Monthly Archives: February 2010

Weekly IP, Entertainment and Art Law Events

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Filed under Events, Meta

Dear Friends:

If you look at the top of the screen and sidebar you will see a new events widget and page. I find that I miss too many speaking events because I am either not informed or the date sneaks up on me. Case in point, today’s presentation on digital media that includes David Oxenford of Broadcast Law Blog fame. 

As a musician before law school, similarly, I was not aware of the services available from the legal community. I thought an events list might be my humble contribution to help remedy the situation. 

Let’s consider this a beta release: I haven’t spent enough time with the page to make it look pretty and this project may ultimately entail too much work. I also haven’t finished collecting all of the dates, especially from local and state intellectual property groups. If you would like to submit an event, please email me at events@senlawoffice.com. The events for the upcoming week are below.  

Very truly yours,

Shourin Sen

When What
 
February 26, 2010 – March 6, 2010

  • February 26, 2010
  • 1:00 pm
  • 3:00 pm
  • Add event to google
  • NY, NY: Using Music in Digital Media: Business and Legal Issues
  • [link]This non-CLE program will focus on business and legal issues regarding the use of music in digital media, and discuss related rights and clearances that need to be obtained, other steps one should take to minimize potential legal liability, and current controversies that remain to be resolved by the Courts and Congress.Chair:
    Joel HeckerSpeakers:
    David Oxenford, Davis Wright Tremaine LLP
    Robert Driscoll, Davis Wright Tremaine LLP
  • Show in Google map
  • The New York City Bar Association Building, 42 West 44th Street, New York, NY
March, 2010

  • March 1, 2010
  • 9:00 am
  • 10:30 am
  • Add event to google
  • Palo Alto, CA: Breakfast with Undersecretary David Kappos
  • [link]
  • Show in Google map
  • DLA PIPER LLP (US) 2000 UNIVERSITY AVENUE EAST PALO ALTO, CA 9430

  • March 1, 2010
  • 7:00 pm
  • 10:00 pm
  • Add event to google
  • Palo Alto, CA: Women Intellectual Property Lawyers Association Spring Mixer
  • [link]
  • Show in Google map
  • Three Seasons Palo Alto 518 Bryant Street Palo Alto, CA 94301

  • March 1, 2010
  • 8:00 pm
  • 10:30 pm
  • Add event to google
  • St. Louis, MA: Anatomy of a Contract
  • [link]Although many of us still prefer to conduct our business on a handshake, vague verbal agreements can result in ugly misunderstandings. Attorneys James W. Reeves and Kim Kirn will cover the basics, including negotiation skills.
  • Show in Google map
  • 6128 Delmar, St. Louis, MO

  • March 2, 2010
  • Until March 3, 2010
  • Add event to google
  • Madison, WI: Arts Day
  • [link]Posted by Arts Wisconsin.
  • Show in Google map
  • Monona Terrace Community and Convention Center and State Capital, Madison, WI

  • March 3, 2010
  • 1:30 pm
  • 3:00 pm
  • Add event to google
  • Online: Ex Parte and Inter Partes Reexamination: Strategies and Tactics
  • [link]AIPLA Live Online SeminarPresented By:
    David Cushing, Sughrue Mion PLLC
    David Emery, Sughrue Mion PLLC
  • Show in Google map
  • Online

  • March 3, 2010
  • 6:30 pm
  • 8:00 pm
  • Add event to google
  • Nashville, TN: Band Names as Brand Names
  • [link]Sponsored by Arts & Business Council of Greater NashvilleBand Names as Brand Names
    Date: Wednesday, March 3rd
    Time: 5:30 p.m. – 7:00 p.m.
    Co-Sponsor/Location: Watkins College of Art, Design, & Film (2298 Rosa L. Parks Blvd., Nashville, TN 37228)
    Presenters: Alex MacKay & Jeremy Brooks of Stites & Harbison, PLLC
  • Show in Google map
  • Watkins College of Art, Design, & Film (2298 Rosa L. Parks Blvd., Nashville, TN 37228)

  • March 3, 2010
  • 7:30 pm
  • 9:30 pm
  • Add event to google
  • St. Paul, MN: Schedule C Study Hall
  • [link]Are you thinking of doing your own tax return, but you are unsure how to complete the Schedule C (Profit and Loss from a Business) portion? Marcia Hammelman and Gary Wright, from H&R Block, are back to talk a little about what is and is not deductible. Bring your Schedule C and specific questions. Marcia and Gary will get to as many of your questions about categorizing specific items as we can.
  • Show in Google map
  • Springboard Office, 308 Prince Street, Suite 270, St. Paul, MN, 55101

  • March 4, 2010
  • 10:00 am
  • 11:00 am
  • Add event to google
  • BrightTalk webcast: Cost Management Practices for Global Patent Portfolios
  • [link]Panelists:
    Aki Ryuka
    - Japanese Patent Attorney, founder of RYUKA, Japan, which has 15 Patent Attorneys and 60 staff, in totalAndrew Schwaab
    -Registered Patent Attorney in DLA Piper’s Silicon Valley office
    -President of San Francisco Intellectual Property Law AssociationMichael Williams
    -European and UK Patent Attorney
    -Partner at Cleveland in LondonDale Lazar
    - Registered Patent Attorney and Office Managing Partner in DLA Piper’s Northern Virginia office
    - Adjunct Professor at George Mason University Law School
  • Show in Google map
  • Webcast

  • March 4, 2010
  • 5:30 pm
  • 7:30 pm
  • Add event to google
  • Boston, MA: Non Profit Incorporation Seminar
  • [link]This workshop will assist groups who want to learn more about becoming tax exempt organizations. The goal is to better prepare arts organizations for success in the pre and post registration process.
  • Show in Google map
  • Goodwin Procter, Exchange Place, 53 State Street, Boston, MA 02109

  • March 5, 2010
  • 10:30 am
  • 4:00 pm
  • Add event to google
  • Kalamazoo, MI: West Michigan Corporate IP Roundtable
  • [linkNo charge. Lunch included.
  • Show in Google map
  • Western Michigan Technology Park 4601 Campus Drive, Kalamazoo, MI 49008

  • March 5, 2010
  • 7:30 pm
  • 9:30 pm
  • NY, NY: The Aesthetics of the Contract and the Contract of Aesthetics
  • [link]Daniel McClean, a curator/lawyer, will discuss legal contracts from two perspectives: how Post-Conceptual artists use the medium of the contract to create artworks, and how lawyers create contracts and the role that aesthetics might play in their construction and interpretation. ?
  • Show in Google map
  • The Association of the Bar of the City of New York, Meeting Hall, 42 West 44th Street

  • March 6, 2010
  • 11:00 am
  • 3:00 pm
  • Add event to google
  • Houston, TX: Individual Income Tax Seminar for Artists
  • [link]Sponsored by Texas Accountants & Lawyers for the Arts. Presented by Michele Stanton, CPA.
  • Show in Google map
  • Art League Houston Education Building (1003 Bomar Street, Houston, Texas 77006; at the corner of Bomar Street and Montrose Boulevard)

  • March 6, 2010
  • 2:00 pm
  • 5:30 pm
  • Add event to google
  • Toronto, Canada: Demystifying Public Art Commissions
  • [link]CARFAC Ontario and Mural Routes are pleased to present a special workshop on Demystifying Public Art Commissions.FULL!
    Demystifying Public Art Commissions-TORONTO
    Instructor: Adrian Göllner
    Date: Saturday, March 6th, 2010
    Time: 1:00 PM to 4:30+ PM
    Location: Centre for Social Innovation, 215 Spadina Avenue, Suite 120, Toronto ON
    Price: $50.00 + GST for Mural Routes and CARFAC Ontario members; $65.00 + GST for non-members
  • Show in Google map
  • Centre for Social Innovation, 215 Spadina Avenue, Suite 120, Toronto ON

  • March 6, 2010
  • 3:00 pm
  • 6:00 pm
  • Add event to google
  • Baltimore, MD: Internet Copyright Workshop
  • [link]Join Maryland Lawyers for the Arts at Maryland Art Place (MAP) on Saturday, March 6 from 2 to 5 pm for an “Internet Copyright Workshop” with MLA Board Member and Ober-Kaler attorney Cynthia Sanders and artist Stacia Yeapanis.
  • Show in Google map
  • Power Plant Live!, 8 Market Place, Suite 100, Baltimore, MD 21202

Daily Copyright Roundup

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Filed under Daily Copyright Roundup, Fair Use, IP Czar, Pro-IP Act, Settlement

I haven’t written a daily roundup in a while. There are a number of recent stories, besides the ACTA leak, that deserve a mention.

The Tennessean is reporting that a suit brought by a music publishing company against A&E over its use of twelve seconds of the song “Rocky Top” has settled. We discussed this case in mid-November when the Middle District of Tennessee found that the use by the network was not fair use, at least without further development of the factual record. No details of the settlement were released.

Victoria Espinel, the U.S. Intellectual Property Enforcement Coordinator or I.P. Czar, announced on the White House blog that she formally requested written submissions from the public on the Joint Strategic Plan for intellectual property enforcement:

To further these goals, we are working to find ways of measuring these threats and their impact on us.  How many jobs depend on the existence of intellectual property?  What are the greatest risks to health and safety?  We need better data on these questions and it is part of my job to figure out what the answers are.  We cannot do that without your help.  So, my office is asking the public to give us information about the costs and the risks – and then give us suggestions for what we could be doing better as a government.   As a first step, we are issuing a notice to the public asking for your input.  Here’s a link to this request (pdf).  You can send your comments to intellectualproperty@omb.eop.gov.  We look forward to hearing from you.

The formal request for written submissions is published in the Federal Register. (H/t Ben Sheffner.)

Eleanor M. Lackman, a Senior Associate in the IP, Media & Technology group at Lovells NY, wrote an article in the New York State Bar Association publication Bright Ideas on the standard for obtaining a preliminary injunction in copyright cases. The article, titled “Factoring in the Public Interest: The Impact of eBay on Injunctive Relief in Copyright Cases,” discusses Salinger v. Colting and Winter v. Natural Resources Defense Council, and contains Ms. Lackman’s predictions about the future of the preliminary injunction standard:

Even in advance of that ruling, however, the debate in Salinger and other cases has awakened courts to the fact that injunctive relief in copyright cases may no longer be so easy to obtain—at least not without an evidentiary proffer on each of the four eBay factors, which were rarely addressed in copyright cases prior to eBay. eBay also may have an impact on the negotiation of licensing fees and money-based settlements.

In light of all the ways eBay might affect copyright law, this article addresses the following four questions: (1) Does the four-factor test enunciated in eBay apply to copyright cases? (2) Does the four-factor test apply to both preliminary and permanent injunctions? (3) How will the four factors be addressed by the courts? and (4) What can a potential copyright licensor, licensee, plaintiff, or defendant expect in the post-eBay world?

11th Cir. finds medical forms lack sufficient originality; rejects standard from Feist

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Filed under Noncopyrightable Material, Originality, Preemption

Utopia Provider Systems, Inc. v. Pro-Med Clinical Systems, LLC, 2010 WL 569892 (11th Cir. 2010)

We’ve discussed this case previously in May and, on damages, in December. Utopia alleged, inter alia, that Pro-Med infringed its copyright in a series of charts for a physician to use to record a patient’s medical history and symptoms. The district court granted Pro-Med summary judgment on the copyright claim finding that the charts were not copyrightable subject matter. Utopia appealed.

Were the charts copyrightable subject matter

The Court looked to whether the headings on the forms were expected on similar medical templates and, secondly, to whether the terms actually conveyed information to the treating physician. The Court found that the medical forms called for “the same information that any responsible physician would ask a patient with the given ailment.” The Court further found that the “selection and arrangement of the terminology” did not convey information that was sufficiently original. The Court, thus, affirmed the district court’s finding that the medical forms did not constitute copyrightable subject matter.

The real fireworks in this case came in a footnote where the Court appeared to reject the “modicum of originality” standard from Feist in favor of a “conveys information” standard. Utopia argued that Feist modified the Eleventh Circuit standard announced in John H. Harland Co. v. Clarke Checks, Inc., 711 F.2d 966, 971 (11th Cir.1983) by specifying that compilations need only minimal creativity to be copyrightable; that compilations are copyrightable “so long as [choices as to selection and arrangement] are made independently by the compiler and entail a minimal degree of creativity.” Feist Pubs., Inc. v. Rural Tel. Svc. Co., Inc., 499 U.S. 340, 348 (1991). Stated the court:

Utopia ignores, however, that Feist dealt with how to resolve the tension between facts generally not being copyrightable and factual compilations being copyrightable. Feist held that a factual compilation may be copyrightable “if it features an original selection or arrangement of facts, but the copyright is limited to the particular selection or arrangement.” Id. at 350-51, 111 S.Ct. at 1290 (emphasis added). Feist did not imply in any way that the rule concerning the creativity in selection of facts was a standard that applied to anything but factual compilations or impacted the blank forms rule. While we note that the creativity in the selection of terms on the ED Maximus forms bears on whether the forms convey information, the “convey information” standard-not a creativity in selection or arrangement standard-still governs blank forms and was not altered by the Feist decision concerning factual compilations. Utopia’s argument that the selection and arrangement of terms in the ED Maximus templates show “extraordinary degrees of creativity and originality,” therefore, is relevant only to the extent that it shows the forms convey information.

The Court’s opinion also contained an interesting discussion of what it viewed as the Ninth Circuit misreading Eleventh Circuit precedence:

Some courts have adopted a “bright-line” rule regarding blank forms; that is, they hold that blank forms inherently do not convey information and are not copyrightable. The Ninth Circuit took this approach in Bibbero Sys., Inc. v. Colwell Sys., Inc., 893 F.2d 1104 (9th Cir.1990). The court rejected the argument that a blank form could satisfy the “convey information” test by containing possible categories of information, thus indicating which information was important. Id. at 1107. If categories of information were sufficient to “convey information,” according to the court, the copyrightability of blank forms would be “potentially limitless. All forms seek only certain information, and, by their selection, convey that the information sought is important. This cannot be what the Copyright Office intended by the statement ‘convey information’ in 37 C.F.R. 202.1(c).” Id.

The majority of circuits have rejected Bibbero ‘s bright-line approach. See, e.g,, Kregos v. Associated Press, 937 F.2d 700, 709 (2d Cir.1991) ( “[A]ll forms need not be denied protection simply because many of them fail to display sufficient creativity.”); Whelan Assocs., Inc. v. Jaslow Dental Lab., Inc., 797 F.2d 1222, 1242-43 (3d Cir.1986) (noting that the Third Circuit, “like the majority of courts that have considered this issue … ha[s] held that blank forms may be copyrighted if they are sufficiently innovative that their arrangement of information is itself informative”). Although the Ninth Circuit characterized the Eleventh Circuit’s approach in Clarke Checks as adopting the “bright-line” approach that blank forms cannot be copyrighted, the Ninth Circuit’s reading of Clarke Checks does not comport with our reading of it. Bibbero, 893 F.2d at 1107. The Clarke Checks court’s statement that “blank forms which do not convey information … are not copyrightable” does not indicate a view that blank forms cannot convey information. 711 F.2d at 971. Moreover, the court’s analysis went beyond identifying the check stub at issue as a blank form; the court analyzed whether it conveyed “information beyond that contained on previously existing check stubs,” indicating that it would be possible for a check stub, although a blank form, to convey information. Id. at 972. We therefore look to the “convey information” test to analyze whether ED Maximus is copyrightable, and do not end the analysis merely by labeling it a blank form.

publishing law attorneys

“Plaintiffs may only recover one award of statutory damages per musical composition per Defendant”

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Filed under Damages, Music

MCS Music America, Inc. v. YAHOO! Inc., 2010 WL 500430 (M.D. Tenn. 2010)

Plaintiffs brought a copyright infringement suit alleging, inter alia, that Yahoo!’s music subscription service had distributed without permission a total of 308 different versions of 205 of its musical composition. This came about, according to the complaint, because Yahoo!, distributed different versions of some of the songs that were performed by different artists, produced at different times by different people, and were distributed by different record labels. The plaintiff contended that it was entitled to a $150k in statutory damages for each of the 308 versions.

Yahoo! filed a motion 12(c) judgment on the pleadings arguing that the Plaintiffs were only allowed to seek one award of statutory damages per work infringed. The Middle District of Tennessee (Campbell, C.J.)  granted Yahoo!’s motion and found that the statutory damages available to the plaintiffs, if any, were recoverable only on the 215 musical compositions alleged in the Complaint, rather than the 308 total recorded versions of the 215 musical compositions. Stated the Court, “Plaintiffs may only recover one award of statutory damages per musical composition per Defendant.”

music attorneys

High Court of England and Wales denies appeal of tariffs set by Copyright Board

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Filed under Copyright Royalty Board, Music, Royalty Collection Societies, Sound Recordings, UK

Phonographic Performance Ltd v British Hospitality Association & Ors [2009] EWHC 209 (Ch) (12 February 2010)

Last Friday, the High Court (Arnold, J.) denied an appeal of a decision by the Copyright Tribunal brought by the performance rights society, Phonographic Performance Limited. The Copyright Tribunal had found that the tariffs PPL accessed for the public performance of sound recordings in (i) public houses, bars, restaurants ad cafes, (ii) shops and stores, and (iii) factories and offices were unreasonable.

To briefly review, the Copyright, Designs and Patents Act 1998 provided that the public performance of a broadcast to an audience who had not paid for admission did not infringe any sound recording. PPL had previously claimed that the exception violated violated Article 8(2) of Council Directive 92/100/EC of 19 November 1992. Phonographic Performance Ltd v Department of Trade and Industry [2004] EWHC 1795 (Ch), [2004] EMLR 30).

The Government exercised its powers under section 2 of the European Communities Act 1972 to implement Article 11(1)(b) of European Parliament and Council Directive 2001/29/EC of 22 May 2001, by means of regulation 21(1) of the Copyright and Related Rights Regulations 2003, SI 2003/2498. The practical effect of the amendment was that many establishments needed to obtain a license to publicly perform sound recordings that they had previously played for free.

In December 2004, PPL noted its new tariffs, which came into full effect in 2006, to the Department of State. The new tariffs, in addition to creating a “delivery system neutral fee” also changed the rates accessed to performers of sound recordings under the existing structures. The changes in tariffs were referred to the Copyright Tribunal by the Secretary of State in October 2005 for a determination as to whether they were reasonable.

The Copyright Tribunal issued a final decision on October 15, 2009 finding that the tariffs were not reasonable, and made an order under Section 128 B(3)(a) changing the tariffs. The Tribunal reinstated the previous tariffs, extended them to all means of delivery, but with (i) an increase in the tariffs payable by 10% in addition to an adjustment in line with the Retail Price Index and (ii) the imposition of a concessionary discount rate for some small users.

Ground A: the investigatory obligations of the Copyright Tribunal

The argument that Copyright Tribunal was under an obligation to investigate the reasonableness of the tariffs was central to a number of PPL’s arguments on appeal. The Court found that while the Tribunal’s role under 128B was inquisitorial and not adversarial, it did not have an obligation to investigate. The Tribunal, according to the Court, only had to take into account the relevant considerations, and it’s obligations were fulfilled by considering the record and parties’ briefings.

Grounds B & C: the Performance Rights Society tariffs and previous tariffs as best competitor

PPL’s second and third grounds for appeal were that the Tribunal should have used the tariffs used by the Performance Rights Society, the tariff collection society for righsholders of musical works,  and not the previous tariff rates as “best competitor.”  The Court found that the Tribunal did not make an error of law by taking into consideration the PRS tariffs, and only finding that they suggested a modest increase in PLL’s tariffs; and that the Tribunal did not make an error in considering the previous tariff rates as best competitor.

Ground D: market reaction

PPL argued that the Tribunal failed to take into account the increase in numbers of licensees (81,921 in 2005 to 105,981 in 2008), as an indicator of the reasonableness of the tariffs. In opposition, the Interested Parties claimed that the increase was due to the removal of the exceptions under Section 72, which required more users to acquire a license. The Court found that the Tribunal should have directly addressed the argument, but that the reasoning used by the Tribunal showed that it did not consider the increase in numbers to be indicative of reasonableness.

Ground E: measurement of audience

PPL argued that the Tribunal committed material error by not considering that the new tariffs accounted for the size of a venue, where the old tariffs did not.  The Court found that this may show that the new tariffs are more reasonable than the old tariffs, but not that the Tribunal made an error in concluding that the new tariffs were unreasonable.

Ground F: the statutory factors

The statutory factors for which the Tribunal must consider when evaluating a tariff, set forth in section 128A(7), include “(c) [the] commercial benefit a potential licensee is likely to obtain from playing the excepted sound recordings.” PPL contended that the Tribunal did not adequately consider the factor. The Court found that the Tribunal  made the conclusion, which was in its discretion, that the factor did not support an increase, except to the extent that the new tariffs covered PPL’s new rights in the broadcast of sound recordings.

Ground G: the concessionary discount

PPL argued that Tribunal made an error by imposing the concessionary discount. The Court found that the Tribunal was within its discretion in finding that the concessionary discount was reasonable to balance the increase of 10% it granted on top of the old tariffs.

Costs

PPL also appealed the decision of the Tribunal to order it to pay half the costs of the Reference.  PPL contended that the costs order “did not reflect the inquisitorial nature of the Tribunal’s jurisdiction under [S]ection 128B.” The Court affirmed the order, finding that the awarding of costs “was within the ambit of [the Tribunal's] jurisdiction.”

International Copyright Representation

Hearing today on Google Books Amended Settlement Agreement

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Filed under Google Books Settlement

There will be a hearing today on the fairness of the Google Books Amended Settlement Agreement  in the Southern District of New York (Chin, J.) The Copyright Clearance Center has posted a podcast interview with Lois F. Wasoff that provides a nice preview of the upcoming hearing. A transcript of the interview is here. A brief snipit on what to expect:

WASOFF: For those of us who are following this closely, it’s going to be fascinating. Maybe not generally fascinating, but for those of us like you and I, Chris, who’ve been following this closely, it’s going to be interesting.

There are about 30 different speakers, the neighborhood of 30 different speakers that have been recognized by the court as having the ability to speak at the hearing. The number is a little bit of a moving target. The overwhelming majority of those – more than five-sixths of them, by the present count, about 25 of them – are going to be speaking in opposition to the current amended settlement agreement. About five will be speaking in favor.

All of those speakers will be given only five minutes each, and the court has suggested that they coordinate their remarks to prevent too much redundancy. The judge has also said he’s going to read all of the written submissions to the court, even if speakers have not been given an opportunity to speak or can’t cover all of their points in their five minutes. So we know what Judge Chin will be doing for the next period of time. He has a lot of reading to do.

Following those individual presentations, there’ll be a representative of the Department of Justice speaking, and then finally, the parties to the suit, the proponents of the settlement. Because at this point, Google, the authors and the publishers – or more properly, Google, the Authors Guild and the Association of American Publishers – are on the same side. Even though they were adversaries in the litigation, they’re all the proponents. They’ll be given an opportunity to speak as well.

The entire courtroom will be filled essentially only with people who are going to be speaking because there’s that big a crowd who will be speaking. There’s an overflow room that’s been designated. There’ll be a video broadcast. The Twitter feeds will be interesting. It’ll be a very, very, very full day.

publishing law attorneys

DOJ announces new IP Task Force

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Filed under Criminal Enforcement of IP

On Friday, Attorney General Eric Holder announced the formation of a new Task Force on Intellectual Property. The Task Force will be chaired by Acting Deputy Attorney General Gary Grindler, and includes Associate Attorney General Thomas Perrelli, and representatives from the Criminal Division, Civil Division, Antitrust Division, Office of Legal Policy, Office of Justice Programs, Attorney General’s Advisory Committee, Executive Office for U.S. Attorneys and the FBI.

As per the DOJ press release:

The Task Force . . . will focus on strengthening efforts to combat intellectual property crimes through close coordination with state and local law enforcement partners as well as international counterparts. It will also monitor and coordinate overall intellectual property enforcement efforts at the Department, with an increased focus on the international aspects of IP enforcement, including the links between IP crime and international organized crime. Building on previous efforts in the Department to target intellectual property crimes, the Task Force will also serve as an engine of policy development to address the evolving technological and legal landscape of this area of law enforcement.

As part of its mission, the Task Force will work closely with the recently established Office of the Intellectual Property Enforcement Coordinator (IPEC), housed in the Executive Office of the President and charged with drafting an Administration-wide strategic plan on intellectual property. As part of its mission, the Task Force will assist IPEC in recommending improvements to intellectual property enforcement efforts.

Notes:  There was a firestorm on the internet this summer over what some considered ethically worrisome ties between some administration appointees at the Department of Justice and the recording industry. The thought was, at the time, that many of the appointees may find themselves working on matters at the DOJ in which they represented clients in private practice.

Prior to joining the Department Mr. Perrelli was managing partner and Co-Chair of Jenner & Block’s Entertainment and New Media Practice, where he represented members of the recording industry. President Obama issued an Executive Order on January 21, 2009 which stated that every appointee in every executive agency shall sign and “be contractually committed to” a pledge that includes the following:

I will not for a period of 2 years from the date of my appointment participate in any particular matter involving specific parties that is directly and substantially related to my former employer or former clients, including regulations and contracts.

In May 2009, Main Justice reported (via Ben Sheffner) that a Justice Department Spokesman had confirmed that Mr. Perrelli had not requested any exemptions from the ban. I am curious about whether the two-year period has run, if an exemption was requested, whether the task force is not considered a conflict, or if there has been a policy change.

CAD software user interface copyrightable as a compilation of public domain elements

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Filed under Noncopyrightable Material, Originality, Scenes a Faire, Software, Unfair Competition

Real View, LLC v. 20-20 Technologies, Inc., 2010 WL 455459 (D. Mass. 2010)

Real View and 20-20 Technologies sold competing CAD software that enabled consumers to model kitchens. 20-20 sent Real View a cease-and-desist letter, which Real View responded to by filing a complaint seeking a declaratory judgment that it has not infringed 20-20′s copyrights. 20-20 filed counterclaims for copyright infringement, trade dress infringement, unfair competition, intentional interference with advantageous relations, and violations of Massachusetts General Laws Chapter 93A.

The District Court of Massachusetts (Saris, J.)  held a preliminary hearing to determine whether 20-20 Design contained expression that merited copyright protection, and if so, which parts. The Court’s decision is interesting for its attempt to synthesize the “abstraction, filtration, comparison” test, adopted by the Second Circuit in Computer Associates International, Inc. v. Altai, Inc., 982 F.2d 693 (2d Cir. 1992) (plaintiff claiming non-literal infringement), and the First Circuit’s decision in Lotus Dev. Corp. v. Borland Int’l, Inc., 49 F.3d 807, 820 (1st Cir.1995) (plaintiff claiming literal infringement) that criticized the “abstraction, filtration, comparison” test for obscuring the fundamental question of whether a work merited copyright protection at all.
20-20 presented the court with a list of fifty-four elements that it contended merited copyright protection. The Court found that this allowed it to skip directly to the filtration portion of the “abstraction, filtration, comparison” analysis:

Since 20-20 has offered a list of specifically protected elements, this Court need not engage in the abstraction process described in Altai and eschewed in Lotus. See MiTek Holdings v. Arce Eng’g Co., 89 F.3d 1548, 1555 (11th Cir.1996) (“[I]f the copyright holder presents the court with a list of features that it believes to be protectable …, the court need not abstract further such features.”); ILOG, Inc. v. Bell Logic, 181 F.Supp.2d 3, 11 (D.Mass.2002) (declining to “abstract” and proceeding to “filter” when parties identified elements of a computer program that were allegedly copied). Nevertheless, sitting in a Lotus position, the Court must read Altai through the lens of Lotus and thus filter out elements based on § 102(b) before filtering on the basis of merger, scenes a faire, or public domain.

Analysis

The Court found that many of the elements of the program design did not merit copyright protection when viewed in isolation. The Court however found that a compilation of the individual components, as viewed on the screen display, was protectible. The Court also found that a particular dialog box that enabled users to specify characteristics of kitchen items placed into a design was copyrightable as a compilation of factual information (based on unique selection and arrangement).

Individual components that were found to be in the public domain when not evaluated as part of a compilation

  • The sequence of sub-windows on the left side of the screen: information box, edit box, hierarchical catalog box, drag and drop listing, and search box.
  • The items in various dialog boxes.
  • “Save as Image” function.
  • A row of command categories on the top of the screen display (File, Edit, View, Place, Project, Design, Notes, Dimensions, Render, Preferences, Window, and Help).
  • The ability to add notes via a dialog box.
  • Three methods used to add a wall. One of the methods was consisted of using a menu command function; a second, pressing a button on a toolbar.
  • An “idiosyncratic” sequence of mouse clicks through which a user could draw walls (regardless of the novelty of the sequence).
  • The ability to terminate a wall sequence through a single left mouse click behind the most recent wall drawn.
  • An edit box and default room configuration users can use to create walls.
  • A submenu that allows a user to move, rotate, extrude, and delete a wall.
  • A dialog box that allows users to modify the appearance of a wall or a placement zone.
  • A drop and drag method of placing items such as cabinets; a method through which a user can select an item from a list and click “place”; and a method through which a user can input coordinates.
  • Two means through which a user could resize windows and doors Options for editing countertops, e.g, “Add Bevel,” “Notch,” and “Rotate.”

software and technology attorneys

Happy Presidents’ Day

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Filed under Meta

Or is it Presidents Day or President’s Day? I thought it’d be fun to take a brief pause to celebrate our forty-four (and a day off from work) with unintentional art. I’ll be back writing on copyright tomorrow. Here are a few images I’ve snapped with my iPhone over the past month or so.

The quotation marks make this first image art.

  • Location: Anonymous convenient store.

I’m not certain if this is actually unintentional art. Ceci n’est une pipe? Regardless, it’s brilliant.

  • Location: Inside an elevator at the John Adams Courthouse, Boston, MA

And finally, this last image is a sign dating from the Great Depression. Movie theaters apparently used silverware and place setting giveaways as a way to attract women viewers during the time of financial hardship. The administrators at the Somerville Theater must have found the sign deep in their vaults. I personally would have selected the imported translucent china.

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Exclusive Licensee of a Twilight documentary files suit against distributor of another documentary

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Filed under Film

Summit Entertainment, LLC v. Topics Entertainment, Inc. (C.D.. Cal. 2010)

On Monday, Summit Entertainment, the producer and distributor of the blockbuster Twilight movies, brought claims for copyright infringement, trademark infringement (false designation of origin and dilution), and unfair competition against Topics Entertainment. Summit is the exclusive licensee of a documentary film, Twilight in Forks: The Saga of the Real Town. The documentary covers the relationship between Forks, Washington and the Twilight movies.

Summit alleged that Topics marketed to major retailers a documentary called Forks: Bitten by Twilight that infringed Summit’s  copyright in its movie and video cover, and infringed a number of trademarks associated with the Twilight movie series.

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