{"id":6342,"date":"2009-10-29T22:11:46","date_gmt":"2009-10-30T03:11:46","guid":{"rendered":"http:\/\/www.iposgoode.ca\/?p=6342"},"modified":"2009-10-29T22:11:46","modified_gmt":"2009-10-30T03:11:46","slug":"the-public-domain-ip-culture-and-democracy","status":"publish","type":"post","link":"https:\/\/www.yorku.ca\/osgoode\/iposgoode\/2009\/10\/29\/the-public-domain-ip-culture-and-democracy\/","title":{"rendered":"The Public Domain: IP, Culture, and Democracy"},"content":{"rendered":"<p><em>Jonathan MacKenzie is an LLM\u00a0candidate at Osgoode Hall and is taking the Intellectual Property Theory course.<\/em><\/p>\n<p>Since its first significant formal uses - in the 1896 decision of <span style=\"text-decoration: underline\"><a href=\"http:\/\/supreme.justia.com\/us\/163\/169\/\"><em>Singer v. June<\/em><\/a><\/span> and the United States' 1909 <span style=\"text-decoration: underline\"><a href=\"http:\/\/www.megalaw.com\/top\/copyright\/1909cact.php\"><em>Copyright Act<\/em><\/a><\/span> - the term \"public domain\" has become a key component of the North American IP legal regime. Over the last century, the \"public domain\" concept has both facilitated as well as circumscribed the incorporation of prior creative works into new artistic products. Today, the popularity of art forms that depend on reshaping previous works (such as the 2008 mash-up, <span style=\"text-decoration: underline\"><a href=\"http:\/\/www.youtube.com\/watch?v=lrMDdRwWlKg\">\u201cElton's Glasses\u201d<\/a><\/span>, which combines the musical compositions of Elton John and Phillip Glass, or the 2007 post-modern biopic, <span style=\"text-decoration: underline\"><a href=\"http:\/\/www.youtube.com\/watch?v=imGyrMce-pU\">\u201cI'm Not There\u201d<\/a><\/span>, which recreates shot-for-shot scenes from the 1967 documentary, <span style=\"text-decoration: underline\"><a href=\"http:\/\/www.youtube.com\/watch?v=2cFW4OmGRQw\">\u201cDon't Look Back\u201d<\/a><\/span>) makes questions about the nature, content, and practical application of the public domain more relevant than ever.<\/p>\n<p><!--more-->With the preceding background in mind, Julie Cohen's article, <span style=\"text-decoration: underline\"><a href=\"http:\/\/www.law.georgetown.edu\/Faculty\/jec\/locatingPD.pdf\">\u201cCopyright, Commodification, and Culture: Locating the Public Domain\u201d<\/a><\/span>, offers a valuable contribution to IP law discourse by investigating the jurisprudential and theoretical treatment that the public domain has received in North America. The section of Cohen's article that traces the development of case law and legislation pertaining to the public domain - particularly in the American legal system - leads to a two-part conclusion. First, Cohen observes that the modern notion of a \"public domain\" has been founded on the traditional \"public lands\" concept, derived from Western property law. Second, the author suggests that the association between these concepts has largely occurred as a result of the specific, unplanned, contingent unfolding of American legal history.<\/p>\n<p>With regard to her consideration of the academic theory that surrounds IP protection and the public domain, Cohen's analysis again contains two parts. First, she characterizes the leading theoretical perspectives on this issue as either being aligned with a <strong>cultural stewardship<\/strong> argument (encouraging the commodification of creative works) or a <strong>conservancy<\/strong> argument (opposing commodification). Authors who Cohen assigns to the former category generally include proponents of copyright expansion, such as <span style=\"text-decoration: underline\"><a href=\"http:\/\/www.aei.org\/docLib\/20040608_Landes.pdf\">William Landes<\/a><\/span> and <span style=\"text-decoration: underline\"><a href=\"http:\/\/www.aei.org\/docLib\/20040608_Landes.pdf\">Richard Posner<\/a><\/span>. Authors who she assigns to the latter category tend to favour public domain expansion, such as <span style=\"text-decoration: underline\"><a href=\"http:\/\/www.law.duke.edu\/pd\/papers\/lange_background.pdf\">David Lange<\/a><\/span>, <span style=\"text-decoration: underline\"><a href=\"http:\/\/www.law.duke.edu\/pd\/papers\/litman_background.pdf\">Jessica Litman<\/a><\/span>, and <span style=\"text-decoration: underline\"><a href=\"http:\/\/yupnet.org\/boyle\/\">James Boyle<\/a><\/span>. The second part of Cohen's analysis is concerned with promoting a new figurative representation of the public domain - the <strong>cultural landscape<\/strong> model - as an alternative to the \"public lands\" metaphor she identifies as being a detrimental premise common to both <strong>cultural stewardship<\/strong> theory and <strong>conservancy<\/strong> theory.<\/p>\n<p>As a whole, Julie Cohen's article represents a worthwhile attempt to bring the theoretical structure of IP policy closer in line with the practical interests of different social actors who participate in the process of sharing creative works. As an exercise in further engaging the debate about how \u201cpublic domain\u201d concepts could be used to articulate an IP framework that was both economically and culturally viable, the following questions might be posed in relation to each of the historical and theoretical components of Cohen's analysis:<\/p>\n<p><strong>A<\/strong>.\u00a0 Regarding her historical critique, it is possible to ask whether United States' adoption of the \u201cpublic lands\u201d model does, in fact, deserve to be minimized for having been a product of contingent legal history. To the contrary, an argument could be made that the survival of this model (in contrast to competing U.S. models, and in the European context) suggests that it possesses a unique conceptual soundness or integrity. Furthermore - given that both the <strong>cultural stewardship<\/strong> and <strong>conservancy<\/strong> theories discussed by Cohen fundamentally depend on the \u201cpublic lands\u201d metaphor \u2013 it is possible to ask whether this commonality actually underscores the usefulness of the metaphor itself, rather than being a basis on which to criticize each of the (otherwise) distinct theories.<\/p>\n<p><strong>B<\/strong>.\u00a0 Addressing the alternative <strong>cultural landscape<\/strong> model that Cohen introduces in her article, a question arises as to whether one of her key policy\u00a0recommendations (that creative works should be <em>partially and differently<\/em> protected) encourages the incorporation of undue complexity or subjectivity into the design of a \u201creformed\u201d IP regime. If \u2013 according to Cohen - courts are rarely able to employ sophisticated, symbolic logic, but rather tend to follow a simpler process of reasoning (exemplified by their deduction of legal principles from preexisting metaphors), how can the judiciary be trusted to implement a more nuanced, mosaic, subjective IP regime of the kind that she, Boyle, and others have advocated?<\/p>\n<p>Beyond exploring the above types of questions, which specifically emerge from the recent work of Julie Cohen, additional directions for conceptualizing a modern, effective \u201cpublic domain\u201d may also be identified in such forthcoming articles as \u201cThe Politics of Global Information Sharing: Whose Cultural Agendas are Being Advanced?\u201d by Kathy Bowrey. Within the early 21st century context \u2013 when the dissemination of artistic works is subject to the aggressive and divergent influences of corporate demands for wider IP protection, on one hand, and technological and artistic incentives for sharing cultural products ever more freely, on the other hand \u2013 considering new ways in which the concept of the \u201cpublic domain\u201d might <em>itself<\/em> be reworked is a valuable area of study for anyone who is interested in how the exchange of creative ideas in society stands to benefit the individuals, organizations, and communities who participate in this process today, as well as those who will participate in the future.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Jonathan MacKenzie is an LLM\u00a0candidate at Osgoode Hall and is taking the Intellectual Property Theory course. Since its first significant formal uses - in the 1896 decision of Singer v. June and the United States' 1909 Copyright Act - the term \"public domain\" has become a key component of the North American IP legal regime. [&hellip;]<\/p>\n","protected":false},"author":2140,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","footnotes":""},"categories":[65,60],"tags":[27,393,823,791],"class_list":["post-6342","post","type-post","status-publish","format-standard","hentry","category-copyright","category-ip","tag-copyright","tag-intellectual-property","tag-jonathan-mackenzie","tag-public-domain"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>The Public Domain: IP, Culture, and Democracy - IPOsgoode<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.yorku.ca\/osgoode\/iposgoode\/2009\/10\/29\/the-public-domain-ip-culture-and-democracy\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Public Domain: IP, Culture, and Democracy - IPOsgoode\" \/>\n<meta property=\"og:description\" content=\"Jonathan MacKenzie is an LLM\u00a0candidate at Osgoode Hall and is taking the Intellectual Property Theory course. 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