Showing posts with label Public Domain. Show all posts
Showing posts with label Public Domain. Show all posts

Tuesday, May 05, 2020

Big Win for Open Access to Law - Georgia v. Public.Resource.org

On April 27, 2020, the Supreme Court decided an important case about copyright law and access to the law -- Georgia v. Public.Resource.org, Inc. At issue was whether the state of Georgia owns a copyright in the Official Code of Georgia Annotated (OCGA). The Court held that it does not and that the code in the public domain.


This case is a big win for the movement for open access to law. This movement runs parallel with the movement to make scholarly and scientific publications open access. I wrote about the relationship between these two movements in my article, The Movement for Open Access Law, and this case represents a big step forward. Kudos to Carl Malamud and the attorneys who represented him for having the courage of their convictions.



We discussed how this case might be decided as part of the Program on Information Justice and Intellectual Property's series: Intellectual Property at the Supreme Court. Our panelists in the discussion of this case, agreed that it would be close -- and it was.


Summary 

The Code is a compilation of statutes enacted by the state government along with annotations, such as descriptions of court decisions interpreting these statutes. The work of creating this compilation is done by a publisher, now Lexis, under a work-made-for-hire contract with the Code Revision Commission, which acts on behalf of the legislature.

Public.Resource.org is the brainchild of Carl Malamud, a longtime advocate for making public domain resources, the law in particular, available for free on the Web. Public.Resource.org published copies of the Code, and Georgia sued for copyright infringement.

In a 5-4 decision, the Court held that there is no copyright in the Code because it was created by an arm of the legislature acting in its official capacity. In this capacity, it is a representative of the people, and therefore there is no "author" of the work in the way the Copyright Act conceives of authorship.

Background

Publishing legal resources has long been a lucrative business. Lawyers need access to the law to do their jobs after all. Copyright infringement lawsuits in legal publishing are hardly new. In fact, the reasons the Court chose to decide this case on the grounds of authorship lie in a trio of cases from the 19th Century involving publications of court decisions. Official reporters were tasked with compiling and publishing judicial decisions. Many also added their own annotations to these decisions.

Those cases established a few principles that everyone in the case agreed with:

  1. Reporters who publish court cases could not own a copyright in the decisions they publish even if the judges purported to give them copyright. Wheaton v. Peters, 33 U.S. (8 Pet.) 591 (1834).
  2. The reason the reporters don't own copyright is that judges are not the authors of anything written in their official capacity, including their opinions and annotations that they may create. Banks v. Manchester, 128 U. S. 244 (1888).
  3. Reporters who publish court cases are the authors of any annotations to court decisions that the reporter creates as long as those annotations do not have the "force of law" (i.e. are the editorial opinions of the reporter but are not considered part of the judge's decision). Callaghan v. Myers, 128 U. S. 617 (1888).

The Court's reasoning

The tricky aspect of this case is that the annotations created by the Code Revision Commission are part of the Official Code of Georgia.

The Court could have resolved this case in one of three ways.

The Court could have held that once a text becomes law, whatever copyright may have existed in that text merges with either the fact that it is the law or the idea of the law. Under copyright's merger doctrine there either is no more copyright to be enforced or the copyright becomes unenforceable because that would be the equivalent of protecting facts or ideas.

The Court could have accepted Georgia's argument that only texts that have the "force of law" are without copyright and the annotations, while part of the Code, do not have the force of law.

The Court appears to have chosen to ground its decision on the lack of authorship in works created by judges and legislators in their official capacity for two main reasons.

First, the rule resonates with the reasoning of 19th Century cases, and, in this context at least, the Court wanted to reaffirm its precedents.

Second, the rule is fairly straightforward to apply. It is much easier to identify works created in a judges' or legislator's official capacity than it is to identify which works have the force of law.

There may be edge cases, of course. Some politicians use their "personal" social media accounts as de facto official publications. Those are likely to be covered by the rule in this case. But, what about social media accounts for which the content is 70% personal and 30% official? That may require the kind of parsing the Court was hoping to avoid.

What's Next?

The next issue with respect to copyright and the law is model building codes and other industry standards that are enacted into laws or regulations. The First and the Fifth Circuits have held that once the text becomes "law" the text loses its copyright because the law cannot be covered by copyright, the copyright merges with the fact that the text is the law, or that the Due Process clause gives the public a right to access the laws by which they are governed. See Veeck v. Southern Building Code Congress Int'l, Inc., 293 F.3d 791 (5th Cir. 2002) (en banc).

The same issue is now pending in the Second Circuit. Upcodes is a web publisher of building codes that has been sued by the International Code Council (ICC) for publishing model codes that have been enacted into law. Public.Resource.org also has been sued for doing the same thing in American Society for Testing and Materials et al. v. Public.Resource.Org, Inc. among others. Both sides argue that the Court's decision in this case strengthen's their position. We shall see.

Saturday, November 30, 2013

Creative Commons Licenses 4.0


 http://creativecommons.org/weblog/entry/40768

After a significant international public consultation process spanning two years, Creative Commons has released Version 4.0 of the Creative Commons licenses.  This effort, led by Creative Commons General Counsel Diane Peters, and the CC legal team of Sarah Hinchliff Pearson and Kat Walsh, with significant engagement and input from the fantastic Creative Commons Affiliate community has produced a robust and elegant license suite that should serve the commons well for years into the future.

For details of what's new and why, I think Diane says it well here.

This is just a heartfelt thank you to Diane, Sarah, Kat, and to all of the affiliates and Creative Commons supporters who gave so generously of their intelligence, legal expertise, and good common sense to make the improvements we now have.  Working with this community of talented, dedicated lawyers who have kept the public interest at the forefront of their thinking has been among the greatest professional pleasures I have been privileged to enjoy.

Congratulations! ¡Felicitaciones! 御目出度う!Parabéns!  Herzlichen Glückwunsch!  تهانينا!
Gefeliciteerd! 恭喜Felicitacions! 축하합니다! Binabati kita! Félicitations! बधाई हो! Grattis! מזל טוב! Tillykke! Baie geluk! Hongera! Congratulazioni! مبارک ہو! Gratulerer! ขอแสดงความยินดี 
Gratulacje! Tebrikler! Συγχαρητήρια! Selamat! Til hamingju! Поздравляем! Շնորհավորում եմ!
Čestitamo! Onneksi olkoon! Gratulálunk! Xin chúc mừng! Blahopřejeme! Palju õnne! অভিনন্দন!
Вітаємо! Apsveicam! សូមអបអរសាទរ! გილოცავთ! Честито на печелившите! تبریک می گویم
Blahoželáme! Tahniah! ຊົມເຊີຍ! Vobis congratulor! अभिनंदन! Felicitări! Təbrik edirik! வாழ்த்துக்கள்!
Prosit! Алал да му е! Sveikiname! అభినందనలు! Ngiyakuhalalisela! Ndiyavuyisana nawe!
Kuttyktaimyn! Баяр хvргэе Asengamhlophe! Vadaiyaan! E ku ori ire! Imelu Nke Oma! Arahabaina! Comhghairdeas!

Monday, November 17, 2008

Jillian Raye and the Bard: The Vitality of the Public Domain

So, my family recently lost a friend, Jillian Raye.
I'd keep my remorse to myself, but Jillian had a special relationship with William Shakespeare, and that relationship is emblematic of why copyright's public domain matters and how it maintains its vitality in our cultural life.

When we lived in Takoma Park, Maryland, Jillian, her husband, David Minton, and their daughter, Imogen Minton, moved into our neighborhood and changed it forever.
Jillian founded Lumina Studio in their home as a community youth theater to stage primarily Shakespeare's plays. Jillian and David trained as Shakespearian actors and met onstage and off in a production in Dallas, Texas.

Jillian built her casts from the community, and the ages ranged from young children to middle-aged adults, with young teens as the principal actors. My daughters had their first stage experience as fairies in Midsummer Night's Dream, which we subsequently staged outdoors on a midsummer night. Jillian's vision for the show required that all the lights be turned off near the end of the show so that these three-to-five-year-old fairies could flit about the stage with lit candles. Jillian's will overcame parental objections, and the result was pure magic.

For each show, Jillian developed a highly distinctive but adaptable vision, and she drove hard to realize it. Her visions were animated by her deep understanding and personal relationship with Shakespeare's works. The kids in the cast would begin rehearsals for each show as usual middle and elementary schools would for any after-school activity. But, Jillian would quickly impress upon them that this was serious fun. She worked with the actors to understand their characters and the context for the action.
In the course of these interactions, she breathed life into the Bard's alien language and demanded that the actors make it their own. And, they did. I can still distinctly hear the young actress playing Mercutio in Romeo and Juliet, as she stalked the stage, poised for the fight, and spat out:

MERCUTIO

Tybalt, you rat-catcher, will you walk?

TYBALT
What wouldst thou have with me?

MERCUTIO
Good king of cats, nothing but one of your nine
lives; that I mean to make bold withal, and as you shall use me hereafter, dry beat the rest of the eight. Will you pluck your sword out of his pitcher by the ears? make haste, lest mine be about your ears ere it be out.

TYBALT
I am for you.

Jillian could stage the shows as she envisioned and as she wished because the works of William Shakespeare are in copyright's public domain. She could not legally have applied her prodigious talents to the works of playwrights whose works were still under copyright without a license. And, those licenses often are quite expensive or not available at all.

So, the fundamental policy that copyrights must expire was necessary for a unique institution like Lumina Studio to exist and to grow. And, those who care about this policy need to document how creative individuals like Jillian Raye keep works in copyright's public domain alive and relevant.
While her family mourns, her community has institutionalized her vision and will carry on staging plays and making magic. Perhaps Jillian has joined Oberon and Titania in the kingdom of Shadows and Fairies. It's hard to say, but I know that we will miss her.

With this field-dew consecrate,
Every fairy take his gait;
And each several chamber bless,
Through this palace, with sweet peace;
And the owner of it blest
Ever shall in safety rest.
Trip away; make no stay;
Meet me all by break of day.

(Midsummer Night's Dream, Act V)

Goodbye Jillian.