“The DMCA provides a framework that appropriately balances the interests of copyright owners with the rights of users and the development of new and innovative products and services. The RIAA's statement that it wants to change the DMCA lends support to those who suspected that SOPA's stated objective of targeting offshore websites was really a stalking horse to achieve the RIAA's true objective — to amend the DMCA by having Internet companies police user activities,” Internet Association CEO Michael Beckerman said in a statement to MT. “Congress should reject the RIAA’s invitation to amend the DMCA.”

As a result, the UK's Intellectual Property Office (IPO) has been trying to gather evidence in order to help politicians draw up new policies that correspond to the data, not just dogma. Not surprisingly, perhaps, those that have done well under the previous evidence-free approach have been mounting a rearguard action against the changes.

One of the people unhappy about both the Hargreaves Review and the IPO's response is the UK MP Peter Wishart, who made the following comments about them in Parliament earlier this year:

Ian Hargreaves was notionally in charge of that process [of looking at digital copyright], but having observed evidence being taken, and the report and recommendations be delivered, I suggest that the hand of the Intellectual Property Office was all over it. I believe that Ian Hargreaves was perhaps a figurehead, because the IPO seems to have driven the agenda. We will discuss some of the exceptions to copyright that the IPO proposed as part of its consultation, but it has been steering the process all the way through.

What is that predicated on? It is predicated on the belief that economic evidence should be at the heart of every initiative and everything that we do concerning intellectual property law. Ian Hargreaves has been perhaps a little cavalier when it comes to intellectual property, and we could say that he has made heroic assumptions about the value of some of the proposed recommendations and exceptions.

The group's philosophy is made plain early on in the document:

The fact that IP attracts so much interest reflects its increasing importance in our economy. Clearly IP on its own does not generate economic activity, but as a property right, it enables innovators, creators, manufacturers and designers to protect their innovation and monetise their work.

The idea that stakeholders might have to give something back to the public in the form of minimal exceptions may be unheard of, but it's hardly unreasonable. Arguably, we need to run the ratchet back much further in order to obtain anything like a fair balance between the rights of stakeholders, and the rights of the public.

But the latter are rarely considered. Indeed, it's significant that the world "public" isn't mentioned once in the Parliamentary group's new report. The nearest thing we get is "consumers", notably in the following paragraph, which betrays a typical lack of understanding about how formerly passive consumers are morphing into active co-creators:

When the officials from the IPO gave evidence, they were very clear that they saw their role as providing balance -- they see this balance as ensuring consumers can have access to content. We believe the IPO should look more carefully at how the IP framework stimulates the creation and development of new content, services, designs and other IP rich innovation as much as how existing content can be accessed. Only if they do this, will consumers of the future continue to have access to the content, products and services they enjoy.

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Every one of the central principles or elements of copyright is one-sided and unbalanced, that is, they favour the owners of copyrighted goods..... The main elements of copyright include the ideology that the world’s knowledge and creations should be owned as private property, that they should be traded as commodities in global capitalist markets, that copyright owners should have exclusive rights, that fair dealing /fair use principles mean what is fair to owners, that creativity will dry up without the incentive of copyright, that there are no alternatives to copyright, that spreading copyright regimes (and the stricter the better) benefits the whole world, and a few other foundational principles and justifications of this Western legal and philosophical export to the global South. Take away these principles and you know longer have copyright. Conversely, accept these principles and you have accepted 98% of the story that WIPO and the US Department of Commerce will be disseminating in Cape Town when their re-scheduled IP summit is held. All that is required, they suggest, is some fine-tuning, a bit of ‘tweaking’ around the edges of the remaining 2%.

If you have an hour or two in the next few days, read through Berne, clause by clause, and keep a running tally of: a) how many rights are guaranteed and mandatory to the users of copyright in every Berne Convention country? ; b) how many rights are guaranteed to the owners of copyright? The answer to question a) is very brief. Other than what is included in Article 10 (1) of Berne, namely, the right to use quotations already available to the public, there is not a single mandatory right that all users in the world possess, and even this narrow right is qualified. This is another reason why some of us believe that not only is the international copyright system grossly unbalanced, but it is also unbalanceable.

To pit the interests and rights of users against those of authors (again used as a term to designate all creators, whether composers, sculptors, or video game developers) is also a serious mistake. It is based on binary formulation which suggests that users of copyrighted materials are not also creators and that creators of copyright materials are not also users. To return to the same sentence quoted in point 3) above, where else do creators get the requisite tools for their work other than from ‘education, research and access to information’?

The question of duration of copyright provides us with one easily-grasped example. The Berne Convention states that member countries must, at a minimum, establish a copyright term of life of the author, plus a minimum of another 50 years. As is sometimes not appreciated, this already is a very long period of time; it means that a pop song written this year by a 25-year-old songwriter could still be restricted by copyright in the year 2112. Yet it is perfectly legal for a country to extend its copyright term to life of the author, plus 100 years, which would restrict the same song until 2152. This is what Mexico has done. Or the copyright term could be raised until it was forever, minus one day. Consider what would have been situation if Egyptian government had gone ahead with its announced plan of 2008 to use copyright law to protect its pyramids as cultural property. The Egyptian term of copyright would then have become life of the author, plus 5000 years. Absurd? Yes. Perfectly legal, however, under the Berne Convention. Conversely, if a country decided to reduce its term to simply life of the author, which would still often leave a term of 30 to 40 years or even longer, such a law could result in that country being expelled from the Berne Union as well as the World Trade Organisation. Moreover, copyright owners might complain future years of royalty payments had been lost due to term reduction and claim their private property had been taken without compensation. Such a circumstance shows the impossibility of balance.

As for the supposed rights which the copyright system gives to musicians in disputes with recording companies, consider what happened to two leading musicians of the past century. If, as already mentioned, Bob Marley (1945-1981), called the ‘Third World’s first pop superstar’ (Wenner), was unable to hold onto the copyright to many of his best known songs, what chance does the so-called average musician have? Or how about what happened to the path-breaking US bebop jazz pianist Thelonius Monk (1917-1982) who signed a long-term recording in 1962 with Columbia Records, a major recording label at the time. When the contract was over in 1970, Monk amazingly owed Columbia more than US$100,000. Copyright did not help Monk much.

Perhaps the most obvious problem with balancing metaphors is that they suggest a relationship that is always, by necessity, zero sum: If one side rises, the other must fall in exact proportion. Also implicit in balancing talk is the idea that equilibrium is the ideal, and anything that upsets that balance is a change for the worse. That's probably true if you're walking a tightrope, but it clearly doesn't hold in other cases. If you have a perfectly balanced investment portfolio and somebody gives you some shares of stock, the balance is upset (until you can shift some assets around), but you're plainly better off--and would be better off even if for some reason you couldn't trade off some of the stock to restore the optimal mix.

In my own area of study, the familiar trope of "balancing privacy and security" is a source of constant frustration to privacy advocates, because while there are clearly sometimes tradeoffs between the two, it often seems that the zero-sum rhetoric of "balancing" leads people to view them as always in conflict. This is, I suspect, the source of much of the psychological appeal of "security theater": If we implicitly think of privacy and security as balanced on a scale, a loss of privacy is ipso facto a gain in security. It sounds silly when stated explicitly, but the power of frames is precisely that they shape our thinking without being stated explicitly.

Add our voice to those who disagree with a recent summary judgment ruling in the court case between Viacom and YouTube.

We believe that the district court's dangerously expansive reading of the liability immunity provisions of the DMCA upsets the careful balance struck within the law and is bad public policy. It will actually discourage service providers from taking steps to minimize the illegal exchange of copyrighted works on their sites. As the White House recently noted in its strategic plan to combat intellectual property theft it is essential for service providers and intermediaries generally to work collaboratively with content owners to seek practical and efficient solutions to address infringement. We need businesses to be more proactive in addressing infringement, not less. We expect the Court of Appeals will better understand the balance Congress struck when it enacted the DMCA.

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The sweat of the brow standard affirms a view of copyright law on the basis of what we might call a misappropriation paradigm--that is, a paradigm that grants copyright in the products of a person's mental effort so as to preclude others from reaping where they have not sown. The mischief copyright law aims at in this paradigm is the misappropriation of value through copying. Copying a phone directory gives rise to copyright liability because such copying amounts to an unauthorized transfer of value from the author to the copyist, the plaintiff to the defendant. It is to correct this "grievous injustice"--to use the words of a classic House of Lords judgment in this tradition--that copyright law operates. Its target is the injustice of misappropriation.

[Once] the metaphor of balance is assumed as the integrating mechanism holding authors and users together, integration properly so-called can never occur. And that is because once value-balancing is the ordering mechanism, then the relation between authors and users is but a perennial struggle for value, such that claims of authors are but minimizations of the value-entitlements of users, and similarly, the claims of users are but minimizations of the value-entitlements of authors. The upshot is that successful haggling about price masquerades as the foundation of a truly public domain. The failure to elucidate authorship as anything other than value-origination generates an impoverished vision of the public domain as nothing other than a lower or lowered price.