
If ancient
Back then, anything
released to an audience instantly became common property.
The Christmas stories
were no exception. Matthew wrote about the Magi. Luke wrote about angels and
shepherds. John wrote a prose poem: "In the beginning."
Those stories were
copied and re-copied by countless people. Until the centralized technology of
printing enabled authors to control who could publish their material.
Today, the Internet has
returned us to those pre-printing-press days. But the supposed owners of
"intellectual property" are fighting tooth and nail to retain power.
Intellectual property
assumes that someone -- some person, some corporation -- can actually own an
idea and/or its expression.
So
pharmaceutical giant Novartis has initiated legal action to prevent
Novartis believes that
protecting its patent -- and, of course, profits for investors -- matter more
than six million lives.
Monsanto uses similar
arguments to force farmers to buy genetically modified seed.
UNENFORCEABLE
I find myself on both
sides of this argument.
On the one hand, I'm a
writer. I depend on copyright law to get paid for the words I write.
On the other hand, I
believe that the Internet -- electronic digital storage and transmission -- has
made copyright law unenforceable.
Once an idea is turned
loose today, the originator loses control over it. It cannot be recalled. It
cannot be erased from some central repository. Every download, every e-mail,
creates countless electronic copies.
Theoretically,
everything published in
Because
they're all forms of publication.
Boggles the mind,
doesn't it?
The real database is no
longer the National Library, or the Library of Congress in
In this anarchic new
world, it is all too easy to cut-and-paste one person's thoughts into another's
product.
THE PERILS OF PLAGIARISM
Last spring, 17-year-old
Harvard student Kaavya Viswanathan
signed a $500,000 contract with Little Brown publishers for her first novel.
The book reached 32 on the New York Times fiction list. Then the publisher
recalled it when evidence mounted that Viswanathan
had lifted large chunks from other "chick-lit" authors. Especially from Megan McCafferty.
McCafferty
said that reading Viswanathan's book was like
"recognizing your own child's face. My own words were just leaping out at
me page after page after page."
McCafferty's
publisher, Random House, documented more than 40 examples of "identical
language and/or common scene or dialogue structure" in what it called
"literary identity theft."
I sympathize, having
been a victim of literary theft myself.
On one occasion, I ran
across a piece in a church's national magazine. I liked its message. I liked
its style. I should. When I checked, I found I had written it myself, ten years
earlier.
Someone had copied a favourite selection from one of my books and forwarded it
to friends overseas, who passed it around until no one knew its origins any
more -- the same thing that happened to early Christian writings.
Finally, one of those
persons published my words as their own.
I suppose I shouldn't
complain. Shakespeare borrowed most of his plots from previous writers. James
Joyce swiped Ulysses from Homer. Brahms wrote variations on themes by Haydn and
Paganini.
More recently, Raytheon
CEO William H. Swanson apparently plagiarized most of the book, Swanson's
Unwritten Rules of Management, that made him famous as
a management guru. According to the New York Times, 17 of his 33 rules came
from a 1944 book by W. J. King, The Unwritten Laws of Engineering. Four more
came from a collection of maxims by Donald Rumsfeld
in the Wall Street Journal.
STANDING ON ANCESTORS' SHOULDERS
Those
acts were all traceable, because they occurred in print.
Electronic publishing
makes tracing more difficult. Early hip-hop music frequently used pre-recorded
audio loops from other artists. A landmark 2005 case -- Bridgeport Music vs Dimension Films -- centred on
a sequence of just three notes.
As Will Payne noted in
Harvard's Crimson journal, "From this perspective, almost every creative
work could be found 'derivative' by clever lawyers."
A letter to Crimson's
editor called it "the increasing privatization of our common
culture."
"No creative work, whether
scientific or literary," the writer continued, "is the exclusive
product of any single individual, or even of a large group of individuals, such
as a corporation. All such works build on a tradition. created
by innumerable people, from which they draw ideas, facts, words, and
expressions. It is in the nature of culture for people to make use of elements
of previous work in composing new ones."
Electronic technology
has, I submit, turned this tradition into common practice.
CONCEPTS OF PROPERTY
The problem is not the
practice. Rather, the problem itself draws attention to our culture's elevation
of property rights to near godlike status. It has become unthinkable to
question the right of a drug company to own a process, a chemical corporation
to own a genetic sequence, a sculptor to own a shape, a composer to own certain
frequencies.
Tinkering with copyright
legislation based on previous technology will not resolve the problem.
We need to re-think our
whole understanding of property. Some men still think of women as property;
some employers think they own their employees. Landowners rebel against zoning
restrictions.
Once we recognize that
some things cannot be owned, we might be able to deal more intelligently with
the notion of intellectual property.
The messenger does not
own the message. Remember that, as you listen once again to the familiar
Christmas stories.
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Copyright © 2006 by Jim Taylor. Non-profit use in congregations and study
groups permitted; all other rights reserved.