
This is a trailer placed around town as an art project.  Is it an artwork?  Lucasfilmstandard in the UK—definition of sculpture.  Having another use doesn’t disqualify something from being a sculpture; purpose is important and artistic purpose can be discerned by looking to communities/reception.  A pile of bricks temporarily on display in a museum is different—it can be a sculpture—whereas a pile of bricks dumped on a driveway in preparation for repairs isn’t.
Traditional definitions wouldn’t call Asher’s trailer a sculpture, but harmonization may force UK standard to be more flexible.  US standard: industrial product v. creative product.  Blanch v. Koons demonstrated more progressive attitude towards appropriation; Cariou adopted reasonable observer and deferred to institutional status of Prince as recognized artist—which may also matter in UK.  Conceptual separability: problematic on a number of levels.
Possibility of protection in the UK exists under an institutional theory.  Probably not in the US.
Gilden: Why is it important to protect this work under copyright?  What would infringement be, if it’s selection, coordination and arrangement?
A: infringement is a different issue—he is separating it out.  (Wouldn’t photos of the work at least if it were in a gallery infringe if there’s copyright? Or recreating a readymade?)
Q: different forms of art may be eligible for different types of IP protection.  Fluxus—a movement intended to be ephemeral. Would artists even want copyright protection?  Property rights—land on which the jetty sits for a famous conceptual artwork.  Problems of attribution: under American moral rights, the idea that attribution/integrity are important is hard to reconcile with some of these works.
A: yes, different solutions for different works.  Ascher was a Marxist into institutional critique of art world, so he might be turning in his grave.
Ochoa: should this be copyrightable?
A: moved from institutionalism away from it—he thinks © would be against the nature of the work.  Respect the artist’s own perspective.
Ochoa: if he wanted copyright you’d feel differently?
A: yes.
RT: What about the other part of authorship, attributing the thing to the author?  He’s definitely the author of an idea I’m willing to call art, but he’s not an author of the trailer.
A: comes from context, and the fabrication requirement has been relaxed.
RT: but there’s relaxation and then there’s not having a requirement at all.  I can’t understand a regime in which the maker of the trailer, or of toilets, could become an infringer if it continued to make trailers/toilets after Ascher/Duchamp.
Lemley: but only in museum context.
RT: makes no sense to me. We have a reproduction right for a reason.  That’d be a reproduction, unless the artistry is the idea, which isn’t protectable/isn’t copied by manufacturing.
Creating Around Copyright
Joseph Fishman
Constraint is getting a bad rap in copyright discourse.  We want the copyright system to promote creativity, and the usual view is that © affects upstream creative output incentivized minus downstream creative output suppressed.  Sum of that equation is argued to be a negative number.  (RT: I don’t think the people he cites, including me, argue that in the form presented.  We are arguing about marginal effects of increased protection on the curve, which we think we’re already too far down.)
Constraint is in fact often good for creativity, adding a third variable: downstream creative output stimulated by having to work around copyright restrictions. Our goal shouldn’t be to minimize or maximize constraint, but to optimize it.  Project: Preliminary steps to that.
Creativity to him means what psychologists have converged around: generation of products/ideas that are original and appropriate to whatever the task happens to be, defined according to consensus of particular community/audience.  This tracks real world assessments of creativity. Constraint ends up fueling creativity—your own recent scholarship may have involved coming up with a new idea/improving an idea by having to distinguish your claims from those before. Inability to license protected content leads to generation of some other creative output.
Star Wars began when George Lucas wanted to remake Flash Gordon, but couldn’t get the rights and set out to translate what he likes about the world of Flash Gordon into a new creative setting. Similar stories about birth of Mario, b/c Nintendo wanted to make a Popeye game but couldn’t.  DJs who, to get around restrictions on sampling, pushing sampling methods to more intricate territory.
Experimental evidence: more constraint can be better than less.  Appropriate exemplars become harder and harder to find—problem solving under constraint becomes more abstract and exploratory. People use analogies to build a new solution from the ground up. We tend to get a more diverse set of original products.  Removing constraints means that some other creations are never going to be made, and there’s no reason to assume that creations born of more choice will be better than creations born of less. That doesn’t mean we should ramp up constraints indiscriminately, b/c not all constraints have the same effect on creativity. We ask who is imposing the constraints, how broadly, when during the creative process it’s imposed. These are levers that can be pushed and pulled. 
Paper develops taxonomy and argue that © does better on some than others.  Where it’s on the right track: the target of the constraint.  The object that’s restricted.  Budget = target is money; deadline = target is time. ©’s constraint is different—constraint is helpful when it makes familiar exemplars harder to access. 
Still, copying can be used creatively too. Fair use emphasis on transformativeness sends a signal to downstream creators that they can copy if they transform.  Fair use functions as a constraint on downstream creators by telling them to stay on the right side.  Having to comply w/constraints of fair use ended up improving one poet’s poetry in the long run. 
His argument is currently theoretical, and can’t tell us whether current law helps or hurts on net, and even if we knew that it would be hard to parse out which aspects of constraint were helpful because there are so many different moving parts. Now designing controlled experiments, looking to see whether/how creative production fares under similar constraints to ©.
Dan Burk: Fuzziness of constraints—if you get too close that’s infringement—ensures greater distance?  Your theory assumes that the follow on creator has a number of choices. Interesting questions for merger doctrine.  Would support your argument.
A: substantial similarity/central claiming does tend to force outcomes with less reinvention of the wheel.  Does want cake/eat it too in that substantial similarity is unclear and clarity for downstream creators is valuable.  Headway is being made in fair use/becoming more predictable, not so much in substantial similarity. Clearer rule would help.
RT: [This theory is about how second-comers react, not about how pure copiers react.  You therefore have to have a theory by which Rosencrantz & Guildenstern are Dead is “less creative” than Star Wars.  I don’t think that theory can consistently be fit into copyright as we know it.]
“Constraint is good when it makes exemplars harder to access” equivocates on the meaning of “access.”  Copyright law can’t stop people from being familiar with existing designs, which is what happens in the experiments on which you rely. Instead an example given to them and they’re instructed by the law not to copy too closely—which is, incidentally, similar to the instruction that failed in at least some experiments.  Related to the problem that unlike the subjects in the experiments cited in the paper, the lazy creator actually has a whole menu of possible existing works both in the public domain (Clueless) and not (Outlander) that it can use or license if Game of Thrones is unavailable.  The make or buy decision, in other words, is quite different than the make or copy decision at least subconsciously faced in the creativity studies.  (I think this is related to the differences between patent and copyright and the fact that, as Barton Beebe has so persuasively argued, we don’t have an idea of what it would mean to have “Progress” in copyright, whereas we have a much better idea of what progress in the cellphone market means.)  Someone will license a sword and sorcery fantasy to you at a price that at least matches the cost of creating around Game of Thrones—other optioned properties, for example, include Marion Zimmer Bradley’s Darkover.  (Conclusion: someone who prefers to make a derivative work can do so if they are merely profit-maximizing and don’t care so much which work they ultimately make; copyright’s constraints don’t have the same punch for inventing around as they do for controlling pure reproduction.)
A: There are conflicting results on how much you get out of making something available for participants to look at in these experiments; other experiments find that you can give an exemplar and then tell people not to copy and they obey. [This is a standard problem of reproducibility, which also shows up in the work on verbal overshadowing I love so much; the studies used identical instructions.]  This is one thing we plan to look at in the experiment we’re running—a trade secret like condition in which participants never see the works they could copy from and another where they see it but are instructed not to copy and see what that leads to. Doesn’t have a great answer.  [I don’t see how that’s relevant to the copyright environment.  Wouldn’t you want a condition in which both groups saw the exemplar, but for one the instructions were that you could do anything but copy exactly versus a condition in which you couldn’t create something substantially similar to the exemplar?]
Wendy Gordon: good to look at areas where there may never be a full doctrinal/empirical payoff.  Bloom’s creative misprision may be of use.  Quote: “creative people are prisoners. That is to say they get captured and the only way out is to beat a path out …”  These constraints are “as functional as any jail cell ever constructed.” 
Forgotten and Abandoned: Section 113’s Limitations on Copyright in Works Depicting Useful Articles
Tyler Ochoa
Reproducing a useful article is not infringement even if it’s depicted in a copyrightable drawing or even a model.  We don’t want you circumventing prohibition on protecting useful articles by creating drawings of those useful articles.  Drawing of a useful article—e.g., traffic approach to bridge—doesn’t give you exclusive right to make the bridge.
Case law has gone off the rails.  Former employee of plaintiff copied blueprints of tire designs for underground mining vehicles and produced a range of tires based on the designs: Tire Eng’g & Dist v. Shandong Linglong Rubber (4th Cir. 2012). Jury awards $26 million in damages based on sale of tires.  Jury has no business awarding damages for the manufacture of tires at all–§113 precludes this, but it isn’t recognized or even raised. That is just bad lawyering in one sense, but §113 isn’t about protecting Ps or Ds—it’s intended to protect the public interest in useful articles, and should’ve been raised sua sponte.
Kohus v. Mariol (6th Cir. 2003): the work is a protable children’s playyard inclduing drawings for a latch locking the upper rails in place. P’s drawing allegedly infrined by patent drawings submitted by D.  Court says the latch is unlike others b/c it has different features—throughout opinion equate copying latch w/copying drawings of latch.  Case endorses abstraction/filtration/comparison, but their abstraction isn’t the drawing, it is the latch—elements dictated by the function of the latch, standard industry practices for constructing latches. Wrong! You need to filter out the latch!
Most recently, the Batmobile: DC Comics v. Towle (S.D. Cal. 2013): © owner doesn’t own © in movie, but in original comic series—claim Batmobile is derivative work.  But a 3D useful article is covered by §113, and merely depicted in the comics, though the logo might be different.
Q: these cases all seem to be “really” other kinds of IP cases—trade secret, patent, TM. Would these problems be solved if courts used the proper IP regime?
A: Yeah, that’s the whole point of §113—separating industrial design from copyright. But we never enacted separate protection for industrial design, other than design patent, people try to get that protection some other way.
Lemley: what does it mean to reproduce the copyrightable portions of the drawing in a useful article? There are a bunch of useful features in a Batmobile, but he takes it that those aren’t the copyrightable elements in the drawing of the Batmobile anyway—the wheels/chassis weren’t what made it creative.  Don’t we have a separability problem?  I couldn’t be liable for making a car, but why couldn’t I be liable for adding to the car the elements that aren’t useful or functional?
A: separability inquiry is necessary.  But there are several problems w/that in Batmobile case, b/c Batmobiles built for TV series didn’t look anything like the Batmobile in the comics.  Some features like the logo may be separable, but many of these features aren’t.
Lemley: if so, what is §113 doing for us that isn’t done by Brandir etc.?
A: even in a case w/no separability, like the mining tire case, we see courts awarded damages for making the tires.
Lemley: but wouldn’t that be true w/o §113?
A: codifies that you don’t get protection for useful articles just b/c you designed or drew them.
Gordon: separability isn’t a criterion for infringement.  You need §113 to do extra work. 
Toward Principled Justifications for Copyright Limitations and Exceptions
Pamela Samuelson
Comparative: Netherlands has 75 specific exceptions but no general fair use. Interested in taxonomy of exceptions for quite some time.  We didn’t have them for a long time, but then we had very limited rights conditioned on formalities for a very long time.  Exhaustion came up first. Fair use didn’t become meaningful until 20th century; instead it was first sale, compulsory license for musical works, and outright exemption for coin operated music players.  Even under 1909 Act the exclusive rights were sufficiently cabined that we didn’t need that many.  Now, you can’t read the Copyright Act all the way through—exceptions almost half of the statute, and way too long.
Bernt Hugenholtz has a taxonomy of exemptions.  Her project: working through the US exemptions and figuring out what and why.  Berne Convention’s mandatory right of quotation—promoting the next generation of authorship.  Other countries have fair quotation, parody, other things that here are mostly done through fair use to promote ongoing authorship.  Fostering public interest in free expression/access to information is another goal, and many countries have exceptions for news reporting, current political events and the like—again fair use does most of that.  A cluster of exceptions: those that protect privacy, autonomy, and ownership of consumers—fair use does some work, exhaustion does more, and §120 allows you to remodel your house even under architectural works protection. 
Most exceptions in national copyright laws are aimed to fulfill social policy goals—libraries, access for disabled.  Often have a remuneration obligation from the user community, present here in AHRA.  We have a number of exemptions that enable public institutions to functions—police investigation, etc.  Many countries have specific exceptions to allow that. There are an astonishing number of litigation fair use cases here.  Other countries have exceptions for things like reverse engineering.
Incidental use: fair use; ephemeral copies for broadcasters in §112 also found in other countries’ laws.  Euro. InfoSoc Directive has mandatory exemption for incidental uses with no independent economic significance.  Most interesting exemptions: those designed to cure market failures—compulsory licenses in §115 etc.  Starting to think about whether we have exemptions in US law because we don’t have collecting societies.  We exempt certain things and leave everything else to fair use instead, which is why educational use is still so controversial.
Many politically expedient exemptions—agricultural fairs, Shriners’ conventions, etc.  What about flexibility for adaptation in times of rapid change?  Some exemptions have more than one justification: §§110-111 is partly for innovation/software, but also partly for people who watch movies in the way they want to watch them.  Her categorizations seem to work for other countries too.  But: Dutch exemption for funerals—for the little people?
Core interest: what exemptions should exist in Next Great Copyright Act?
Mike Carroll: Doesn’t think the burden is that high for limitations and exemptions, because Act is designed to be overbroad and uniform across all forms of creativity, knowing that in fact our policies should not be that undifferentiated. Different means of tailoring exist—legislative as well as judicial (Altai).  Interesting problem is to do a policy audit, of which this is a version.  When you’re overbroad, you get a signal when people start to feel the pinch. When you say all of this is inefficient rentseeking, that’s not true, but some of it clearly is. Which is the right response v. people who just don’t want to pay.
A: yes, you see examples where there’s outrage over enforcement—WSJ’s anger about ASCAP’s efforts to get Girl Scouts to pay royalties for singing at camp.  Girl Scouts weren’t represented at the revision of the Copyright Act and couldn’t conceive that it would apply to them.
Q: exceptions for public institutions—isn’t that part of sovereign immunity?
A: not how other countries have conceptualized it.
Madison: you have a hodgepodge of categories.  Can you distill a smaller number?  Some are specifically designed to advance ©’s policy goals w/r/t creativity, and others designed to avoid spillover harms to adjacent regimes/public practices (privacy, avoiding conflict w/patent).
A: one of the risks of a project like this: looking at what we had from the bottom up. Unsurprisingly the overarching themes are evolving.
Josh Sarnoff: if existing subsidies of © are so excessive, how do we figure out where it’s really too much and cut back.
A: 1909 Act did try to figure out what works were protected and what was normal exploitation, and design rights to protect normal exploitation. 1976 Act: effort to Europeanize, grant broad rights w/exceptions, and they weren’t very systematic.
My unasked Q: Do other countries (than the Netherlands) have these weird politically expedient exemptions for the equivalent of the Shriners?

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IPSC part 6: copyright/TM enforcement

Fourth Breakout Session
Copyright and Trademark Enforcement
Do ‘Groundless Threats’ Statutes Curtail IP Over-Enforcement?
William Gallagher
Research interest: how disputes are negotiated and resolved outside of court, as most legal disputes are.  Studying it qualitatively, based on interviews w/lawyers and sometimes their clients.  Mapping the disputing process: what disputes arise, how does potential turn into actual dispute, how does it get resolved or enter the formal legal system. 
One issue: are there IP bullies?  Earlier work: enforcing lawyers’ own accounts indicate potential overenforcement because it works—when it makes business sense, they make very weak claims, and lawyers think it’s ethical and appropriate.
Some countries have a statutory scheme designed to deter inappropriate prelitigation IP threats, and so he decided to look at the disputing process in two jurisdictions with such schemes—Australia and England, w/laws dating back to the 19th century steam patent wars.  (Now I want a steampunk fantasy based on the 19th century steam patent wars.) 
Basic scheme: to deter bully-boy tactics.  English version: Injunctions, declaration that threat is unjustified, or even monetary damages are available: even the lawyer who writes the threat can be sanctioned.  Early findings: skeptical that statutes are effective.
It’s very difficult to police that area of social and legal life.  It’s a problem outside of the formal legal system.  The remedy is to enter the formal legal system, and there are obvious costs and risks to invoking that system.  It may make more sense just to lump it, especially when you’re dealing with sophisticated parties with experienced legal counsel. The statutes are complicated; savvy lawyers can figure out tactical ways to use their ambiguities and technicalities so they can threaten without recourse.  It is very rare to have published cases under these statutes, despite existing for over 100 years.
Critiques and amendments to these statutes have been made based on claimed unintended consequences.  Alleged: encourages litigation, because one of the defenses under groundless threats is that you have already sued; absolute immunity thereafter, even if you don’t serve the lawsuit/go further.  Lawyers have other tactics to get around the statutes.  Compare: discovery sanctions in the US are virtually unavailable.  Lawyers have incentives to tell the clients that the laws are highly complicated—but that just means that the clients need specialized IP counsel to get around them!  So it creates a need for lawyers.
Goldman: are there empirical studies in Europe?
A: Not so much; the most recent English report went through history, perceived problems—wasn’t based on empiricism, but on lawyers’ opinions.
Leah Chan Grinvald: the law commission published a report in 2014.  Some lawyers in that did say that the law impeded certain kinds of enforcement. 
A: right, maybe the exceptions have missed the problems.  The lawyers say two different things: they say to clients that the results clients want are available if they’re careful.
Matthew Sag: declaratory injunction standard? Role of fee shifting may also be relevant.
A: needs to find that out in further research.
Ramsey: categorical statutory rules (comparative advertising etc.)—do they matter to what claims do or don’t get brought at all?
A: also more research—need to be careful about the statutory context.
Tyler Ochoa: fee-shifting can also deter use of groundless threats statutes too.
A: that’s why he’s interested in one-timers versus repeat-players. One-timers seem less willing to take risks. Repeat targets have sense of when they should use the legal system and when not; one-timers worry about risks of fee-shifting.
The Criminal Copyright Gap
Eldar Haber
Criminalization increase over time.  More recently: analog high tech phase, then digital high tech phase. Vast amount of legislation increasing scope and punishment, incl. 1997 NET Act arguably criminalizing end user infringement.  More types of works, more types of actions, harsher punishments.
Is there a paradigm shift from civil orientation to criminal orientation?  Looking to enforcement, there are numerous units now designed to handle enforcement, e.g., Office of US IP Enforcement coordinator.  But that has not resulted in a consistent actual increase in criminal cases. Since 1986 there’s a big rise in criminal filings, but copyright cases haven’t taken a larger share of those filings.  More defendants, but still an enforcement gap.
Why the gap?   (1) Int’l agreements provide for enforcement, but can’t specify the level thereof.  Obliged to criminalize, but not obliged to enforce.  (2) Prosecutors aren’t particularly vulnerable to pressure from this group v. others.  (3) Deterrence—maybe the prospect of penalties alone worked, and enforcement isn’t necessary. Not sure how plausible this was, but House Report said that NET Act was just supposed to enable a few more prosecutions per year.  (4) Tolerance rate?  Rightsholders willing to handle their infringements through the civil system in most cases.  (5) Enforcement problems.  Trying to prosecute someone for $1000 over 6 months requires analyzing a database—when one household shares 1 IP address, you can’t tell who infringed.  Prosecutors also don’t know the total retail value.  P2P networks are slowing down because people have various methods of infringing that are basically now very hard to detect.  Criminalization is mostly from P2P, and if you’re not using that it’s very hard to prosecute.  (6) Gov’t guidelines: until 1985, there were no guidelines for prosecuting infringement, but that was supposed to change/get same attention as other felonies, though it didn’t.  (7) Prosecutors might not view it as important v. other offenses.  Resources.
Q: Israel?
A: mainly targets bootleggers/CD sales on street; we don’t have the NET Act.  Only larger operations like streaming websites are targeted.
Grinvald: on being hard to track: what about © trolls with mass filings against swarm, then use subpoenas to get more info.
A: haven’t seen that in criminal copyright.
Q: not surprised in gap—institutional environment drives enforcement rate.  Variables in cross country analysis might help.
A: trying to examine US because each country is unique.  Gap surprised him given congressional/legislative focus on getting more and higher fines.  Only on the books, though.
Q: take a look at revolving door phenomenon b/t agencies and copyright owner industries.  Get attention of prosecutors in ways that other criminal victims can’t—Megaupload prosecution, supported/instigated by copyright owners.  (Also Dajaz seizure?)  Given the amount of regulatory capture why isn’t there more of this?
A: interesting question for him too.  Hearing: Disney was asked if it had sought prosecution, and counsel said yes, and they’d been turned down based on limited resources.  But that was 14 years ago.  Political compromise, given interests on other side: law on the books enough?
Ochoa: consider overall level of prosecution. We have a very large prison population (though mostly state)—so many more prosecutions available that resources are put elsewhere—terrorism.
A: thinks that’s main issue.
RT: consider structural racism.  It’s not terrorism cases that are occupying federal prosecutors’ time.  It’s drugs.  © infringement is stereotypically white and nerdy, while there’s more support for laws that disproportionately affect blacks.) Compare drug use/other “victimless” or non-physical crime.)
Criminal Trademark Enforcement and the Problem of Inevitable Creep
Mark McKenna
Focus on TM Counterfeiting Act, federal version, though there are state level laws and issues.  There are many reasons to worry about state versions, but focused on federal b/c it’s an often ignored area, e.g. many people (including me!) skip it in the TM course.
Supposed to target most egregious forms of infringement—use of identical mark for identical goods listed in a federal registration, where core confusion is at issue.  Civil remedies are created to mirror this—some of what we’re seeing here may be spillover of civil rules into criminal side.  Claim of supporters: criminal sanctions were necessary because civil sanctions wouldn’t deter counterfeiters who regarded liability as cost of doing business, and increased damages weren’t enough because of the health and safety risks of counterfeiting (now funding terrorism has been added to the list of dangers).
Limited, narrowly tailored was the claim: state of mind requirement—must intentionally traffic in goods/services and knowingly use a counterfeit mark to trigger the statute. Definition of what counts as counterfeit mark: substantially increased level of similarity was supposed to be required.  Has to be “identical with or substantially indistinguishable from” a mark registered on the Principal Register.  Civil context doesn’t require registration or high threshold of similarity.  By contrast infringement liability is designed to work in cases where the similarity isn’t that great.
Statute also required likely confusion.  But these requirements have all been relaxed along every dimension you can imagine.  For example, post-sale confusion is accepted as relevant confusion for purposes of liability.  Knockoff luxury goods scenario—maybe that doesn’t surprise you.  Also some customs cases Congress was considering as part of the context involved knockoff luxury goods.  To the extent that the justification for criminal remedies is health/safety, post-sale confusion really doesn’t fit the mold.  Particularly pernicious effects at sentencing, because gov’t often argues that restitution should be based on full retail value of genuine goods, and that there’s a 1-1 substitution between genuine and counterfeit.
Courts have also watered down the substantially indistinguishable standard. Congress made a bunch of references to a particular case involving Rolex.  That case said: standard should be that the average buyer would, if familiar w/P’s mark, conclude that the infringing mark was in fact P’s mark.  Should be case by case, but the case law previously had been restrictive: Amazona v. Amazon not enough, and P superimposed over V wasn’t enough when the mark was LV’s L superimposed over V.  The cases nowconflate likely confusion with substantial indistinguishability—likely confusion becomes the test, collapsing into infringement test.  Cases also mush the two the other way: if there’s substantial indistinguishability, it then follows that the likely confusion test has been satisfied.
Courts compare the wrong thing: you’re supposed to compare the allegedly counterfeit mark with a registered mark, but sometimes they compare a composite mark to two separate registrations and find similarity.  Burberry case: plaid mark plus figural mark.  Court used market availability to determine that it was counterfeit, instead of looking solely at the registrations as required by statute.
Courts also compare the wrong way: assess similarity question from perspective of use in the market, rather than objective side by side comparison, then do likely confusion in the opposite way by looking side by side instead of market context. Both of those are exactly backwards.  Objective similarity is supposed to be distinct from market context, but likely confusion isn’t.
We are moving towards full overlap with infringement as courts relax standards. Whether you’re concerned about overenforcement of counterfeits or not, you should be concerned because of the greater IP context (even the greater federal criminal law context). Statutes enacted on the promise of narrow tailoring never hold narrow and cover lots more ground.  CFAA; civil seizure of domain names; Economic Espionage Act. 
Most radical claim: such lawmaking shouldn’t happen. If benefits exceed costs only if the law is narrowly targeted, you can expect that narrow targeting won’t work and your cost-benefit analysis should recognize this.
Less radical: if you do this (for example, revenge porn), you need to think very hard about how you’re going to cabin it, and we should search for limitation rules that work.
Grinvald: are there opinions smacking down the prosecutors?
A: only one routine pushback: when gov’t tries to prosecute use of TM on refurbished goods as counterfeiting.  That’s the only one—the other examples are appellate courts broadening the law.
Ramsey: What about more categorical limits/exclusions.
A: possible.  He worries because Congress had traditional uses of TM in mind, but it’s frequently used for product design. That’s a short step from enforcement against bag w/parts of design to use of product configuration—Indiana case said toy gun was counterfeit of real gun.  Courts in criminal contexts have no concept of functionality, etc.  Some categorical defenses might help.  Different but related problem in civil context: Almost every TM P pleads civil counterfeiting in run of the mill TM cases, and the concept of counterfeiting has lost meaning as a separate category.
Jim Gibson: CFAA is a good example.  But what if the harm is greater in forfeiture, seizure which we never see in the case law.  Certainly at the state level, grey market stuff is taken off the streets regular.
A: domain name cases—some involved resellers, which he teaches his students is ok.  Prototypical criminal TM infringer is a Chinese immigrant, almost always defended by PD who knows nothing about TM law.  All happening at plea bargaining stage.  Even more incumbent on courts to be rigid.
Ochoa: would be interested in followup: how often is this statute really being used?  More often than ©, but maybe not all that often.  That could catch plea bargains.
A: may be true.  Wonders whether, when there aren’t a lot of prosecutions, what that says about how you should feel about breadth—maybe makes them more arbitrary.
IP Liability and Policy
Knowing How to Know: Secondary Liability for Speech
Laura Heymann
[missed intro] We talk about burdens on ISPs, but not about what it means to know. In corporate law there is discussion of what it means for a corporation to know through its employees. 
One view might be: all you need knowledge of the activity that later turns out to be unlawful.  Turns up in Goldstein and a few cases. Theory is that infringement is strict liability; why should it be different for contributory infringer?
Disagrees: should have some requirement of knowledge of infringement.  Black dissenting in Sony: says that for injunctive purposes there’s always knowledge because infringement has been determined.
Law suggests there needs to be some awareness of character of speech for secondary liability to attach.  But how?  Courts have focused on means of acquiring knowledge.  Notice often equals knowledge.  At least when it’s DMCA compliant. 
Her suggestion: talking about “knowledge” in important contests is a misnomer.  Whether something is infringing/defamatory is a legal status, that is determined by a court that has the power/ability to declare that status and have it respected going forward. Something is not infringing or defamatory, as a fact, until that adjudication happens.  When we say “did they know it was infringing?” we are asking “at the time of activity, what is the likelihood that a court would find that material infringing (or defamatory)?  Did the D engage in a proper risk assessment of what a court was likely to do at some future date?”  Saying something is fair use doesn’t make it so; any lawyer will couch advice in terms of prediction.  Letter from © owner isn’t “knowledge” of infringement; they’re not always accurate in their assessments of what infringes.
We mean prediction, not knowledge.  A theory of justified true belief can help. In order to say you “know” something, there has to be a tie between the facts you have and the likelihood of something happening in the future.  We rely on predictions all the time: if the announcer at the train station says a train will be 20 minutes late, we generally believe that the train will be (at least) 20 minutes late, without considering the announcer’s reputation for truthfulness or the likelihood that an unauthorized person has taken over the PA system.
Thinking of it this way can remove us from a binary system and give us more of a scale—looking at the nature of the info available at the time to the person. May help mitigate hindsight bias.
Q: Restatement?
A: That does make distinctions between knowing/having reason to know/should have known etc. Her project is to parse out those distinctions.
Tun-Jien Chiang: agrees w/basic epistemological claim about nature of knowledge, but predicate may not be necessary: jurisprudential claim about the nature of law may be unnecessary. When you say that there’s no murder until a judge determines that’s what my killing with malice aforethought was, you’re making a very strong claim.  Do you really need that predictive model for your ultimate conclusion? 
A: we’re not basing liability on the knowledge of having committed murder, we’re basing guilt on the fact of having committed murder.  But here it’s different.
Followup: right, but you’re making a claim about what it means to know as well as a claim about what law is.
A: may not be necessary, but predicate of liability is knowledge of something that does not in fact exist yet.
RT: Same thing as Chiang (it’s not murder without the mens rea, and mens rea is what the court determines it to have been based on what you were thinking at the time—whether it’s malice aforethought is a legal conclusion; I think, under Heymann’s model, that what you were thinking is the nonlegal facts that may or may not constitute malice aforethought). Suppose I believe, contrary to your intermediate claims, that there are “wrong” court decisions, and thus fair use or infringement is time-invariant.  This has important political valence w/r/t fair use.  Does your end argument still work?  I think it can. 
Thoughts on the Vimeo case, where the court found that awareness that a whole popular song was present counted as actual knowledge of infringement?
A: That’s an instance where the court is using a prediction model—the likelihood might be very high under those circumstances.
Site-blocking Orders in the EU: Justifications and Feasibility
Faye Wang
[missed intro; darn these long hallways!]  Hosting providers can do takedown; other entities may be able to block access—the Q is their responsibilities.  Search engines: where should we consider them to fall?  Search engine as data controller in recent EU privacy decision: obliged to remove certain results on the basis of a search on the person’s name.
DNS blocking: easy but easy to circumvent.  IP address blocking: similar, higher risk of overblocking with shared IP addresses.  URL blocking: most targeted but costly.  Packet inspection (including direct packet inspection, DPI).  Hybrid: IP blocking coupled with DPI as possible solution.
What criteria should be taken into account?  Speed of implementation, cost, blocking effectiveness, difficulty of circumvention, compatibility w/ judicial process, integrity of network performance, impact on legitimate services.  Site blocking injunctions are allowed to comply w/EC Directive on Copyright, which provides for injunctions against intermediaries.  EC Directive on Electronic Commerce provides exceptions and limitations on enforcement.  Directive on IP Rights Enforcement of 2004 is also relevant.
CJEU has been asked to interpret: service providers have no general obligation to monitor.  Most recent CJEU case: UPC v. Constantin Film—whether an injunction should specify specific measures to be taken.  Injunction issued mandating DNS and IP blocking for films; then higher court issued injunction without ordering specific technical measures. ISP appealed, and CJEU said that failure to specify is ok when the ISP can avoid incurring coercive penalties by showing it’s taken all necessary and reasonable measures, provided that internet users’ lawful access isn’t jeopardized and that the prevention of unauthorized access was made difficult/unlikely.  (Gee, thanks.)
Various examples of different practices within member states.  Some have found that site-blocking has proved ineffective.  But injunction without specifics doesn’t seem compatible with common practices in most states.  DNS blocking has been ordered by Spanish and Belgian courts, while hybrids have been ordered by UK courts.
Pros and cons of issuing injunction without specifics: It’s understandable that courts give intermediaries freedom to decide the means to be used given their technical knowledge—gives them flexibility. But ISPs may not be in a position to foresee the appropriate balance between copyright and users’ rights/right to conduct a business.  Unbearable burden on service providers to determine specific measures and prove their suitability, specificity, appropriateness, and reasonableness.  Result: uncertainty/inconsistency.  Need for harmonization.
Suggestions: use formal scheme of injunctive relief based on relevant criteria, similar to what exists in DMCA; enhance principle of proportionality and strike a balance; provide general guidance on determination and deployment of proper technical measures; where necessary, use a court appointed expert to recommend specific technical measures on case by case basis; incorporate complementary measures into site blocking system to improve effectiveness/limit overblocking, for example by implementing notice and takedown w/in member states and delist results from search engines—establish coherent and systematic framework for reducing online copyright infringement.
RT: Not sure this description of “pros” is fair.  The ISPs don’t seem to want this kind of freedom.  Isn’t the “pro” that copyright owners get more of what they want, which at least they value?  We can definitely call that a pro if we want, but I think we should be honest about what it is—not a benefit for the ISP at all.
A: true, ISPs don’t seem happy with having the burden of balancing.
Ramsey: note criticisms of US DMCA.  Do you propose any remedy for people who are harmed by the blocking injunction?
A: ISP is supposed to ensure other users’ rights are protected.  [I think this is part of the problem, though. The ISP isn’t a good balancer.  Why isn’t there a remedy against the copyright owner who caused the problem?]
Q: why would specifying measures make them any more technically feasible?  We are already seeing delisting orders—but incoherence nationally v. globally—can they be made consistent?

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IPSC part 5: more copyright

Third Breakout Session
Copyright and Competition
Copyright’s Technological Interdependencies
Clark Asay
Technological patrons depend on copyright for their motivations.  Copyright is an interdependent part of broader creative systems. Dichotomy between patronage and copyright as alternative systems is wrong.  They work together to bring about creation and innovation.
Examples: software and hardware development kits and related platforms.  (Apps on Amazon, Apple.)  Providing these products facilitates production of/access to more creative works.  Those creative works then trigger additional innovative activity.  Content creation/hosting (YouTube).  Netflix/Amazon original series—produced in order to lure people to the technological products they want people to use, so they subsidize the creation of content/strike deals with content owners.  Free & open source software.
Legal examples: digital fair use (Google Books)—innovation to take advantage of works/provide additional value; digital first sale (e-lending, shared accounts); software copyrightability (Oracle v. Google).  Growing interdependence of tech innovation and creative activity.
Doesn’t mean to suggest that all is well.  Tech patrons can have so much power in an area tha they can cause problems.  Troubles: Amazon-Hachette fight (intermediary undermining creative production?); YouTube v. indie labels, YT exercising market power; antitrust law is a necessary part of the broader landscape.
IP clause treats inventors as important to creativity—“Science and the Useful Arts”—so recognizing interdependence is important.
Copyright Authorship and Interpretation
The Authorship Rights of Performers
Mary LaFrance
Context for emerging conflicts: digital tech allows DIY recordings; creators overlook WFH b/c they’re amateurs or very very inexperienced professionals.  Impromptu on the street videos of strangers.  Recording artists sending termination notices to record companies. Athletes. Subjects who pose for photos, like celebrities, fashion models, etc.
Verbal formulations of authorship standard assume sole authorship: default is one person. Many formulations focus on control, which also lead to idea of sole authorship.  Standards thus disfavor claims by performers; intent to share authorship status is required though they can’t really articulate what that intent is. Usually director/producer has no intention of sharing authorship with performers. Also requirement that each contribution is separately copyrightable can disfavor performers because who contributed what can be hard to determine after the fact—did the director instruct the actor? Presumption tends to be that actors don’t do much. Subtleties of facial expression—are those contributions of copyrightable expression?
WFH: CCNV v. Reid cited the Restatement of Agency, but didn’t track source accurately.  NLRB cases are much more like the Restatement.  Compares copyright and NLRA factors used—almost half the factors on which CCNV relied were not in the Restatement (right to assign additional projects, when and how long to work, hiring and paying assistants, employee benefits, tax treatment).  NLRA cases: nonexhaustive list: some used in CCNV, but also include whether parties believe it’s employment, whether individual shares in entrepreneurial risk/reward, individual engaged in distinct occupation or business (shared factors: right to control manner and means; skill required; who supplies tools; who supplies place of work; duration of employment; payment by time v. payment by project; relation to hiring party’s regular business; whether employer is in the business of doing X).  NLRA has now gone in direction of entrepreneurial risk/reward.
Where did the non-Restatement factors in CCNV come from?  Right to assign additional projects came from copyright case, but the others came from tax, ERISA, and labor law cases—a mongrel.  The copyright case also mentioned whether the artist worked for several parties at one time as evidence of independent contractor status, and whether the artist was hired through channels the employer customarily uses for hiring new employees—SCt chose to ignore those factors.
Conclusion: awfully malleable test; can pick any one you want. Not sure instructive for considering who really is an employee for © purposes. Someone could be employee for labor/tax purposes but not ©.  E.g., musician represented by AF&M in his/her employment—is that © employee status? Could be divergent outcomes in different circuits.  Labor contexts routinely disregard labor loanout arrangements.
Garcia v. Google: doesn’t resolve these issues satisfactorily.  No agreement on employee status; not enough in the record.  Author of performance even though not author of film—how can her performance be a copyrightable thing except insofar as fixed in a tangible medium which is the film?  Dissent says she’s author of nothing. Better answer: joint work, but neither side argued that. 
Inadvertent performers: people who don’t intend to perform, or don’t intend to be recorded. If they do consent to fixation, recognizing authorship could allow the person to control/suppress distribution.  That is a problem, but joint authorship might help solve it.
Triggering Competition
Kristelia Garcia
Penalty defaults: affect music negotiations.  Applying this to collective rights organizations, not just statutory licenses as in previous work.  CROs can have similar problems of being one size fits all, and can function as penalty defaults.  Parties who look to cut around CROs have some advantages—they can get a higher rate—but drawbacks include adverse selection b/c big powerful companies are the only ones that can decide to go on their own, leaving behind a weaker CRO to serve weaker entities.  Potential for anticompetitive conduct, “bordering on collusion” (Pandora v. ASCAP). 
Pandora is her case study.  SDNY is the rate court.  Major music publishers (there are only 3 left) decided for the first time ever to withdraw digital rights from ASCAP.  They didn’t say outright that they needed ASCAP to help with physical world enforcement but not digital. They said they didn’t like that record companies were getting more money than they would.
A vote in favor of private ordering—got up to double the rate that ASCAP got.  The ultimate ruling by Judge Cote: Nope.  Can’t withdraw just digital rights.  Paper argues that §106 explicitly says that copyright owners can split up rights. But sympathetic to judge—they’re colluding.  Still, shouldn’t contravene federal law.
System isn’t working.  The DOJ allowed us to get to the point where there are only 3 major publishers left; the rate court contravened federal law; adverse selection causes problems for musicians and songwriters who were promised higher rates, when companies actually negotiated big advances and lower rates.  Time to reconsider competition policy in copyright. Should not assume robust competition in the marketplace. Statutory licenses are circumventable/opt-out from CROs both possible based on the assumption of robust competition.  If that’s wrong, we need to change.  Inverse competition model would assume monopolistic power—licenses could be mandatory, like §111 and §119, with a license to petition for ability to circumvent.  Telecom Act has similar provisions for incumbents to petition for exception to interconnection rules if they show robust competition exists.  While technically songwriters can withhold rights, in reality there’s no practical way to do so; CROs may in essence be a statutory license.
CRO could compete with withdrawing member in her proposal—that would be a statutory license proper.  These mechanisms would reduce anticompetitive harm while allowing private ordering under conditions of competition. Use existing regulatory authorities like CRB. Requires minimal amendment to Copyright Act. 
RT: but isn’t the rate court in existence because of antitrust law?  Why does preventing a violation of the Sherman Act contravene §106?  Compare: violation of defamation law, or even right of publicity under current doctrine. May prevent you from splitting rights as you’d prefer (cf. Wendt v. Host which precludes licensing creation of derivative works) but current doctrine says that’s not a problem, and if it is a problem it’s a conflict preemption problem.  Preclusion would be the analogous issue here.  (If it’s possible to abuse a copyright and be subject to an antitrust remedy (cf. Microsoft), I don’t think that divisibility of copyright should have separate force in the antitrust analysis.  Interfering with divisibility seems to me the same thing as interfering with an exclusive right or a right to license for these purposes, unless there is something special about divisibility.)
A: thinks there’s something different about precluding divisibility.
Carroll: the remedy for a violation of antitrust laws is this consent decree, and the judge is determining the scope of the remedy—this isn’t a copyright judgment, but giving effect to an antitrust remedy to which you’re subject.
Asay: but the judge said you’re in or you’re out of the consent decree.
Carroll: that’s an antitrust ruling: you can’t use a little bit of market power in one area and not in another. If you’re going to exercise market power by being part of ASCAP, you have to be part of the consent decree.
Q: precedent for simultaneous licensing by CRO and copyright owner for broadcast networks—ASCAP can make license available, but they’re required to let you negotiate program licenses with the copyright owners too.  ASCAP can’t be the only place you can go = precedent.  Music companies would argue that they can withdraw, but it’s a precedent for avoiding supercompetitive rates.
A: that’s her theory
Information Product Redesign as Commercial Expression: Antitrust Treatment of Speech and Innovation
Hillary Greene
Each speaker has expressed some malaise with respect to competition policy/antitrust. (NB: LaFrance was a different session I ducked into b/c of my interest in Google v. Garcia; the remaining presentation in this session was about DRM and ebooks.)
1st Circuit, reversed in Sorrel v. IMS: just because their product is information instead of beef jerky, plaintiffs contended that any regulation was a regulation of speech.  How seriously will we take this?  What shall we do with ever-increasing speech defenses that your effort to impose antitrust law on me violates my free speech rights? Wrapped up with core challenge in antitrust: how to analyze innovation-based defense arguing that innovation is pro-competitive offsetting anti-competitive effects.  Current treatment is all-or-nothing and that’s not a sound approach.
Google’s search dominance as an example (Nielsen is another in the paper).  70% of general search engine market; changes in algorithm have sometimes resulted in antitrust investigations or litigation for disadvantaging vertical competitors.  Volokh & Falk white paper: First Amendment protects search engine results against antitrust law. 
Core value in antitrust: managing tradeoffs.  But antitrust is better with apples to apples tradeoffs.  Speech in this context is a noneconomic right that antitrust law doesn’t handle very well. Innovation is something antitrust law really supports, not just price and quantity.  Notwithstanding, it still has a really hard time operationalizing that value and making tradeoffs: you see a binary treatment for both speech and innovation, all or nothing.
Political speech/speech petitioning gov’t is immunized, no matter how anticompetitive; but pricefixing as communication gets no protection. Both of these outcomes are good. But it breaks down in the middle. E.g., to protect NAACP boycott in Claiborne Hardware, Court had to ignore facts in record (some boycott participants had economic interests in conflict with boycottees); even though the result was right, the analysis was wrong and an example of distortion caused by all or nothing approach. In commercial speech and defamation, courts have alternatives.
Similarly with innovation: courts sometimes claim to balance innovation against anticompetitive effects, but they never actually do—don’t admit that product redesigns can have both pro and anticompetitive effects; they allow small innovations to overwhelm larger anticompetitive effects.
We need to admit this is hard but start picking off the easy suspects (innovation small, anticompetitive effect large).  Similarly, immunize political speech but not pricefixing, and then give low level of solicitude to speech inherent in Nielsen ratings and Google results—low but not nonexistent.  A plea for a middle ground.
Q: the Google argument is that Google is engaging in some form of fraud.  On the other side, Google might be afraid to say that a page owner’s willingness to pay to raise results is good evidence that the algorithm got it wrong, so that’s not a problem.
A: First Amendment route is to say that the algorithm is an opinion. The other route is to say “I’ve made technical decisions; don’t second-guess me.”  Nielsen: says it makes decisions about how to sample.  Real terror of having to second-guess the market.  You see that also with Google.  Assumptions built in to what kind of harm to innovation will occur if court gets into second-guessing.  That is indeed worrisome but it’s unclear how much of a morass that will be.  Thus her idea is to start in the corner where there’s trivial innovation but clear anticompetitive harm.
Q: framing similar to net neutrality debate.  First Amendment interests of third parties are also relevant—interest in access to search results.  Competing First Amendment interests also need balancing.

Posted in antitrust, copyright, google, http://schemas.google.com/blogger/2008/kind#post, music | Leave a comment

IPSC part 4: copyright (and a bit on the right of publicity)

Second Breakout Session
Copyright Fair Use
Raw Materials and Creative Works
Andrew Gilden
Raw materials concept is part of transformativeness in copyright and right of publicity cases.  Project: Examining the application and meaning of this concept.  Noticeable differences—cases seem to privilege by wealth, fame, race, and gender, rather than by whether there’s interference with commercial interest of plaintiff.  Ethically troubling: does not address why people incorporate existing imagery into their work.
Distributional patterns in ~30 cases that use the trope. Largely favors big names who appropriate from small names.  Koons, Prince, Sega, Green Day.  Not Mr. Greenwash or people who appropriate from Seinfeld or J.K. Rowling.  This is troubling because small artists need to rely more on fair use to create their work. And if injunction is unavailable, the big guys can afford to pay even statutory damages.
Gender and race implications as well: in almost every case the raw material is a woman or a black man (or a portrayal of same), with the sole exception of the albino Winter brothers in Winter v. DC Comics.  This is related to the meaning of “raw materials.”  Raw is an inherently relational term.  In need of cooking, purification, transformation into higher/more refined/more palatable state.  Is sushi just raw fish?  Is wheat raw material for bread, or is bread raw material for toast?  That needs some external referent.  Courts fall back on cultural hierarchies/notions of what is and isn’t legitimate art.
Normatively: channeling fair uses towards defendants who display lack of empathy to plaintiff/plaintiff’s works—Prince’s works using naked bodies and mangled faces; Green Day putting picture in religiously fraught context; DC Comics making the Autumn brothers half-man and half-worm.
Solutions: (1) stop talking this way and talk about inspiration and dialogue to get at importance of taking without imposing hierarchy; (2) creative process test detailed in paper whose thrust is that liability should hinge on defendant’s subjective experience of engaging in creation, not satisfaction of audience’s standards for artistic merit. Doesn’t want to throw away precedent, but look under the hood of the work.
Linford: payoff: do the case results change any?  You want broader/more fair use, but the Winter analysis suggests some plaintiffsare being underserved. What kind of shift should we look for?
A: thinks it would be broadening of transformative use. We don’t have a good sense of what the harms at issue are.  (I wonder whether you could appeal to Dan Kahan’s work on what kinds of reasons are more/less insulting to worldviews.)
Wendy Gordon: devaluation of women as raw materials. Could lead to contraction to make things more equal, not just to expansion.  T-shirt with drawings of Three Stooges: more wrong or less wrong?
A: he doesn’t want to think of anyone as raw materials.  Marilyn Monroe and Three Stooges should have equal rights of publicity.
Q: will this overlap with a new look at fair use generally/derivative works?  Can you really look at transformativeness alone?
A: thinks this is distinct from Google Books; transformativeness is a useful umbrella, but the interest here is new expression rather than some other social benefit, and should be kept analytically separate.
Law Firm Copying and Transformative Fair Use: An Examination of Different Purpose
D.R. Jones
Recent lawsuits against law firms in connection with patent application filings, where firms made copies for clients and for internal use. PTO intervened, arguing that the use was fair. One case settled quickly; two district courts reached decision that defendant’s use was fair.  Plaintiffs dismissed the appeal of one, and dismissed a pending case (still in discovery); litigation is essentially over.  Interesting case study of analysis in fair use: the discussion of transformative use; use of “purpose” in analysis; determination of fair use markets.
Both cases determined that defendants’ use was transformative based on different purpose, not on alteration or change in the works. Trend in the doctrine: Change in purpose is more important than change in actual work.  HathiTrust & Swatch v. Bloomberg—in the latter, the first opinion didn’t focus on the different purpose, but superseding opinion added several paragraphs discussing different purpose in use of a recording without alteration. Other cases protect uses in litigation.
Fourth factor: judicial proceeding cases find no effect on the market. If there is a market, there’s a very limited effect given the difference in purpose.  Often there is no market—plaintiff registered in order to manipulate use of work in judicial proceeding. In the lawsuit cases, the judges found no effect on the market for the original articles, many of which were older.  Difference: plaintiffs argued that they lost fees from the copying. This is different because plaintiffs argued that a ready market for licensing existed, citing Texaco and Michigan Document Servs.  Demonstrates continuing effort to focus fourth factor on copyright owner’s incentives and rewards.  Does not address whether there should be a method of payment, only whether there is. Very persistent argument. 
Cambridge v. Becker, Georgia State e-reserves case: states that the publisher’s right to collect fees is a powerful argument countering fair use which counsels against D when there is a reasonable licensing mechanism available that isn’t used.  Even in a nonprofit educational use case.  Idea that is easy to get these licenses.
Fair use markets: Castle Rock introduced it, and Dorling Kindersleyused it: the availability of licensing won’t count.  Hinged on concept of transformative use.  There still remains a lot of confusion in application.  It’s a messy fit when there’s no alteration in content.  Maybe another way to define a fair use market: we can’t rely on decisions of copyright holders to consider all relevant values and interests.  Judicial proceeding cases offer an example: they rest on the societal benefit of presenting all relevant information in a judicial proceeding.  Having a different purpose or fitting within a type of cases that often supports fair use isn’t enough; you have to look at deeper underlying reason we want to consider providing fair use in this case—what’s the copyright owner’s interest in this case looking at the whole picture?
Rebel Without Good Laws: James Dean and Posthumous Publicity Rights on Social Media
Jeff Roberts
@JamesDean Twitter account ran for several years (now suspended)—a fan who posted photos and quotes/statements about Dean.  CMG Worldwide claims to own Dean’s right of publicity; sued Doe and Twitter—they claim to protect his rights and the rights of other celebrities “then, now, and forever.”  Case seems to have gone nowhere; Twitter does not go on record.  New frontier of trolling—publicity rights?
How did this come to be? Postmortem personality rights are hard to understand.  Indiana: 100 years postmortem; California: 70 years; NY: none.  Weird results—Marilyn Monroe died in 1962 but has no postmortem rights because she died as a NY domiciliary/took advantage of NY’s estate law; James Dean died 1955, off limits until 2055 (?). 
Issues: (1) jurisdiction.  Where can CMG assert this right?  If tweets appear in Indiana, is that enough?  (2) Tension between state laws and Lanham Act.  (3) Is this a personal right or property right? Now appears courts converging on property right.  (4) Normative justification: hard to justify under Lockean labor theory, natural law, or other theories of property.
CMG claims rights in people in many fields—literature, architecture, “humanitarian,” military, aviation, science/medicine, etc.  Got Indiana to pass very favorable law and promotes it elsewhere.
Limiting mechanisms: fair use (copyright); federal publicity statute; constitutional limitations including full faith and credit; Rogers test from Lanham Act; or something else?
Ramsey: Bob Marley case against Avela—involves state right of publicity, and also using Lanham Act for false endorsement. Can you have false endorsement when celebrity is dead? The heirs say it’s a quality seal and that they only approve certain uses.
Matt Sag: consider moral rights.
A: aren’t moral rights tied to creating? Don’t you need a work first?
Q: but using someone’s name on a painting they didn’t paint violates moral rights.
Roberts: looking for other examples of states trying to give home-field advantage.  (1-800 Contacts?)
McKenna: Indiana is worse than you think, because it covers anyone who died anywhere as long as the use happened in Indiana.  Marilyn Monroe has a right of publicity in Indiana.
All of This Has Happened Before and All of This Will Happen Again
Rebecca Tushnet
My topic: New models of licensing or practices that are not even licensing, being used by large content owners once again to enable the argument that there’s no need for fair use.  But as with CCC before them, the new licenses don’t change the fundamental policy and normative bases for fair use.  Overarching concerns, present for all the models I’ll discuss, happy to discuss more in Q&A: effects on the privacy of users and their audiences, the risks of creating monopoly chokepoints for an aggregator in a particular content space, and the new models’ continued right of suppression of unpopular or critical content.
Getty Images, providing access to many Getty photos: not even a copyright license, just a way to embed an image.  Can’t resize or memeify.  Getty doesn’t know how it’s going to monetize it, but really really hopes to do so. Query whether this even counts as a licensing market for purposes of factor four fair use analysis.
Content ID, for identifying sound and video: not a license to the uploader, but to YouTube.  Monetized using ads, not license fees.  Another question of factor four: if the usual formulation is whether the user paid the customary price, the customary price is zero.  So this is a different kind of foregone gain—potentially lost revenue from third parties who experience the defendant’s use—than the traditional licensing cases have held to be relevant to the effect on the market.
Amazon Kindle Worlds: this one is a license, though a retrospective one, and unlike the others provides for a revenue split between the author of the work based on an Amazon licensed property and Amazon and its partners.
Small detail, unnoticeable to lawyers because it’s part of the air we breathe but devastating for creative fan communities, which are sometimes overwhelmingly and usually significantly populated by minors: mandatory exclusion of anyone under 18 because they can’t contract unvoidably. Imagine: you can’t show your art to anyone if you’re under 18; you can’t buy pencils if you’re under 18.
The monetization model is particularly interesting because it represents a crack in the wall—long valorized by both large copyright owners and many fans themselves—that the line between tolerated use and infringing use was commercialization.  Substantially more content restrictions than the other models.  For example, you can’t make a GI Joe character a Yankees fan or make Bloodshot characters behave in out of character ways, but along with those idiosyncrasies there are also standard restrictions on explicit sexual conduct and so on. 
Separate, but magnifying the effects of these limits: monetization changes the culture of freedom, both from creators’ side and from consumers’ side.  Noncommercial communities “pay” for content with feedback, help people improve their art—even useful for learning a foreign language, since native speakers will help you with your language in order to get more of the stories they want. By contrast, you can’t use Kindle Worlds to improve your craft because people don’t generally pay money to help other people improve their work.  Destructive of creative ferment supported by communities.  Individualizing nature of “participation” on these sites—audience with fans, rather than fans interacting with and responding to fans.
Amazon’s model may prove attractive to others—the makers of My Little Pony just announced a similar scheme. If they approve your custom design, you can sell it on a dedicated site and split the revenues with them.  Contrast the five selected artists with the My Little Pony sculpt community on DeviantArt, just one of many fan venues—lots more variety.  And like Amazon, which prohibits crossovers or mashups, Hasbro will never sell my favorite modification: My Little Spock.
Sheff: There may be a tension b/t what might be good for copyright/fair use and what might be good for communities.  B/c these kinds of tolerated uses are limited in this way, transformative uses that don’t comply with those uses are inherently protected. Might be good for some transformative users who create critical works, but not good for communities.
A: But that assumes that there are a bunch of critical creators who aren’t considered fair users now; I don’t think they’re at risk and even the new licensors purport not to want to interfere w/the classic trashing uses.  I don’t have to face a tradeoff if those people will be protected regardless; I can focus on the context from which they arise—you don’t get Shakespeare without hundreds of playwrights whose work does not survive.
Gibson: midway point between completely unregulated fair use and complete control?  Derives from importance of canon. Some might thrive knowing they’re official.
A: Not true as a matter of fact—these uses don’t become canon; it’s totally ok for Brandon Sanderson to finish the Wheel of Time and be considered canon, but that’s not what’s going on here.  And I have no objection to the existence of these models, as long as they aren’t considered to justify shrinking fair use.  More a matter of ecosystem diversity.
Gordon: market failures exist that have nothing to do w/lack of negotiation but social goals.  One of the social goals from overenforcement is a world without censorship.  Owners of iconic works may have too much neurotic urge to control.  Bite the bullet of challenging the self-protective desires that should be characterized as censorship. There is a tradeoff between freedom to speak and dignity of the author.
A: I would say it differently, since I think the offensive uses are likely to stay fair regardless.  This is what I want to do with the idea of community: iconoclasts come out of contexts.
Michael Madison: communities doing their own thing, and participants in Hasbro-endorsed mods.  Are these separate populations?
A: depends on the community. Hasbro apparently recruited from fan communities; Amazon did not.
Madison: is there community objection to this?
A: can be very controversial.  If people gave you rewards in the noncommercial space and you try to leverage that commercially, some community members object to that.
The Right to Parody and User-Generated Content
Peter Yu
Parody is still controversial in Hong Kong.  Claim that IP rights are human rights and thus more protection is required.  Relevant human rights provision: Enough protection to provide adequate standard of living.  But that’s not as strong as current law, which protects more than that. The right to parody wouldn’t create tension within the system.
Another question: whether IP contains internal limits, or whether we need to go outside to appeal to things like First Amendment/free speech.
Will the same analysis apply to TM parody?  What about design?  What do human rights have to say about those?
Options: fair dealing exceptions for specific list—commenting and quotation or more than that, all the way to transformative use.
Q: baseline: is it that nothing is allowed unless mentioned, or is it that there is freedom unless there is a justified restriction?  Onus on copyright to explain why parodies should be limited.
Commonwealth jurisdictions: 1911 act that codified fair dealing, never thought that was anything new or important; nobody thought that various things were infringing in the first place.
A: He is working from current law, where they are negotiating what the new level of protection will be.  There is different level of opposition to different limits—private copying and parody.
Gilden: how much is transferrable to a different speech culture? Americans have notion of parody as core of fair use. Is that so linked to our First Amendment culture that it doesn’t transfer?  Suggests that satire might be at the core for the uses Yu identifies.
Q: Fair dealing is the European model, with enumerated list.  You are suggesting that fair use shouldn’t just be a defense, it should be a right.  Canadian court has called it a user’s right.  But that case was highly controversial.  If you are starting from user’s right perspective, does that give the users a right to use existing work to satisfy their free expression interests?  Parody is a derivative work, but you need permission—or fair use. 
We don’t need to treat satire the same as we treat parody. 
A: There is still an academic debate about fair use as affirmative defense. 

Posted in copyright, fan fiction, http://schemas.google.com/blogger/2008/kind#post, presentations, right of publicity | Leave a comment

IPSC part 3: judicial panel

Judicial Panel: Chief Judge Diane Wood (7th Circuit) and Chief Judge Alex Kozinski (9th Circuit)
Peter Menell: Discussion question: is IP common law?
Wood: throughout the federal level, we are not a pure common law system, nor a civil law system. Since the outset we’ve been a hybrid, which is a background against which Congress legislates.  Obviousness in patent: what is that? The only thing to do is turn to decisions. Courts have to put meat on the bones, and lawyers have to advise clients accordingly.  Could IP be captured in words better?  If you think so, go to Congress, but she’s not bothered by present situation.  You can have ERISA if you want, or Clean Air Act with precise rules and precise regulations.
Kozinski: has a very different feeling about what Congress wants when he interprets the tax code. IRS has interpretive authority; very clear that generating activity is not our mandate in the tax code.  When you interpret a statute governing IP, you expect to come up with situations that are new and that Congress would have expected judges to address, rather than saying “Congress hasn’t spoken so we’ll deny the claim.”  Judges have a fairly broad mandate in light of anticipated changes in tech that create new problems.
Wood: when something is so different from what has come before, as ISP problem seemed to be in Netcomcase, you’re left with only a few choices. You can say “it’s so different it’s not covered by the statute,” which can be unsatisfying.  But most judges don’t prefer that approach for a law written as broadly as patent/copyright laws—Congress is trying to say that you should put things in one box or another: is there infringement or isn’t there?  Cautious opinion: try to find a result that draws some boundaries.
Kozinski: distinguish between what judges do and what they say they do.  Judges reach results and then they come up with arguments to support them.  Textualists find textual arguments and touchy-feely types find touchy-feely arguments. But we aren’t as different from each other in how we reach conclusions as we pretend. 
Menell: Copyright Act of 1976 has decades of public hearings behind it, while DMCA was drafted quickly and secretly. Do you think of those differently?
Kozinski: never thought of it.
Wood: Hope Kozinski is right about people who call themselves strict textualists.  She doesn’t just stare at the text of the statute.  Think about what these words mean in the broader context of the subject matter Congress was addressing.  She won’t go so far as to say judges start w/ result and then give reasons, but much academic literature on how judges think is a little weird for judges (bugs under microscope).  Before computers, you could trace judges’ papers/drafts and identify jettisoned theories—that’s not possible any more as she just deletes everything.
Tries to give most persuasive reasons, and will look at sources that resolve ambiguities.  Not a big fan of legislative history, dating to experience with statute they were trying to pass at the Antitrust Division where she worked previously. There came a late-night moment with staffers from the involved committees, and a controversial question came up—whether the US would lend its assistance to a foreign country that wanted to prosecute an entity recognized under US law—and she said ‘we can’t say we won’t do that, because that’s the flip side of what we’re often trying to do,’ and the reaction was, ok, we won’t put it in the statute, but we’ll put it in the legislative history.  Made her a skeptic.  Much more legislative history is like the DMCA than it is a pure record of people striving for the right result.
Kozinski: shares some skepticism—if you want it that way, put it in the statute.  But we want to do what Congress wants us to do.  Nobody wants to spite Congress.  (I could probably suggest a few who do …)
Wood: knowing which is which in legislative intent is not easy.  Especially when you get to analogies—what is a transmission, what can intermediaries do, etc.  We use a lot of hypotheticals to explore the ramifications of our rules, and scholars can help with that. 
Kozinski: Lawyers can too. There’s nothing less helpful than a lawyer who says “that’s not our case” in response to a hypo.  We ask because we understand it’s not your case, but we want to know if your proposed rule will get us into trouble in another case.
Menell: look at some recent fair use cases and how they’d have been analyzed in your circuit.  Cariou v. Prince.  (Good intro to how presentation matters: Menell introduces the case by saying that Cariou’s Yes, Rasta sold for $60, netting him around $8000 for 6 years of his life, while Prince’s work sold for $1 million.  It’s also interesting to think about how physicality matters—the presentation of Cariou’s work side by side with Prince’s in a Powerpoint makes it harder to remember that Prince’s work is very differently sized.)  Prince testified that he didn’t have a meaning or intend to comment on aspects of the initial works—intended to pay homage to other appropriation artists and create beautiful artworks relating to musical, post-apocalyptic themes. His purpose was to include as much “fact” as possible and reduce “the amount of speculation.”  District court emphasized that Cariou may have lost gallery exhibition because gallery owner didn’t want to do something that had already been done.  Second Circuit found most of the Prince works to be fair use as a matter of law, but a few not. Challenged us to ID which one was which.
Andrew Gilden has noted how many amici came in from the modern art community on appeal.  Finds it bizarre that Second Circuit goes on about how many well-known people saw Prince’s art at the gallery, as if that influences fair use.  At some level, the court is saying we have to have a capacious understanding of how art is perceived, but how do we operationalize that?
Q for judges: how would you deal with an appropriation art case?
Kozinski: finds the opinion baffling. 
Wood: when you start talking about reasonable observers, that’s code for an objective test.  But we don’t know what criteria that reasonable person is using to draw the line between the first and second photos—why is X amount of transformation enough?  In TM, our circuit has insisted that it’s mostly not appropriate for a judge to evaluate likely confusion—we want outside evidence.  (Though the amici do seem to provide that.) Maybe that’s what Judge Batts has to do on remand for the 5 possible fair uses.  Partial dissent by a judge who thought that all the paintings should go back.  This case lost sight of why there’s a fair use exception.  Appropriation art: what is it about the structure of the market that would make it difficult to pay a reasonable royalty to Cariou?  Ask him for permission.  Can understand why a critique would be protected by fair use.  Second Circuit has taken leave of its senses in terms of what fair use means.
Kozinski: agrees with Wood.  Raises a more fundamental question: the all or nothing nature of fair use, where you pay nothing or get enjoined.  (Menell notes eBay changes that.)  Means you can take quite a bit without paying anything to the original artist.  Doesn’t see why you should be able to take anything at all without paying something, the amount of which is for negotiation/for the jury.
Wood: the reason that he took it because it was authentic is a little wild.  (I discuss the contradictory treatment of realism/facts in photos in the middle of this article.)
Menell: it was authentic because he spent 6 years cultivating a relationship with his subjects.

Posted in copyright, dmca, http://schemas.google.com/blogger/2008/kind#post, patent | Leave a comment

IPSC part 2: trademark theory

1st Breakout Session: Trademark Theory
Harms, Benefits, and Justifications in Trademark Law
Stacey Dogan
© and patent are often considered to be about incentives (getting benefits), but TM law in the general view is about preventing harm/misinformation, at least in theory; misinformation can harm both producers and consumers.  Quibbling about whether consumers or producers are law’s intended beneficiaries, but all in agreement about the harm based narrative.  In her view, despite its recent caricature in the literature, the economic view of TM, appropriately conceived, is perfectly consistent with this harm based narrative and doesn’t call for intervention when misinformation is irrelevant. 
Slew of TM scholarship in last decade has criticized law’s breadth and expansion by demonstrating that current law targets behavior that is simply not harmful.  Dogan & Lemley, Tushnet, etc.—what courts are treating as harm isn’t really harm.  But the more she thinks about it, the more she realizes that the harm narrative simply doesn’t work as a comprehensive description of TM law in the US, and hasn’t for a long time.  Courts turn to the trope of harm, and contrast it w/patent and copyright, but many features of system make no sense in a law that aims primarily to prevent injury either to producers or consumers. Not a utilitarian view that preventing misinformation is the best way to promote competition. Instead, a moral sense that TM owners and not some third party deserve the results of their labor, absent some justification.  Unfair to profit from deliberate use of someone’s protected mark, unless exception is shown. Benefits-capturing rather than harms-preventing approach. Courts/Congress are sometimes explict but other times turn to pretext about harm.
Post-sale confusion and counterfeiting: quite explicitly finds any confusion among anyone sufficient, even if confused person would have no purchase interest; case law is explicitly benefits-capturing.  Dilution law as applied also has a benefits-capturing approach. The statutory preamble discusses harm, but the factors listed are all focused on evocation.  Merchandising/confusion as to association/confusion in unrelated markets.  Initial interest confusion.  Courts just don’t like someone making money from evoking a TM.
All of these doctrines involve deliberate use of mark.  And, to the extent it’s found to infringe or dilute, the conduct is seen as lacking in social value. Deliberate free riding: instinctive sense of unfairness. Absent justification, courts distrust attempts to benefit commercially from use of someone else’s mark. Even in early TM opinions, see courts troubled by uses w/no explanation or justification but to take advantage of another’s reputation. Decisions that refused to enjoin such conduct even in early days tended to involve cases where there was reason to worry about enforcement.  E.g., use of a geographic term—might be some confusion, but also important to preserve term for others to use truthfully. This is a justification.  Showing either your specific use or this type of use generally deserves recognition.
In today’s benefits-capturing TM world, the action is in demonstrating the social value of unauthorized use.  At least where a party is deliberately using another’s mark for commercial reasons, party has a soft burden to show that its use/type of use is worth preserving.  Courts do shape the doctrine to respond to those concerns.  Other values courts have responded to.  Call to action: instead of waving our hands about absence of injury, we should think about what kinds of uses of marks have social value and begin demonstrating the social value of uses we think shouldn’t be prohibited.  E.g., study showing that elderly people comply better w/drug regimens when they have the same shape/color drug over time.
RT: Is evoking benefits anything other than good/inevitable litigation strategy?  Compare §230 rhetoric or even a classic criminal defense.  The harm/benefit distinction has been challenged by realists.  Playing that out here, it may just be standard for defendants who are protected even by a harm rule to remind courts/courts to remind readers of the reasons for that rule–§230 couldn’t be more explicit that it sacrifices the interests of some people who are indeed harmed to the greater service of protecting “the internet,” and courts and defendants nonetheless remind us all the time of the good purposes Congress had.  First Amendment implications: free riding alone may not justify speech regulation, per Alvarez.  I also caution against the (very common; I’m sure I’ve done it myself) use of the idea of an “instinctive” sense of unfairness. Did it seem unfair when your kid learned words from you or learned to write?  Unfairness is socially constructed.  (That we are hardwired to find some things unfair is plausible to me.  But not which things, at least in this context.)
Dogan: courts are making fairness determinations within things like dilution—sex exceptionalism in what counts as dilution.  Agrees that “unfairness” is socially constructed and evolves over time; some chicken and egg in terms of legal standards driving what counts as unfair versus changes in nature of brands over the course of 20th century not driven by the law.
Lisa Ramsey: First Amendment analysis may support your call for greater use of empirical evidence, looking for evidence of real harm/support of narrow tailoring.
Dogan: is a pragmatist/instrumentalist.  We can move incrementally.  If we successfully demonstrate social value in a handful of cases, over time we can generalize.
Fair Music and False Advertising
Yan Fang
Topic: Advertising that makes claims about how musicians are compensated by companies.  Sellers compete at least partially on how well they compensate musicians. CD Baby purports to offer the most “organic, free-range, grass-fed” music in the world.  Lion’s share goes to artists.  Magnatune makes similar claims: 50% goes straight to musicians, not to lawyers or labels.  Bandcamp makes aggregate claims about how much musicians have made through the site.  Artist compensation claims; practice contrast claims; moral positioning claims—each relating to consumer concerns about artist treatment.
Artist compensation: claims about amount or percentage of sales that go to musicians; aggregate revenue claims.  Practice contrast claims tend to be more general, comparing to general music industry practices—more revenue than through online retailers.  Moral positioning: even more general, and encourage consumers to see buying music through these sites as part of a moral stance towards artist compensation. Do good with your consumption!
This is an example of process advertising, recognized in other areas like fair trade chocolate, cruelty-free makeup.  Long and complex production chain for music, like other goods; hard for consumers to verify these claims.  Gov’t agencies and private parties may police these claims under federal and state laws.
Artist compensation claims are fact-based, not opinion/puffery.  Concrete basis for comparing how various online stores pay musicians.  Auditing could glean the truth.  Consumers are suspicious about unverifiable claims and want to buy from sources that do treat artists well.  Next part of project: there are always issues of whether consumers have cognitive limitations in evaluating process claims.  Spotify has started making fair music claims; advertise how much they’ve paid in royalties, but contractually barred from disclosing percentages/allocations.
Eric Goldman: claims about artists, musicians, labels: there is a difference between paying a label and paying the musician. How does that affect claims?
A: still refining that, but one of the problems w/these types of claims is how you do define the participants.  (RT: Indeed, that seems to be the problem with Spotify’s advertising—disclosing how much they paid in royalties is misleading about how much artists get.)  Maybe need clearer explanations of full chain of payment. CD Baby and Bandcamp tend to be companies that have music aggregator business with lots of artists signed up.
Q: Number claims are great for consumers, and easy for FTC etc. to go after.  What about the other two?  Are they problematic? They seem associational/tongue in cheek.
A: most actionable, but the other claims are more encouraging consumers to care more about these issues—telling consumers why they’d choose to buy from this seller.
Q: 50% of nothing is nothing—micropayments.  Spotify/streaming is almost nonexistent for some independent artists.  50% might oversimplify in a way that is important.  Can advertising law reach that?
A: there have been some fair trade certification projects launched in the music space—music venues; standards for what would constitute fair music.  Whether it’s misleading is an important question.
RT: (1) Is there reason to think there is a false or misleading advertising problem in this market? (2) What generalizable conclusions?  Encourage writing that next part and making it part of this paper.  If process claims are available, and relevant to consumers, in many more contexts than previously realized, among other things that has implications for the First Amendment treatment of advertising regulation—compare the claims made in the Nike v. Kasky dissent in the California Supreme Court, or the dissent in the recent DC Circuit country of origin labeling en banc opinion.
A: working through those issues & how preferences develop and how advertising law ought to respond.  RIAA’s negative publicity led to boycott/anti-record label reactions.  Now that’s died down but there are more legal sites making fairness claims.
Trademark and the Problem of Agency Costs
James Gibson
Similar starting point from Dogan.  Consumer protection/producer incentive to develop repeat customers/economic efficiency are traditional TM rationales.  The core case on which everyone tends to agree is fraud on the consumer. The consumer is not only confused but also makes a purchasing decision she would not otherwise have made.  Confusion is just one of the predicate occurrences required to reach core passing off TM case.  But is fraud the right word?  Gets at the notion of consumer injury.
Wants to double down on purist approach, not ready to be pragmatist—try another approach to the harm issue. If we really think core TM harm is fraud on the consumer, why do we give the producer the right to sue? Interests must converge somehow, at least coincidentally.  Whether that’s historically accurate or not, he might not care whether we have always been at war with Eastasia; the fact of the matter is that it’s the TM owner who litigates.  That makes sense b/c individual consumers don’t have enough incentives to sue and producer can aggregate fraud. Makes producer an agent of the consumer.  (Class action theory—why do we hate class actions so much but love TM owners?  TM owner is seen as having respectable monetary motivations.)
Classic passing off case: not much agency cost; producer and consumer interests converge, b/c consumer and producer are harmed by the same conduct.  Agency cost literature: monitoring costs, bonding costs (how do you pay agent to do your business and not its own?), and residual loss (sometimes the agent does its own thing anyway).  Not a problem for passing off, but as one gets farther from that, the interests start to diverge.
Rights without fraud, and fraud without rights.  Rights without fraud: TM owner wants to sue but it’s difficult to show consumer fraud in first instance.  We all know the litany: merchandising rights/sponsorship or affiliation claims etc.  Fraud without rights: consumers arguably suffer deception and make different purchase decisions, but producers can’t or don’t bring suit.  Lots of examples in licensing—including bankruptcy (e.g., Hostess’s Twinkie TM, which is valuable and thus is used to pay off creditors, and some courts will accept that without caring that a new producer will now make the Twinkies as long as the assignment says the right words about goodwill; security interests). Also concurrent use through settlement; abandonment through disuse.  Laches.
Mark McKenna: Agents for which consumers? They aren’t an undifferentiated mass. One difficulty w/some examples is that some consumers may have problems, but solving them would create problems for other consumers.  Fraud without rights: one basic challenge to thinking of TM owners on behalf of consumers—vindicating what interest? There may be other consumer confusion not clearly within ambit of TM law.  Why not?  Why does TM law have a boundary from advertising law?
A: maybe agency analysis would help us sort out the types of consumers.  This is sort of an unfair competition paper, about misinformation in the market generally, but theory isn’t limited to consumer deception over marks.
Eric Goldman: This discussion has taken place in the false advertising context. You should decide whether you are mirroring the false advertising discussion or whether there is something special about TM—fraud w/o rights might be an example.
RT: Other entities who specifically act as agents in the sue/not sue decision. Class action comparison might be fruitful—there are a lot of cases about what counts as harm to the class.  Also perhaps copyright troll/NPE literature?  TM law need not have a boundary from advertising law!  The basic principles could be the same!  Then registration/ownership would just be their own issues.
Laura Heymann: What does it mean to be an agent in some contexts but not others? Not acting as an agent when a TM owner changes its formula/hires new employees/changes the mark.
Semantic Shift and Trademark Capacities/The Death of De Facto Secondary Meaning
Jake Linford
Under the doctrine of TM capacity/de facto secondary meaning, a term deemed generic due to its etymology/history can’t be a mark even if consumers recognize it as such. Part of the theory is that this doesn’t happen often. But literature about semantic shift—new meanings added to words/old meanings lost—suggests otherwise.  Prototypical category gets narrowed to single member—some people say it’s the most common semantic shift, but at least it happens all the time. So we need to rethink the idea that it’s not common.
Replace w/primary significance test—if consumers see it as source signifier, treat it as such.
COMPUTER for computers: very hard to imagine a shift happening right now in the modern economy where people see it as signifier for one producer.  But Babbage’s “analytical engine” was a predecessor: at one point in time it was the only word we had for the product now known as a computer. It must be the case that ANALYTICAL ENGINE would be protectable for computers now, despite its etymology.
Hotels.com: Even w/evidence of secondary meaning, TTAB said .com didn’t add anything for hotel services.  Chocolate fudge soda.  Kiss for chocolate candy: etymology was that they were standard for tiny candy.  But unpublished PTO opinion said 80% recognition made it a mark.  SINGER for sewing machines had TM protection, lost it, then regained it.  CODE for sealant?  In 16th century, “code” meant sealing wax, but nobody knows it now. Etymologically it shouldn’t be allowed for sealants, except obviously it should.
Built in trust of incumbents in current doctrine—worry they’ll distort consumer protection.  TM incapacity looks like functionality, but that’s wrong.  Enforcement costs/risks of false positives—given how often this happens, that’s probably wrong.  Also, which groups of consumers do we care about?  Assumption has been that consumers who understand the term as generic will be in a bind b/c they won’t have access to new entrants.  If that’s right, then properly functioning TM significance survey should find them.  One pushback: we shouldn’t trust survey evidence.  In that case, we’re just living in a world of marketplace dominance. (??)
TM acquisition is simply a form of language change.  It’s simply a way of processing how language changes—Apple has meaning for computers when it didn’t for computers before.  Need to find new name is important cause of semantic changes.  Invent torpedo: need to explain what it is.  Borrow name from manta ray!  Occasional meanings put forward by any speaker may change into usual meanings, or fail. (“Stop trying to make fetch happen!”  Or, for TM: stop trying to make Bing happen!  It’s not going to happen.)
Language changes to resolve ambiguity and handle semantic overload. Sometimes by narrowing or changing meaning. Hound used to be any dog, now it’s a species. Wife used to be woman of humble rank, now it’s married woman. 
All sorts of semantic shifts where Abercrombie spectrum matches up nicely to what we see in linguistics. Outlier is de facto secondary meaning, and it shouldn’t continue to exist.
If it’s correct that consumers see term as having source significance we’re introducing error into the language when we call it generic.
David Welkowitz: more a process matter, not just distrust of surveys:  worry about consumer surveys as proxy for actual knowledge given how TM uses that proxy in general. Troubled by another expansion that says “whatever consumers say they are confused about is what should be,” regardless of a variety of social interests.  Asking the consumer is not always the right solution even when you want to know what consumers think.  Source of much creeping expansion.  Part of it is “how many consumers”? In other areas of TM we allow much less than 50% to be a controlling factor—why would you set a different line here? Isn’t it troubling to let a small number set social policy?  A manipulated misperception of the law troubles him.
A: why 50%?  In part because of what he sees when he looks at the cases.  50% seems a clearer cut.  Equally credible in acquiring secondary meaning in a formerly generic term.  Restatement says it’s appropriate only when the old meaning is completely wiped out; restriction also occurs when the dominant meaning coexists with a less dominant meaning.  Do we distrust consumers/lawyers enough to discard surveys?  More sanguine about that—empirical study about how often a survey pushes the outcome of the case, Shari Diamond & David Franklyn—shows the surveys only matter in close cases.  At the extremes it doesn’t.
RT: I’d think that’s why you’d worry about surveys.  It’s a close case, and surveys may be having too much influence if you distrust the framing of surveys.  I think there’s a tension between saying “linguistics matters a lot” and then turning to litigation surveys, which we know are carefully crafted to produce particular results and often do so, because language matters. Surveys in general aren’t a bad form, but the reason I like linguistic research more than litigation testimony is that, while the empirical work carried out by linguists surely has biases/aims of its own, those aren’t correlated with a desired litigation outcome.  So research about how language generally works is more credible, as a rule, than a litigation survey.
A: the project began because he did want to know generalizable rules about language change. Other types of evidence of secondary meaning—advertising—are equally troubling.  (RT: Dictionaries/news uses are not in the control of the TM claimant and are less troubling.)
Heymann: corpus analysis—dictionaries, Google. 
Trademark Functions and Trademark Rights
Miquel Peguera
Double identity: identical sign/identical goods or services—confusion isn’t directly required, though perhaps it’s presumed.  Also, for nonsimilar goods or services when there’s confusion. These are mandatory under TM directive.  Also (discretionary in EU, but mostly implemented) use of mark w/a reputation (dilution); use of a mark without due cause that takes unfair advantage of, or is detrimental to, the distinctive character or the repute of the trademark—covers free riding, blurring, tarnishment. 
TM owner is entitled to protect uses that may affect any function a TM can fulfill—quality, communication, and advertising, even when function of indicating origin is not affected at all.  Double identity rule doesn’t even contain safeguards of antidilution law.
The use must be in the course of trade, in relation to goods/services, for the purpose of distinguishing goods/services (TM use).  Directive Art. 5(5) This doesn’t affect protection against uses for purposes other than distinguishing goods or services—this implies that the rest of the Directive focuses on purpose of distinguishing goods or services. So what does that mean?
BMW/Deenik (ECJ 1999): it means signalling origin from a particular source, origin as such. That’s the “essential” function of a TM, to guarantee identity of origin to consumer and distinguish that product from products w/another origin.  TM use: is public perceives as use to indicate origin, even if public knows it’s false; or when use is liable to affect the origin function, whether or not consumers are confused; a use liable to affect anyTM function, not just the origin function.
Use of the mark to refer to the TM owner’s own goods: BMW/Deenik case was a garage that repaired BMWs.  ECJ found TM use: Advertiser used the mark to identify source of goods in respect of which its own services were delivered, and that counted. But Adap Opel/Autec (ECJ 2007) found that Autec’s scale model cars weren’t making TM use of Opel mark for motor vehicles, because Autec was not selling motor vehicles.
That didn’t end the question, though, because in a comparative advertising case the ECJ said using the competitor’s TM to refer to competitor’s goods is TM use because the advertiser intends to identify its own goods/services by comparison to others.
Use likely to affect the origin function: Arsenal case, where people saw football marks as badge of loyalty, not origin.  Sort of post-sale confusion narrative, where people might see the goods after they were purchased.  Liable to jeopardize the guarantee of origin and interfere with the essential function of the mark.
Other functions of the mark than the essential: quality, communication, investment, advertising—use in factor in sales promotion, or commercial strategy, or use of mark to acquire/maintain reputation and attract consumers.  So now there aren’t very many limits on what counts as an actionable use.
Problems: legal uncertainty; protection for functions typically given to marks w/reputation is now granted under the main protections for all marks, interfering w/more balanced approach. EU Commission has proposed new directive that would cover only interfering with origin function, but Parliament voted against it.  Fear is that regional exhaustion may be harmed.
Ramsey: what’s the solution? TM use—apparent there’s been creep in that definition. 
A: still thinking about that.  Even if we accept limitation to origin function, we still need to know what that means. 
Dogan: fits with her talk—at least Europeans are honest.  What is the more balanced approach of the protection for marks with a reputation?  Language is “lack of due cause” but has that concept been developed and due causes elaborated, or is that just a hope?
A: more like a hope.  It’s for national courts to decide on specific cases.
The Use and Abuse of Certification Marks
Jeanne Fromer
Attempt to get cool kosher restaurant/nightclub.  Called Jezebel to reflect “cool” biblical rebel vibe.  Want more powerful certification with national recognition, so they talk to OU, one of the two big national/int’l certifiers.  OU says it will only certify if (1) they change the name of the restaurant and (2) they remove the racy artwork in the bathrooms.  Thinking this important economically, they reluctantly decided to do so.  Changed name: to “The J Soho.”  Went out of business months later.
Another story, not entirely dissimilar: movie ratings. Allegations for years that the standards are applied in inconsistent ways.  Henry: Portrait of a Serial Killer sued the MPAA—didn’t think they deserved the X rating, because R ratings went to similar movies, especially produced by non-independent movie studios. Court thought there might have been truth to that, though it lacked jurisdiction.  (Had to release it unrated, which many theaters wouldn’t show; marketplace death sentence.)
These are stories where certifiers with market power can do great harm.  Greater worry than w/TMs because certifiers have control over a whole industry.  The community for which it matters arguably would care about whether OU certified Jezebel, and that’s a legitimate concern, but the problem is that there are no articulated standards despite the promise of neutrality.  The standard is vague and adjustable—then it’s used to keep out competitors.  Everything OU says officially is that it certifies based on food; then when this story broke it claimed that certification also covered “ambiance.”
Ramsey: consider literature on GIs, which raises similar concerns.   Many certification marks do face competition or possible competition if there’s abuse.
Goldman: combination of certification and market power is the issue.  Refusal to deal under antitrust might deal with that. Are there specific antitrust considerations for the treatment of certification marks in particular?  Collective marks also provide a comparison.
Q: maybe difference between standards and scope. OU might be reasonably required to identify what it is they certify (just food? Whether you open on the Sabbath?) even if we can’t control their standards.  Employment law/public access—maybe we’re particularly concerned if arbitrary actions are likely to be discriminatory.  (MPAA’s ratings definitely have gender components—a woman getting sexual pleasure gets you NC-17 very easily.)
Sheff: Is this really different from other TM antitrust concerns?
A: certifier wants to reach into many different spaces—the alternative is 10,000 different certifications for “organic” and consumers have no idea what to believe. Conventional TMs pose less of that issue.  (Though if we adopt Linford’s suggestion, maybe …)

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