Intellectual Property

The Classroom Use Exception, the TEACH Act, and Digital Media

Each of these three cases has ties to projects proposed or already underway by scholars in rhetoric and composition. From their case studies, Fisher and McGeveran articulate several “obstacles to digital learning” (42). They explain the classroom use exception to fair use, which gives teachers additional freedom beyond fair use to use third-party content in classrooms for educational purposes. We've all, for example, probably heard that story about some loophole in copyright law that permits the photocopying of an article if the teacher is struck with inspiration to use it right before the class meeting. This understanding is correct; a spontaneity exception does exist, but the use of third-party content for digital materials -- blogs, wikis, web-based class projects -- is more legally fraught, even if the digital materials were only available to the students enrolled in the course. The classroom use exception is intended for face-to-face teaching which takes place within the walls of classrooms, not necessarily for hybrid courses, online courses, or homework assignments for a face-to-face course. The TEACH Act of 2001 addressed the incompatibility of the classroom use exception by no longer requiring students to be in the same location to use third-party content distributed by teachers. However, the act stipulated that the content must be integral to the course objectives, and that only accredited, nonprofit institutions were covered. Fisher and McGeveran critique the boundaries of the freedoms (47):

This bias excludes, for example, an adult education class offered by a nonprofit but unaccredited institution; asynchronous instruction and discussion that occurs outside of class sessions at preset uniform times; and even access to material by students in other related classes at the same institution.

Also, Fisher and McGeveran suggest, it would seem that DRM and the DMCA would supersede the TEACH Act, which says that teachers have to make sure the content isn’t available after the class session, thereby preventing it from being disseminated, which is not architecturally possible to do in online environments. Fisher and McGeveran conclude that as far as the TEACH Act is concerned:

Congress might well need to start from scratch. In particular, the across-the-board exclusion of asynchronous teaching and learning sacrifices one of the principal benefits of digital technology. Likewise, the limited conceptualization of education as tied closely to highly traditional academic institutions limits the statute’s effectiveness in the decentralized digital environment(96).

I agree that education ought not be bound up with institutions, and their observation certainly acknowledges some of the educational efforts online, such as academic weblogs and wikis created by individuals or groups not affiliated with one particular university.

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Copyright: Common Ground Shared Among Rhetoric and Composition, Film Studies, Music, and K-12 History

Material from the first three case studies is particularly relevant for rhetoric and composition scholars who do work with digital media, and I focus on those three cases in my review. The first case is a proposed project by George Mason University's Center for History and New Media called the History Teacher Network. The network, modeled on social software, was to be designed as a place where K-12 teachers can upload and share the learning materials they create, such as PowerPoint presentations or online modules. From the perspective of copyright law, the problem was that some of the learning materials may feature copyrighted third-party content: photographs, music, or video clips. That George Mason University would risk secondary liability for hosting these materials and enabling their distribution constituted an insurmountable obstacle, and the Center for History and New Media “has been forced to curtail its plans for a resource exchange component of the network because of the risk of secondary liability for copyright infringement” (Fisher and McGeveran 20). In rhetoric and composition studies, scholars have proposed similar networks for sharing teaching materials. In April of 2006, I attended a meeting in Los Angeles for Next/Text, a project of the Institute for the Future of the Book. The meeting was devoted to discussion of what rhetoric and writing textbooks could become if their authors used digital technologies creatively and innovatively. We imagined just such a network, composed of materials from teachers; textbooks could be curated by users' creating various collections and arrangements of these materials. They could be tagged with categories of the users' choosing, and they could be linked through a system similar to Amazon.com's recommendations based on users' tastes. We hadn't gotten so far as to propose potential hosting sites for the network (though futureofthebook.org, the Institute's domain, would have been an intuitive first choice), but a network of teaching materials in rhetoric and composition studies would almost certainly face the same secondary liability issues that thwarted the History Teacher Network.

In their second case study, Fisher and McGeveran explain the pedagogical and legal dilemma faced by film studies teachers. In order to illustrate and teach techniques such as jump cutting, mise en scene, wipes, and split screen, they must be able to show scenes from films. A teacher may, for example, want to create a montage of scenes from eight to ten films to show the evolution of special effects over time. If she wants to do that, or if she wants to make a scene or two available to students for a homework assignment, she must circumvent copy protection technology on the DVDs she uses. Otherwise, she and the students must waste class time sitting through “forced watching,” as Fisher and McGeveran put it – previews, advertisements, and copyright warnings. Such circumvention constitutes a violation of DRM, or Digital Rights Management, even though the teacher's use of the content falls under fair use.

The result is what Fisher and McGeveran call an “uneasy equilibrium” in the violation of the Digital Millennium Copyright Act. Rhetoric and composition teachers may face the same dilemma as more rhetoricians – Joyce Irene Middleton's work is one example – study film as rhetorical text, or when composition teachers wish to use film clips to illustrate issues of representation, including race and sexuality. In order to settle the dilemma for film teachers, Fisher and McGeveran argue that “[t]here should be no penalty under the DMCA when DRM systems are circumvented purely to enable uses of content that are educational, legally permitted, and noncommercial – perhaps with a proviso that reasonable efforts are made to avoid subsequent leakage of the content” (97). While their suggestion would relieve film teachers' concerns about copyright law, it still does not address another major problem with copyright law: its labyrinthine complexity. Scholars such as law professor Jessica Litman have argued that copyright law should be easier for the general public to understand, which would cohere with copyright law's ostensible concern for the public interest and help the public to respect it and take it seriously.

The third case study Fisher and McGeveran present is an effort by New York University and New World Records, a nonprofit record company, to create DRAM, or the Database for Recorded American Music. The database is devoted to obscure music and “underrecognized composers” (31), so the administrators of DRAM prioritized good financial compensation for the artists. Despite New World Records' and NYU's commitment to fair compensation, as well as the nonprofit educational nature of the use of the music, the rights clearance process proved to consume a prohibitive amount of money and time. Fisher and McGeveran report, “All told, rights clearance for DRAM consumed several years and enormous amounts of staff effort and expense. The small scale and nonprofit status of the initiative often made rightsholders or their intermediaries less interested in responding to those efforts” (34). The content industries had little to gain from DRAM, it seems. At least one project in rhetoric similar to DRAM exists: AmericanRhetoric.com, a repository of audio, video, and text transcripts of famous speeches. While much of the content on AmericanRhetoric.com consists of presidential and senatorial speeches, which are considered government documents and therefore are public domain, the site does feature some copyrighted content. The site has a fair use statement, an excerpt of which reads:

AmericanRhetoric.com contains copyrighted materials (html/pdf/flash text, audio, video, digital images), the use of which in many cases has not been specifically authorized by the copyright owner(s). These materials include all of the artifacts in the "Movie Speeches" site area as well as various artifacts in the "Top 100 Speeches" and "Speech Bank" site areas. [...] The site is making such material available in the effort to advance understanding of political, social, and religious issues as they relate to the study and practice of rhetoric and public address deemed relevant to the public interest and the promotion of civic discourse.

AmericanRhetoric.com believes that the nature and use of the artifacts on this site not in the public domain or not the property of the owner of this site constitutes “fair use” of any such material as provided for in section 107 of the U.S. Copyright Act. The material on this site is intended primarily for research and educational purposes, has been previously published, and is distributed without profit.

I do not know whether Michael E. Eidenmuller, the owner of AmericanRhetoric.com, has received cease-and-desist letters for his inclusion of copyrighted content, but I am speculating that the resource he has created has gone unchallenged due mainly to the fact that he maintains it individually and does not seem to have the endorsement of his institution, the University of Texas at Tyler. He features ads on the site, presumably to help cover hosting costs and domain name registration.

"Walled Gardens": How Copyright Law Can Impede Educators' Use of Digital Learning Materials

What follows is my contribution for the CCCC-IP annual publication of the top intellectual property developments of the year. Here's the 2005 edition. The one for 2006 will be up on the NCTE site in the next few weeks. Links to the different sections in the article are below the fold.

Soap operas on DVD?

Count me in with the Amazon reviewers who would like to see Days of Our Lives on DVD. There are so many lovely, campy mashups that can be created with clips from that show. Examples:

  • That time Marlena was possessed by the devil
  • That time Carly was buried alive
  • The time during which Eileen Davidson played four different characters, including the unforgettable Susan. "That weird Vivian girl! Little Elvis!"
  • Vivian's machinations: "I've got a plan..."
  • John Black uttering "Stefano!" angrily and ruefully to no one in particular

I'm sure there are great moments from the 60s and 70s too. I was a soap opera addict during pretty much all of the 80s and most of the 90s: All My Children, Days of Our Lives, Another World, and Passions.

Famous correspondence in the public domain?

On Thursday in my Introduction to Rhetorical Studies class, we're going to be talking about Rationes dictandi, or Principles of Letter Writing: an excerpt of it, anyway, from The Rhetorical Tradition. I was thinking about famous letters to show in class, and Thomas Jefferson's letter to Benjamin Banneker came to mind, as well as the correspondence between Kenneth Burke and Malcolm Cowley, though it's dense and maybe not as well suited to a quick class exercise. Emily Dickinson's letters to Susan Huntington Gilbert Dickinson might be good.

Anyway, I was thinking that it would be anachronistically cool to take a collection of famous correspondence and reproduce it in two email accounts. Gmail might be good for the way it displays emails as conversations. You could create email addresses like, say, malcolm.cowley@gmail.com and symbolic.action@gmail.com. The letters could be typed out as emails, and the public could have access to the usernames and passwords to check the inboxes as new letters were added. I guess it would get vandalized and spammed pretty quickly, but it would be interesting for a while.

Take 20: My Version

At CCCC, I made sure to pick up my copy of Take 20, Todd Taylor's documentary film about teaching writing. For those of you who don't have access to the DVD, you can watch the trailer to get an idea. The premise: take 22 writing teachers and ask each of them twenty questions about teaching writing. I wasn't one of the 22 people tapped to be interviewed in the film, so I decided to answer the questions and make my own movie. Enjoy:

Take20
Uploaded by culturecat

By the way, if you want to upload videos longer than ten minutes (YouTube's limit -- my movie is a little over sixteen minutes), DailyMotion gives you twenty minutes.

My CCCC presentation

I should have posted my presentation earlier, but better late than never; here's my presentation as a PowerPoint file. The first three slides need a bit of context: they both involve instances in which people plagiarized from my blog. The first one contains an excerpt of an email to me in which the guy said he'd stolen some material "just to get started" with his blog. That's where I came up with the "plagiarism as placeholder" idea. I went to his blog, and I didn't see my posts anymore. I surmised that he had deleted my words and replaced them with his own (or some other not-me person, for all I know).

Of course -- and I should have said this in the presentation -- it did cross my mind that it could just be a $p@m ploy to get Google juice, lest the geeks think I'm utterly unclever. It wouldn't be such a bad idea, actually; start a fake blog at the address that is your soon-to-be Viagra/Cialis/Phentermine site, and purposefully plagiarize some text from a few bloggers. Then make sure they find out somehow, either by emailing them or grabbing images remote-hosted from their sites so that they see the traffic in their referrers. Then, if the bloggers take the bait and link to the offending plagiarist in order to call him/her out and do some public shaming, that translates into a higher Google PageRank for the site, if I understand PageRank correctly. Maybe $p@mm3r$ are already doing this.

And the third slide: The second time someone plagiarized me, it was this post about a first-year composition with a public health theme. I found out about the plagiarism when I saw her site in my referrers; she hadn't linked to me to give me credit for my post, but rather had done the remote-hosted image thing I referred to in the last example. I was irritated about the plagiarism, but I didn't say anything about it here because when I looked at her other posts, they were all in a very OMG ROTFLMAO!!!!!111!!! style. I thought then that if it came down to a dispute, no one would believe that she had written the post.

Finally, here are the links to the sites I cite in my presentation:

Humanity Critic: and as I said in my presentation, I can't recommend him highly enough. He deserves all the weblog awards he has gotten these few years running.

Kuro5hin: The Cruelest Cut and the specific segment of the comment thread.

Copyscape, and their About page.

UPDATE: Here's my presentation in Slideshare:

Next Rhetoric & Composition MMTOR?

Massive Multi-Thinker Online Review, that is. I think it should be about John Logie's new book, Peers, Pirates, and Persuasion: Rhetoric in the Peer-to-Peer Debates, now available from Parlor Press. You can order it or download it for free as a PDF. The book has a Creative Commons license too. More about the book:

Peers, Pirates, and Persuasion: Rhetoric in the Peer-to-Peer Debates investigates the role of rhetoric in shaping public perceptions about a novel technology: peer-to-peer file-sharing networks. While broadband Internet services now allow speedy transfers of complex media files, Americans face real uncertainty about whether peer-to-peer file sharing is or should be legal. John Logie analyzes the public arguments growing out of more than five years of debate sparked by the advent of Napster, the first widely adopted peer-to-peer technology. The debate continues with the second wave of peer-to-peer file transfer utilities like Limewire, KaZaA, and BitTorrent. With Peers, Pirates, and Persuasion, Logie joins the likes of Lawrence Lessig, Siva Vaidhyanathan, Jessica Litman, and James Boyle in the ongoing effort to challenge and change current copyright law so that it fulfills its purpose of fostering creativity and innovation while protecting the rights of artists in an attention economy.

Logie examines metaphoric frames—warfare, theft, piracy, sharing, and hacking, for example—that dominate the peer-to-peer debates and demonstrably shape public policy on the use and exchange of digital media. Peers, Pirates, and Persuasion identifies the Napster case as a failed opportunity for a productive national discussion on intellectual property rights and responsibilities in digital environments. Logie closes by examining the U.S. Supreme Court’s ruling in the “Grokster” case, in which leading peer-to-peer companies were found to be actively inducing copyright infringement. The Grokster case, Logie contends, has already produced the chilling effects that will stifle the innovative spirit at the heart of the Internet and networked communities.

So what do you think? Want to do it? What's a date we can shoot for?

(Cross-posted at Kairosnews.)

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