Christopher Buccafusco, Copyrighting Style
There are plenty of precedents that say style isn’t ©able.
Appropriating the “core” of a work is not infringing in the absence of substantial
similarity.there are also cases suggesting ©ability of style: Steinberg, saying
style is part of expression. Blehm v. Jacobs, Bandana v. TJX, Reece v. Mark
Ecko say that style is an ingredient of expression etc.
Unfortunately, this matters because of AI. Greg Rutkowski is
a more popular prompt than Picasso and he doesn’t like this. Visual art for
examples, but can be extended to music and text.
To some extent, style is ©able and to some extent not. Style
sits between idea/content/subject and method/process, things that are excluded
from ©ability. © attaches to the how, not the what: the means by which the
ideas are given expression. The manner by which the author makes certain
choices. These are forms—but that’s one way of defining style, the manner in
which we clothe our forms of thought. Synonymy: the idea that you can say the
same thing in many different ways. That’s a questionable commitment in
aesthetic philosophy these days.
Same problems if we think of style v. method/process. Style
feels a lot like method/process—ways in which you learn to engage in 2-point
perspective drawing seems like a method for doing things. But not everything
with a bunch of steps in it is uncopyrightable. Choreography can be ©able.
We can also make incentive claims about broader protection
for style. But © doesn’t (shouldn’t) care about fame or distinctiveness.
Copyright attaches to works, not ouvres. The scope of © shouldn’t grow b/c an
author has made six works when the six works made by six different authors
would have a smaller scope of ©. Style inevitably involves authorial choices about
manner and form of expressing ideas; impossible to say with any coherence when
these choices become sufficiently abstract to be ideas. Telling the jury “good
luck” admits that we don’t know how to do this.
Path forward: copyright consists in the original properties by
which a work expresses: by which it represents, denotes, and exemplifies. These
include both formal features and the subject or content of the work. A work is
an expressive unit of both the formal features and the underlying content; the
relationship between those is what constitutes the work. Only when all the
relevant features are substantially similar should we find infringement:
combining formal features and underlying content should be required. Subject of
work acts as a limitation on scope of ©. Monet gets a © in his depiction of
waterlilies but not as against depiction of violets. 2 photos of Michael Jordan
in grande jete pose but with different formal features.
This will get hard: Steinberg-style drawings of other cities
are hard for him.
This is basically what Krofft said in the parts that
are good and not terrible: you need substantial similarity in expression of
ideas, not merely of ideas. Statue of a horse can’t embody the same idea as statue
of a dancer even if formal features are the same, nor would a painting of a
dancer.
Cubism makes it hard: could Braque have sued Picasso? Hard
to figure out what the subjects are.
Is this relevant to fair use? Suggests that satire should
have a greater claim to noninfringement than it historically has. Satire involves
using the same style to clothe different ideas; therefore it shouldn’t infringe
(lack of substantial similarity as in the Greatest American Hero case; German
case law; perhaps the jury’s reasoning in the Kat von D case).
Courts should avoid analyzing “feel” and more focus on
formal features. More about glint in eye than “uncomfortable” versus “larger
than life” in Prince.
[seems like this is going to have trouble with derivative
works]
Amanda Levendowski, Fairer Public Benefit
Bias and harms of works aren’t taken into account in fair
use analysis: recruits a legal tool typically aimed at one set of problems for
the purpose of cleverly addressing a different set of problems. Here the tool
is the “public benefit” subfactor of fair use, aimed at balancing public
benefits with market harms. Novel tech can promote sociotech harms like bias,
mis/disinformation and social/environmental destruction. Particularly
pronounced with algorithms and AI. Defining public benefit could mitigate some
of those harms. [I am v skeptical of this given the inability of courts to do
full cost benefit analysis; 1201 exemption analysis shows that putting downstream
effects into the hopper is generally a way to suppress fair uses, and
competition, in the service of fears of lack of control by big companies like
John Deere.]
Cases that have discussed public benefit in fair use: 19 of
38 involve novel technologies—VCRs, digital libraries, early algorithms.
Defining public benefit is difficult. But deeply troubled by
algorithmic fair use cases that allowed lots of exploitation—iParadigms (plagiarism
detection) and Perfect 10 (exposing women to public view when they contracted
for more restricted nudity). Amplified misinfo: these women didn’t consent to having
their nudity exploited publicly. This is inconsistent w/the promotion of progress,
and misinformation doesn’t do that. [How do you know that viewers received that
message or perceived any difference between “posing for Perfect 10” and “having
images online”?] Not saying Perfect 10 was wrongly decided, but not an uncritical
public benefit. Could have named the costs, which influences how lawyers and
courts think and behave.
Should consider public benefits of use discounted by public
harms. Benefits and harms are both difficult to quantify.
Courts, as well lawyers counseling clients, can do this.
Courts can elevate scholarship into doctrine. [Do we think that today’s courts
will embrace the broader social benefits of a trans
Joker,
or instead consider the film to inflict broader social harm?] This wouldn’t be
dispositive and anyway the harms will already have been caused in litigation.
What about Congress? Codifying this definition is risky.
Fairer public benefit can be operationalized by
client-centered lawyers seeking to help clients develop better technologies—exploring
possible consequences of their actions. Consequences are often sociotechnical,
not legal. Lawyers should be counseling on them. Formalize the tech; assess public
benefits; identify public harms; reconsider public benefits; report to the
client.
[why do you need to bring © into this? If ethical lawyering assesses
sociotech impacts, then © is just a distraction.]
Michael Mattioli, Facilitative Fair Use
Implications of Warhol on training AI: surprising ways that
AI is actually facilitating some good things in © ecosystem. Little AI services
may be much more beneficial than Big AI. Amanda Wood-Shapiro, writer with
dyslexia, describing use of AI as game-changer for author. Ability/desire to tell
stories; difficulty organizing thoughts. More than just spellcheck/grammar checker;
AI was a mentor for her (Grammarly). Not the only neurodivergent person using
LLMs to get ideas out as authors. Publishers drowning under slush piles may be
able to use LLMs to identify the diamond in the rough. Sudowrite and other
editors—help speed of production, looking at narrative consistency and pacing.
Writing ad copy, which authors need to sell their works. Not just books; ScriptBook
for scriptwriting can evaluate potential in script—character likeability,
whether there’s a big enough audience, etc.
Word of pessimism: if it’s not run properly, especially if
trained on limited/biased dataset, could narrow the range of voices. But these
tools are already there. AI models for casting data to determine who to cast—but
trained on existing ads and films. Generating storyboards: directors can
experiment w/different camera angles and scene composition.
AI is used to produce/disseminate games—porting it from
platform to platform.
W/o fair use, these tools are far more limited. Licensing=only
really deep pockets can play, and even they will have access to a far more limited
set of training data, steering © system towards more bias and fewer voices. [Although
the companies didn’t love how much omegaverse showed up in their first few
iterations.]
Pamela Samuelson, Justifications for Fair Uses
Warhol: main opinion uses “justified,” “unjustified,” and “justification”
28 times in discussing factor 1; identified “targeting” as a justification,
with 10 references to “target” (5 in dissent). Warhol Foundation, majority
found, didn’t offer a persuasive justification for offering a license to Conde
Nast to use Orange Prince on a magazine cover. Need justification for each use,
not just initial creation. Will courts interpret Warhol as limiting justifications
to targeting?
Whyte Monkee v. Netflix: court did exactly that—using parts
of a funeral video in documentary was not transformative b/c didn’t comment on
the authorial choices and intended meaning of the video. Fortunately, 10th
Cir. reheard the case; waiting to see whether they don’t mess it up quite as
badly.
Other questions: will/should justification become a new subfactor
in factor 1? She hopes not.
What fair use justifications will/should courts find
sufficient besides targeting the first work for criticism or comment? (lots of
them hopefully)
Are justifications only relevant to factor 1? (no)
Are justifications only needed if the second work has the same
purpose as the first work? (maybe)
What kind of evidence is relevant to proving justifications?
(??)
Leval’s conception of justifications: also uses “justif”
words 33 times, almost all in relation to factor 1. For him, justification
turned on transformativeness, adding something new with a further purpose or
different character, altering the first with new expression, meaning or
message. Historians & journalists need to quote others’ works to support
their arguments/theories—a key concern for Leval. Thus transformativeness
enables © to fulfill its larger public purposes. A justification may exist
under factor 1, and it must be weighed v. other factors, e.g., did D take too
much. Transformativeness is for him the justification—you don’t need a
justification on top of a justification.
Campbell took a holistic conception of fair use
justifications and emphasized the importance of fair use to provide breathing
space; courts must consider all factors together and weigh them in light of the
ends of copyright law. Transformative purpose may have spillover effects in
relation to the amount and market effects factors—the more transformative the
second work, the more spillover effects are likely. Every case to be decided on
its own facts.
Campbell did involve targeting for criticism, but this isn’t
the only kind of targeting in case law. Targeting the author, not the work: New
Era—what a cruel, bigoted person L Ron Hubbard was. Targeting the subject of
the work: Kienitz, saying the mayor was a jerk. Targeting a third person: Hill v.
Public Advocate—photo of gay couple kissing to target legislator who supported gay
marriage. Targeting a theory—Time v. Bernard Geis Assoc.
Justifications beyond factor 1: GvO involves factor 2
justifications; programmer investments in learning Java declarations that were inextricably
bound up with method calls & implementing code
Factor 3 justifications: Faulkner Literary Rights v. Sony: “miniscule
qualitative” part was fair use.
Factor 4 justifications: harm speculative/work not competing—Sony
v. Universal; AG v. HathiTrust.
Other types of justifications? Public interest in access to
info: Warhol gives this as example, making information available, citing
Authors Guild v. Google; search engine cases (Kelly, Perfect 10, Authors Guild
v. Google); online posting of gov’t edicts (ASTM); print disabled access to
books (HathiTrust). Private interest in access to info: reverse engineering
cases (Sega v. Accolade).
Freedom of expression: protests (Kienitz); anti-censorship
(SUntrust)
Evidentiary: documentary film clips used to prove filmmakers
point; evidence in court (Bond v. Blum); court reproducing images in opinion
(Warhol)
Economic justifications can also come in different flavors;
her project is to evaluate different types of justifications.
Post-Warhol caselaw has gotten more boring; courts don’t
seem to understand that works could have more than 1 purpose. A “further”
purpose is what Campbell talked about. Depends on level of generality of “purpose”—watch
out for manipulation. DC Circuit upheld ASTM’s posting as transformative,
Warhol notwithstanding. Cramer v. Netflix—tattoos shown briefly in Tiger King
show fair b/c of transformatively different purpose. Thomson Reuters v. Ross:
jury to decide if training data transformative; Warhol didn’t require TR win. Sedlik
v. Kat von D appeal pending—Sedlik argues that he has to win regardless of jury
verdict b/c of Warhol. Still early to judge impact, but justification not yet
playing major role; most cases involve more than targeting original for
criticism. Bringing that to court’s attention is our job.
Chris Sprigman, Copyright, Meet Antitrust: The Warhol Court
and the Rise of Competition Analysis in Fair Use
Warhol has two innovations. First, the analysis has to be
use by use, not work by work. Imminent in prior jurisprudence, but comes out
roaring here. The use in Warhol is the licensing to Conde Nast for use on an
issue commemorating Prince’s life. Second, a change in the definition of what a
different purpose or character is for transformativeness purposes. Many uses
with new meaning/message will be transformative, but needs to be sufficient to
make the use different in purpose or character from a use the P might want to
make of their work. “[T]he first factor relates to the problem of substitution—©’s
bete noire.” That is, the thing copyright hates most is not copying itself, but
copying that substitutes. Using a work to achieve a purpose the same as or similar
to the original is more likely to supplant the original.
That makes competition key to transformativeness. It was
intuitive to the Court that the images looked alike and could be used on magazines,
and therefore competed. This is wrong. Milk and Coca-Cola can both be drunk;
someone dying of thirst would grab at both; but they are not competitors in any
ordinary sense.
Antitrust has a thicker definition. Start with a candidate
market (e.g. Goldsmith’s photos). If a single firm owned all products in
candidate product market, would it be profit-maximizing to impose a small, significant
nontransitory price increase of 5-10%? If not, add the next closest product and
try again. Does Peets compete with Starbucks? If they both increased prices, would
people defect to Dunkin and defeat the price increase? If they would, you haven’t
defined your market.
This methodology is both empirical and normative. Empirical:
uses data from historical price changes/econometric analysis; customer/user
interviews; objective information re product characteristics. Normative: why 5-10%?
This is the competitive margin on which antitrust should focus. This isn’t
always the lower threshold; sometimes 1% is enormously consequential for an
industry where the margins are very slim. The normativity of the test is
connected to its empirics.
Methodology actually applied to fair use cases: a D who
creates an artwork for exhibition or sale will almost never compete. When you
narrow it to particular uses, as Warhol did, substitutability becomes more
tractable. What about widely distributed works? Empirics of antitrust will work
for you—there will be historical price data that help you assess
cross-elasticity of demand b/t works.
What about Warhol itself, with episodically licensed works
on both sides? Hardest case. Prince is one of most photographed men on planet.
That means that the market for works to illustrate magazine articles is
crowded. Many works available for licensing. Unilateral effects theory:
competitive “nodes.” If you have a crowded market, there can still be a harm if
there’s a competitive node—if competition b/t the Goldsmith photo and the other
photos was much less close than competition b/t Goldsmith photo and Warhol
image. That’s what the Court should have asked. Asking about licensing to magazines
generally is like saying that milk and Coke compete. Photo is a classical
portrait; the Warhol work licensed to Vanity Fair was about iconization—a visual
representation of “Purple Fame.” If they had licensing people, people would
have observed that the Warhol was compatible with the article and the photo was
less so. After Prince’s death, Orange Prince was an icon painting.
Moderator: Pamela Samuelson, Berkeley Law
Lemley for Levendowski: Negative as well as positive public
benefits for the market factor too—why not? Level of generality at which you
assess benefits v. harms: Perfect 10 was not a tech for depicting naked people,
but rather for depicting images. Assess only uses made in particular case, or
all uses and future uses that come from having/not having image search?
A: agree, include market benefits as well. Level of
generality is a tricky question: privacy law can be imported to provide some
frameworks about ©. For Perfect 10, Nissenbaum’s theory of contextual integrity
explains why it’s invasive to take images behind a paywall and reproduce them
outside the paywall. That aligns with courts’ unwillingness to endorse disclosure
of unpublished works.
McKenna for Buccafusco: Formal characteristics and subject
of work—there are levels of abstraction problems in identifying subjects—why is
Monet’s subject lilies and not “flowers”? Steinberg: you said the formal
characteristics were the same but not the subject—do you mean “thing depicted”
or “meaning”?
A: definitely creates another hierarchy problem, but may be
able to get a better handle on it by separating them. Substance hurdle + formal
features hurdle.
Saurabh Vishnubhakat for Sprigman: isn’t your distinction
b/t Warhol and photo snobbish and aesthetic?
A: don’t overread snobbishness—my analysis fits any crowded
market. It’s about consumer preferences, which we take as they are. If they’re
coffee snobs, we let them be; if magazine people think that the Warhol picture
fits a theme, we don’t judge that.
Felix Wu: if the lookalikes generated by AI are
substitutionary relative to original artists, should we worry about that?
Buccafusco: If we think about competition, Moscow on the
Hudson doesn’t compete plausibly with Steinberg; you could increase the price
of the latter a lot and Robin Williams’ presence would still make the former
nonsubstitutionary. This is also probably true of a lot of the derivative work
stuff.
Sprigman: Be disciplined about what part of the FU analysis
we’re doing. Factor 1 involves competition. Steinberg is definitely not
competitive. But it might not add new meaning or message and therefore might
not be transformative. [I thought he was going to pivot to Factor 4 being a distinct
analysis.] The court announces a result in Warhol telling us that competition
is central for transformativeness, but doesn’t explore the dark corners. Let’s
just say we apply substitution analysis to that situation—we would probably
find the same purpose. Is purpose defined by competition? Or is purpose guided
by competition? He thinks the latter is more useful. If they compete b/c of
similarities in nonprotectable expression, that shouldn’t count.
Katrina Geddes for Levendowski: worry about courts’ ability
to handle more capacious understanding of public benefit. Would that devolve
into a battle of experts where whoever hires the best expert wins? Wouldn’t
that harm smaller communities?
A: good question, and part of why I think best way to
implement this is pre-litigation stage. Client may just say “thanks, it’s profitable
to spread disinformation.” That’s the dangerous part of client centered
lawyering. But less a battle of experts and more a battle of amici. [This is
also about resources—they need to know that they need amici, and they often don’t
until it’s too late.] We saw this in the pending Internet Archive case; they
made a robust public benefit argument that the court didn’t like but did
grapple with.
Q: Look at CFR 21 in medical device world—you’re always
talking about reasonable assurance of safety versus benefit/effectiveness. That’s
a way to balance interests. For AI: controls for randomness/going off the rails
need to be taken into account. For Sprigman: is this a noun, verb, or
adjective?
Q: Antitrust: plaintiffs hate market definition; it’s really
hard. Courts hated having patent case inside an antitrust case in pay for delay
and might hate this too.
A: Doesn’t have to be fullscale analysis; Court should have
gotten an explanation that not all magazine licensing is the same/competitive.
Maybe 5-10% isn’t right margin: should look at incentives to create in the
first place.
Stefan Bechtold: Price is probably not the only normative
goal in ©, so SSNIP might not be the right tool.
A: if we’re honest about ©, it’s trying to remove discipline
from prices, so is that right? But what is our specific goal in factor 1
analysis? Court just told us a mission for that, and we can use these tools,
albeit not unthinkingly. Who are the buyers? They may be very different in ©
markets versus commodity market. © has problems; so does antitrust. Every
regulatory system has problems. But we learn something from asking the Qs that
antitrust wants us to ask.
RT: 1201 exemptions suggest to me it’s a bad idea to ask any
authority to do global-cost benefit analysis as part of a fair use inquiry. The
Copyright Office thinks that it should only find circumvention noninfringing if
it won’t risk people crashing Teslas, and it’s not good at that assessment.
A: Clients come in the door thinking that © is the problem;
you need to identify problems earlier, sooner, and louder. It would be better
as a general part of good transactional lawyering, but no one is there yet. If
clients have © Qs, that gives them an opportunity to engage with public law
problems. [I don’t get why that means it’s copyright’s problem. Clients often
confuse TM, ©, ROP, employment law, and lots of other stuff. The lawyer’s job
is to identify their actual problems.]
Rothman: Prince was terrified of being photographed; even with
lots of photos of him, there may be fewer carefully posed photos than you
think. Thinks Warhol is more about misappropriation.
A: Prince contained multitudes; he was photographed a lot
even if he hated it. The Court may be motivated by something other than
substitution, but what it said was substitution.