{"id":29035,"date":"2016-04-25T14:27:54","date_gmt":"2016-04-25T18:27:54","guid":{"rendered":"http:\/\/www.iposgoode.ca\/?p=29035"},"modified":"2016-04-25T14:27:54","modified_gmt":"2016-04-25T18:27:54","slug":"ip-osgoode-speaks-series-featuring-dr-abraham-drassinower-whats-wrong-with-copying","status":"publish","type":"post","link":"https:\/\/www.yorku.ca\/osgoode\/iposgoode\/2016\/04\/25\/ip-osgoode-speaks-series-featuring-dr-abraham-drassinower-whats-wrong-with-copying\/","title":{"rendered":"IP Osgoode Speaks Series featuring Dr. Abraham Drassinower: What's Wrong with Copying?"},"content":{"rendered":"

On March 11, the IP Osgoode Speaks Series hosted University of Toronto\u2019s Professor Abraham Drassinower<\/a> to present his new book, What\u2019s Wrong with Copying?<\/em><\/a> His presentation was followed with comments by Professor Bita Amani<\/a> from Queen\u2019s University, as well as Osgoode\u2019s own Professor Carys Craig;<\/a> each of whom offered insightful critiques of Drassinower\u2019s book.<\/p>\n

<\/p>\n

Abraham Drassinower \u2013 A theory of copyright based on copyright law<\/strong><\/p>\n

Drassinower proposed\u00a0a theory of copyright to\u00a0challenge the dominant instrumentalist paradigm, in which copyright\u2019s purpose is to catalyze the creation and dissemination of works of authorship. This theory views the work as an instance of value<\/em>. Drassinower\u00a0criticized\u00a0this framework as an inadequate account of why copyright law operates as it does.\u00a0 He\u00a0was particularly concerned with how a law and economics approach marginalizes the public domain. Accordingly, he set out to construct his theory by examining core principles of copyright doctrine.<\/p>\n

The Principle of Originality<\/u><\/p>\n

A work must cross the originality threshold to merit\u00a0copyright protection, and to become what Drassinower termed a \u2018copyright citizen\u2019. Value cannot explain copyright's\u00a0need for originality. For example: a telephone directory\u00a0may hold\u00a0greater\u00a0value than\u00a0a\u00a0romantic poem, but it does not\u00a0merit\u00a0copyright protection. An examination of seminal case law revealed a delineation between the mechanical creation of value and acts of authorship. Drassinower argued such delineation\u00a0invites a theory grounded in authorship<\/em>.<\/p>\n

The Principle of Independent Creation<\/u><\/p>\n

Drassinower examined how copyright law would treat a hypothetical infringement case in which two authors independently wrote identical poems. The author who first wrote the poem (author A) sued the second (author B) for infringement. Not only is B not liable, copyright law\u00a0deems her as an\u00a0author in her own right. The hypothetical\u00a0suggests that novelty is not a part of copyright theory, and led Drassinower\u00a0to three further observations:<\/p>\n

    \n
  1. A right is conditioned on the fact that it respects the rights of others.<\/li>\n
  2. An author does not hold the work as an object of property. If this were so, the defendant\u2019s poem would be seen as an act of conversion. Rather, copyright sees two independent rights over the same work.<\/li>\n
  3. The fact that two identical works do not infringe each other is because they are independent acts of authorship. The rights protected by copyright are prerogative to support acts of speech<\/em>; the translation of ideas into expression, not the idea itself.<\/li>\n<\/ol>\n

    These observations led\u00a0Drassinower to the central tenets of his theory: Works of authorship should be viewed as communicative<\/em> acts <\/em>instead of\u00a0<\/em>instances of value<\/em>. Authors are speakers<\/em>.<\/p>\n

    Seen in this way, copyright infringement is the act of disposing of another\u2019s speech in the absence of authorization; what Drassinower called \u2018compelled speech\u2019. Any rights over the communicative act must be consistent with the communicative rights of others. For example, copying for the purposes of commentary is lawful because the rights of the author must be consistent with the rights of others to respond. Fair dealing drops out of the author\u2019s mouth as soon as she speaks. This also means that only communicative uses<\/em> of the work are subject to copyright; hence why merely incidental, technical instances of copying are not infringement.<\/p>\n

    Commentary and Critiques<\/strong><\/p>\n

    Professor Amani began by noting that Drassinower\u2019s book only situated \u2018speech\u2019 within broader rights systems at the end of its reasoning, rather than as a foundational piece. She took issue with theory based on the 'work-as-expression\u2019 that neglected to address why, for example, copyrighted speech should be seen as a privileged form of expression over constitutionally protected speech. Adopting Drassinower\u2019s metaphor, she asked, \u201cwhy is copyright a \u2018dual-citizen\u2019 while constitutionally protected speech is only a \u2018single-citizen\u2019?\u201d<\/p>\n

    She also addressed Drassinower\u2019s lack of attention to subject matter. As his book focused almost exclusively on literary expression, it did not explore questions concerning artistic works. She argued\u00a0that copyright is not only about rights, but also about the subject matter<\/em> to which those rights attach; a distinction with\u00a0political implications. She gave the example of how works created by women were\u00a0historically regarded as \u2018crafts\u2019, rather than arts, and were\u00a0excluded from protection. She wondered how Drassinower\u2019s theory would treat expressions such as folklore, oral traditions, or even non-human works.<\/p>\n

    According to Professor Craig, Drassinower\u2019s theory failed to take seriously the idea of authorship as communication and created a fundamental contradiction. For her, the idea that an unauthorized copier \u2018disposes\u2019 oneself of another\u2019s work actually reinforces<\/em> the idea of a work as a stable alienable \u2018thing\u2019 that can be bought, sold or gifted.<\/p>\n

    She\u00a0critiqued\u00a0Drassinower on this point using his infringement hypothetical. She imagined two scenarios: one in which speaker B attributed speaker A, and one in which she did\u00a0not.\u00a0If no attribution was\u00a0given, there is no reason the public would\u00a0associate the words with A. Rather than compelled speech, this would be a case of forced silence. If there was\u00a0<\/em>attribution, then B acknowledged A\u2019s authorship. This\u00a0is giving,<\/em> not denying\u00a0<\/i>A the status of author. Even if\u00a0B had\u00a0spoken before A, Craig found it hard to see how B could be said to have\u00a0\u2018disposed\u2019 of A\u2019s speech. The outcomes in this scenario are either: the responding to, acknowledging of, or silencing of A by B \u2013 there is no outcome in which A was compelled<\/em> to speak.<\/p>\n

    Craig ultimately conceded that while Drassinower\u2019s theory made sense as a theory of law, it fell short as a theory of communication.<\/p>\n

    After the presentations, attendees participated\u00a0in a wide-ranging discussion that further engaged with the issues raised. While the three speakers may have diverged on some points, they all articulated theoretical visions grounded in the public interest. There is little doubt that such perspectives will play an increasingly important role in the way judges, academics and lawyers think about copyright\u00a0 in the future.<\/p>\n

     <\/p>\n

    Luca Lucarini is an IPilogue Editor and a JD candidate at Osgoode Hall Law School<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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