Author Archives: Authors Alliance

Amanda Levendowski on Fair Use for Fairer AI

Posted February 27, 2018
illustration on fair use by Gary Zamchick

Illustration courtesy of Gary Zamchick | Used with permission

The principles of copyright law sometimes have a way of appearing in unexpected places. Recently we featured an article by Christopher Sprigman that examines assumptions about copyright as a spur to creativity by considering examples as diverse as Italian opera and Bollywood movies.

Today, as part of Fair Use Week, we are highlighting new research by NYU Clinical Teaching Fellow Amanda Levendowski that explores the ways in which copyright law can negatively influence the quality of artificial intelligence (AI), and how fair use might be part of the solution. She describes how there has been an increase in examples of AI systems reflecting or exacerbating societal bias, from racist facial recognition to sexist natural language processing.

As the computer science adage “garbage in, garbage out,” succinctly puts it, an AI system is only as good as the information provided to it. Training using biased or otherwise unsatisfactory data can result in flawed and incomplete outcomes. As Levendowski writes, “[J]ust as code and culture play significant roles in how AI agents learn about and act in the world, so too do the laws that govern them. … The rules of copyright law…privilege access to certain works over others, encouraging AI creators to use easily available, legally low-risk sources of data for teaching AI, even when those data are demonstrably biased.”

With potential statutory damages running as high $150,000 per infringed work, AI creators often to turn to easily available, legally low-risk works train AI systems, often resulting in what Levendowski calls “biased, low-friction data” (BLFD). One such example is the use of the “Enron emails”, the 1.6 million emails sent among Enron employees that are publicly available online, as a go-to dataset for training AI systems. As Levendowski puts it, “If you think that there might be significant biases embedded in emails sent among employees of [a] Texas oil-and-gas company that collapsed under federal investigation for fraud stemming from systemic, institutionalized unethical culture, you’d be right: researchers have used the Enron emails specifically to analyze gender bias and power dynamics.”

What’s more, Levendowski describes how copyright law favors incumbent AI creators who can use training data that are a byproduct of another activity (such as the messages and photos Facebook uses to train its systems) or that it can afford to purchase. This can play a determinative role in which companies can effectively compete in the marketplace.

So how can we fix AI’s implicit bias problem? In her article, Levendowski argues that if we hope to create less biased AI systems, we need to use copyrighted works as training data. Happily, copyright law has built-in tools that help to balance the interests of copyright owners against the interests of onward users and the public: One of these tools is fair use. By examining the use of copyrighted works as AI training data through the lens of fair use cases involving computational technologies, Levendowski suggests that relying on fair use to use copyrighted materials in training systems could provide a promising path forward to combat bias and make AI more inclusive and more accurate.

Read the full article on SSRN; and learn more about Levendowski and her research on her website.

Amanda Levendowski is a Clinical Teaching Fellow with the NYU Technology Law and Policy Clinic. Her clinical projects and research address how we can develop practical approaches to digital problems. Amanda previously practiced copyright, trademark, Internet, and privacy law at Kirkland & Ellis and Cooley LLP.

Guide to Fair Use for Nonfiction Authors Now in Print!

Posted February 26, 2018

Authors Alliance handbooks

In celebration of Fair Use Week, we are pleased to announce the print release of our guide to Fair Use for Nonfiction Authors.

This past fall, we published the guide as a digital file under a Creative Commons license with the goal of putting it in reach of anyone who might need it. You can find a free download of the guide on our fair use resource page.

But digital can’t reach everyone, and many of us find paper resources easier to read and navigate. For everyone with a preference for paper, and for those who want to support Authors Alliance’s continuing non-profit mission, Fair Use for Nonfiction Authors is now available as a handsome softcover book. After joining or donating, purchasing a guide from us is one of the best ways to stand behind our organization. Buy one today from our store and we’ll throw in some Authors Alliance stickers.

“I’ve read and reviewed many explanations available about fair use for the creators of nonfiction works. This is—by far—one of the best. Do not waste any time before you start reading and digesting the sections that pertain to the kind of nonfiction work you are creating, whether it is a written work or an audio-visual work.  Every category of such works can benefit from the ability to use material pursuant to the doctrine of fair use.”
—Michael Donaldson
Founding Partner, Donaldson + Callif

To make your Authors Alliance reference library complete, Understanding Rights Reversion and Understanding Open Access, the first two volumes in our series of guidebooks, are still available via free digital download as well as in book format from our store.

Copyright Registration Part 2:
How to Register Your Copyright

Posted February 21, 2018

Last week we outlined the benefits of registering your work with the U.S. Copyright Office. If you missed it, start here to learn why registration is an advantageous practice for authors. In the second half of this two-part series, we explain how to register your works with the U.S. Copyright Office.

Copyright registration is a claim to copyright filed with the Copyright Office which creates a public record of facts about a copyrighted work, including authorship and ownership information. Copyright registration includes three essential elements: a completed application form, a filing fee, and a “deposit” (a copy of the work submitted to the Copyright Office). Each of these steps are outlined below. Authors, their agents, and owners of an exclusive right in a work can register a copyright. Often, but not always, if you are publishing your work, your publisher will register the work for you—but it is best to check, especially if you are retaining your copyright or publishing with a smaller press. If you are self-publishing your work, it will be up to you (or your agent) register the copyright to your work.

Registration can be made at any time within the life of copyright, but some benefits of registration are contingent upon timely filing, as described in last week’s post.

Application Form

Application forms for copyright registration can be completed and submitted online or through a paper application. The Copyright Office encourages authors to register online, where possible. Advantages of registering online include lower filing fees, faster processing times, and the ability to track the application status.

Online applications for copyright registration can be accessed from the Copyright Office’s Registration Portal, paper forms are available on the Copyright Office’s Forms page, or you can request forms through the mail by calling (202) 707-3000.

Before you begin an application, you will need to select the category of work that best corresponds to the work you want to register (e.g. literary works, visual arts, motion pictures, photographs, etc.). The information collected on the form is based on the type of work you are registering, but generally includes information about the work (such as the title, completion year, and publication year, if applicable), the author, and the copyright owner. Once the application is submitted to the Copyright Office, the application is a part of the public record, meaning anyone can request to see a copy of your application.

Filing Fee

The filing fee for online applications is currently $35 (single application) or $55 (standard application). The filing fee for paper applications is currently $85. If you are submitting your application online, the Copyright Office accepts credit cards, debit cards, or electronic checks. Fees accompanying paper forms must be paid by check or money order (unless the registrant maintains a deposit account with the Copyright Office).

Deposit Copy of the Work

You normally must submit a copy or copies of your work (known as a “deposit”) to complete the application process.

Some works, such as unpublished works and works published only in an electronic format, may be submitted electronically with an online application form. If you are submitting a work electronically, make sure that you submit it in an electronic file type acceptable to the Copyright Office. The maximum size for an uploaded file is 500MB.

If you are registering a work first published in the United States after January 1, 1978, you may be subject to “best edition” and mandatory deposit requirements. In this case, you must submit two complete hard copies of your work (or, in the case of certain types of published literary works and musical compositions, a single copy). If there are multiple editions of your work, you may be required to deposit the “best edition”. The best edition is the edition published in the United States at any time before the date of deposit that the Library of Congress determines is most suitable. For example, the Copyright Office’s Best Edition Statement requires that you submit the hard cover edition of your work rather than the soft cover edition, if your work is available in both forms. If multiple versions of your work are published, review the Best Edition Statement to determine which edition to submit.

Hard deposit copies can be mailed to:
Library of Congress
U.S. Copyright Office
101 Independence Avenue SE
Washington, DC 20559

If you are mailing a hard copy of your work after submitting an online registration form, be sure to include the shipping slip that was created when you filled out the application on your computer. If you are filing for registration using a paper form, send the work, the completed application form, and the fee in one package.

Please note that some works have special rules, considerations, or exemptions from the deposit requirement. For example, if you are registering a sculptural work or a computer program, you generally should submit “identifying material” (like photographs or drawings in the case of a sculptural work or source code in the case of a computer program) instead of the work itself. To learn more, read Copyright Office Circular 7D.

Processing time

As of February 2018, the average processing time for online applications is 6-8 months and for paper applications is 8-10 months. If your registration is approved, the Copyright Office will mail a registration certificate to the address specified in your application form and the effective date of registration will be the date that the Office received all of the required elements (the application, fee, and deposit).

For more information on copyright registration, see the Copyright Office Circular 2.

Last updated February 20, 2018.

We are grateful to Allison Davenport, former Authors Alliance Research Assistant, for her help with researching and drafting this post.

Copyright Registration Part 1:
Why Register Your Copyright?

Posted February 14, 2018

Under today’s copyright laws, copyright protection for original, creative works is automatic from the moment the work is “fixed in a tangible medium” (e.g., as soon as the author puts pen to paper, paintbrush to canvas, or saves a computer file). Although authors do not need to register their works in order to enjoy the protection of copyright law, registration has several benefits which make it an advantageous practice.

In this first article in a two-part series, we outline some of the benefits of registering your copyrights. Next week, we’ll explain how to register your works with the U.S. Copyright Office.

Copyright registration is a claim to copyright filed with the Copyright Office which creates a public record of facts about a copyrighted work, including authorship and ownership information. Copyright registration includes three essential elements: a completed application form, a filing fee, and a “deposit” (a copy of the work submitted to the Copyright Office). We’ll cover those steps in more detail in next week’s post on how to register copyrights. Authors, their agents, and owners of an exclusive right in a work can register a copyright. Often, but not always, if you are publishing your work, your publisher will register the work for you—but it is best to check, especially if you are retaining your copyright or publishing with a smaller press. If you are self-publishing your work, it will be up to you (or your agent) register the copyright to your work.

Registration can be made at any time within the life of copyright, but some benefits of registration are contingent upon timely filing, as described below.

Registration Establishes a Public Record of Ownership

Registering your work—and recording subsequent transfers of ownership—creates a record of copyright ownership that allows the public to identify and locate copyright owners. This benefits both authors and the public, and it helps prevent works from becoming orphans. Ownership records enable would-be users of works to locate the copyright owner in order to ask for permission or a license to make uses that are within the copyright owner’s exclusive rights, to provide attribution to the author, or to discover when a work is in the public domain. In the absence of a public record of copyright ownership, would-be users of a work may not know whom to contact, and may abandon potential onward uses of your work. This means that you could lose revenue from licensing opportunities and miss out on the chance to grant permission for uses which you would welcome (even without payment); consequently, your work may not have the vibrant life you hoped for in years to come.

Flora Foxglove retained all of the copyrights to her book of gardening tips and registered the work with the Copyright Office. Horace Horticulture wants to copy and share the book with his community gardening class, so he searches the Copyright Office’s records to find out how to contact Flora. He sends a request to Flora’s PO Box, asking for her permission to copy and distribute her work with his students. Delighted to share gardening know-how with budding enthusiasts, Flora gives Horace her permission to reproduce the work so long as he includes her name on the copies.

Blaine Blockbuster thinks that a movie adaptation of Betsy Bestseller’s latest novel would make the next Hollywood hit. He searches the Copyright Office’s records, and finds that Percy Publisher owns all of the exclusive rights in the work. Blaine contacts Percy and negotiates for a license to make a movie adaptation of the novel.

Registration is Necessary Before Initiating an Infringement Suit

In addition to facilitating downstream uses of a work, registration gives you additional rights in the event that your work is infringed. In fact, registration is a necessary precursor to a copyright infringement lawsuit: If someone uses your work in a way that you think infringes on your copyright and you want to initiate a copyright infringement lawsuit, you must register your copyright before you can do so.

Registration Within Five Years of Publication Provides Favorable Presumptions

If a work is registered before or within five years of publication, registration brings with it the presumption that the work is copyrightable and that the facts stated in the registration certificate are true. This may include information such as the name of the author, the name of the copyright owner, the title of the work, the date the work was published, and the effective date of registration. This means that in an infringement suit, if your registration was timely, the burden of proving your copyright is invalid will fall on the defendant. If you do not register within five years of publication, you can still do so, but how much weight a court will give the facts stated in the registration is at its discretion.

Registration Within Three Months of Publication, or Prior to Infringement of the Work, Opens Up the Possibility of Statutory Damages and Attorneys’ Fees

If registration is made within three months of publication of the work, or prior to the infringement of the work, statutory damages (predetermined payments established by law) and attorneys’ fees are available to the copyright owner in the event of an infringement lawsuit. Statutory damages typically range from $750 to $30,000 per infringed work (though they can be as high as $150,000 per infringed work for willful infringement, or as low as $200 where the infringer was not aware and had no reason to believe the use was infringing.) Timely registration also allows you to request reimbursement of your attorneys’ fees and costs of filing the lawsuit. If you do not register your work prior to the infringement or within three months of publication, your remedy in an infringement action is limited to the actual damages you suffered from the infringement (and any of the infringer’s additional profits that are attributable to the infringement), as well as injunctive relief (e.g., a court order restraining the defendant from copying the work).

Last updated February 13, 2018.

We are grateful to Allison Davenport, former Authors Alliance Research Assistant, for her help with researching and drafting this post.

Authors Alliance Presents Workshop on Fair Use at California Lawyers For the Arts

Posted February 8, 2018
photo of sharpened pencil and notebook

photo by Angelina Litvin on Unsplash

On Tuesday, February 13, Brianna Schofield of Authors Alliance will team up with Robert Kirk Walker of the Samuelson Clinic at the UC Berkeley School of Law to present a workshop on fair use with California Lawyers for the Arts. The workshop, “Demystifying Fair Use: A Crash Course For Authors”  will provide an overview of the law of fair use, explain best practices for fair use as developed by creative communities, and showcase our new guide to fair use for nonfiction authors.

The workshop is open to the public, and will take place at 7:00 pm in downtown Berkeley. For more information and to register, click here.

Dr. Danny Kingsley Joins Authors Alliance Advisory Board

Posted February 7, 2018

We are pleased to welcome Dr. Danny Kingsley of Cambridge University to the Authors Alliance Advisory Board. She joins a distinguished group of advisors who contribute valuable expertise and perspectives on academia, authorship, scholarly communication, legal matters, and publishing.

In her role as Deputy Director of Scholarly Communication & Research Services at Cambridge University Library, Dr. Kingsley focuses on implementing innovative research and publishing tools and policies in the digital age. She holds a PhD in Scholarly Communication from the Australian National University and a BSc in Science and Technology Studies from the University of New South Wales.

We look forward to working with her and our other advisory board members to create, refine, and improve the tools and services we offer to authors.

Rights Reversion Success Story: David G. Ullman

Posted January 31, 2018

Headshot of David UllmanDavid G. Ullman is Professor Emeritus of Mechanical Engineering Design at Oregon State University and an expert on product design and decision-making best practices. After securing a reversion of rights, Ullman published the sixth edition of The Mechanical Design Process, a leading text used to teach mechanical engineers the processes of product design. We asked Professor Ullman to share his rights reversion success story with us.

Authors Alliance: What motivated you to request your rights back?

David Ullman: When The Mechanical Design Process was first introduced in 1992, I insisted that it be priced at less than $50. I felt this was a fair price for a university text on the topic. McGraw-Hill, the publisher, agreed and released it at $49. Over the years, McGraw-Hill steadily raised the price over my protests. By 2017 the list price was $166. University bookstores sold it for $149. I contacted McGraw-Hill, protesting the price increases. I told them that I did not understand their business model, the price was usury, and they were killing the sales of the book. Where inflation would have taken the book to $85, they had nearly doubled that. Finally, in early 2017, when the annual sales for the fifth edition (2015) had dropped from 4,000 copies per year to 1,000, I offered to buy the copyright, and they agreed, at no cost to me. Thus, in November 2017 I released a new edition of the book at a price practitioners and students can afford: $49.95. It is interesting to note that as soon as the agreement was signed, McGraw-Hill’s list price was lowered by $30.

AuAll: How and when did you first hear about rights reversion?

DU: I always knew that it was possible to buy back rights. When I decided to request the rights back, I did a lot of online reading to be sure I understood the ins and outs.

AuAll: Could you walk us through the process of requesting your rights back?

Continue reading

Christopher Jon Sprigman Sheds New Light On Copyright and Creative Incentives

Posted January 23, 2018

Poster advertising a performance of La Traviata in 1853What do Wikipedia, 19th-century Italian opera, Bollywood movies, and fan fiction have in common? According to NYU law professor (and Authors Alliance founding member) Christopher Jon Sprigman, more than you might think. In a recent article in the Houston Law Review, Sprigman explains that these creative endeavors are all examples of how copyright principles can work in unexpected ways across different genres and audiences.

Conventional wisdom about copyright holds that it is a spur to creativity and provides financial and moral incentives for creators to produce new content. This may sometimes be the case—but does (and should) this core assumption always hold steady across a variety of contexts and creative communities? Sprigman suggests that the answer is no. Citing the examples above, he points to empirical studies which indicate that the link between copyright and creative incentives doesn’t always conform to theory in the ways we might expect. In some cases, a lack of stringent copyright norms seems to stimulate creative production, rather than hampering it. Research in this area is relatively new, and Sprigman’s work shows the way to intriguing new areas of inquiry that help broaden our understanding of how and when current copyright rules work in favor of creators and audiences—and when they don’t.

Read (or download) the full article on SSRN.

 

Resource Roundup: The Public Domain

Posted January 15, 2018

public domain image courtesy of the Library of Congress

The first day of Copyright Week is dedicated to the public domain and creativity. It’s an opportunity to reflect on the most recent Public Domain Day, which took place on January 1. On that date, a host of works entered the public domain in Canada, New Zealand, and Europe, as detailed here. But due to copyright term extensions that went into effect in 1998, those of us in the United States have been in a public domain drought for decades. We’ll have to wait until 2019 to freely access many works first published in 1923—almost 100 years ago.

Although some works first published in the United States in or after 1923 may already be in the public domain as a result of failure to comply with formalities, and some unpublished works may also be in the public domain, it can be devilishly difficult to determine when this is the case. We recommend Peter Hirtle’s Copyright Term and the Public Domain in the United States and Berkeley Law’s “Is it in the Public Domain?” Handbook to help you evaluate a work’s copyright status.

We at Authors Alliance are already looking forward to next January 1, when all works first published in the United States in 1923 will (finally) enter the public domain in the United States and become “free as the air to common use.” Read why in Molly Van Houweling’s post on how the public domain benefits authors.

In the meantime, check out Public Domain Review’s Guide for thorough guidance on how to find public domain works online.