Google Auto-link

Google’s Auto-Link feature is generating all sorts of commentary, most of it the perennial “have they crossed the line into scary all-your-base-are-belong-to-us mode yet” type.

I’ve not seen the interface yet (it’s Windows-only, and I’m, well, not). But assuming (a) it’s easy to turn on or off and (b) users can tell what’s an auto-link and what’s original to the webpage I see the application itself as just one more shift in power from the author to the audience, just like TiVo, ad blocking, style-sheet overrides, those DVD-reediting kits for people who don’t like the dirty bits, the remote control and the highlighter pen. I’m in favor of all of them.

There is one thing that does concern me though, and it’s not the application itself, but the bundling of the information source with the Google Desktop app itself. There’s not much they could do about that (and I trust Google a lot more than I trusted Microsoft when they tried this same trick), but I would feel much better if this were a generic open API in my Firefox, where I could pick and choose who handles each of my rewrite rules. Even a benevolent hegemony is dangerous, both in case it stops being benevolent and because it lacks genetic diversity.

So, who’s up for writing an auto-link Firefox plug-in?

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Brief clarification on Orphan Works issue

I may have given the wrong impression with my side comment about the DMCA in my original post on orphan works — it’s important to understand that the Orphan Works issue is only tangentially related to the whole issue of fair use, agressive copyright enforcement and corporate ownership of our culture. Orphan Works is specifically about works where you would happily pay the copyright owner for a license, and the owner would gladly give permission, if only you could discover who the owner was.

For me, the reason for separating this specific problem from the more general issue of indefinite copyright extension, erosion of fair use, etc. is tactical — this is one area that could create a whole lot of good for society in terms of online libraries and the like without entering the rat’s nest of whether fair use is “stealing from the mouths of artists” and the like. I almost said “without going head-to-head with the Copyright Cartel’s moneyed interests,” but that’s not quite accurate. The big media companies still have a huge interest in limiting media that’s available to consumers to their own new releases, and it’ll be interesting to see what kind of position they take on the orphan works issue. The nice thing about limiting this particular debate to orphan works is it steals the Cartel’s biggest moral shield, namely artist’s compensation, since in fact many artists would gain from more frictionless licensing, and the few that would lose would be those who never cared enough to renew their copyrights anyway.

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“Sea of children lost in the supermarket” works

I actually got a glimpse of the orphan works problem from the other side just a few days ago, when I was contacted by the MIT OpenCourseWare program and asked if I would be willing to grant permission for them to use some of my material in a course they were posting online. In this case, the material was a single PowerPoint slide from a single lecture in the course. I hadn’t made the slide, but it quoted a single sentence from one of my papers and included a photo of me a friend had taken while I was still in grad school. I happily printed out the two-page license giving them the right to use the material, put it in a stamped envelope and mailed it back to them. The license file was slightly over ten times as long as the material I was licensing.

I suppose I can’t call this an orphan-works problem per say, since the slide had my name on it and it’s pretty easy to track me down online — perhaps this was just a child-lost-in-the-supermarket problem. Or in MIT’s case, a whole sea of children lost in the supermarket, each needing individual attention. (As Downward Battle points out, this is the same problem that has kept works like Eyes on the Prize out of the public eye for the past 10 years.) My heart goes out for two (and soon three) intellectual-property coordinators who are trying to dot all the i’s that make up even a single course.

And yet, though I didn’t think of it until after I sent back the forms, even I can’t be quite sure that I owned the rights to that material. It was a friend who took my photo, and we certainly didn’t talk about copyright issues at the time. More significantly, I can’t recall off the top of my head which of my papers the slide quoted from, and whether that was one of the journals or conferences that required me to sign over total ownership of the copyright to them before they’d publish. Should I have consulted my lawyer before giving MIT permission to talk about my work? I don’t have time for that kind of shenanigans, and besides, I’m a researcher — the whole point of my writing papers is so that what I’ve learned can be passed on to others.

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Unlocking the orphans

EFF and Public Knowledge have just set up Orphan Works, an organization dedicated to finding a way out of our current mess where works may have been out of copyright for years, but there’s no way to know because nobody (including the Copyright Office) knows who to ask:

What are orphan works? Orphan works are — broadly speaking — any copyrighted works where the rights-holder is hard to find. Because the cost of finding the owner is so high, creators can’t build on orphan works, even when they’d be willing to pay to use them. In many cases the works were abandoned because they no longer produced any income. In most cases, rights holders, once found, are delighted to have their work used.

The Copyright office is asking for public comment on the orphan works problem until March 25th (you can fill out the form at orphanworks.org). Even if you’re not an artist or filmmaker or the like, this issue probably affects you more than you’d at first think. Here’s the comment I just sent in:

My story is simple, but I expect it’s a common one. I’ve been learning to play piano and I love old music. My uncle gave me a photocopy of sheet music for a 1934 parlor piece that my grandfather used to sing, I found copy of Scott Joplin’s original 1902 score for The Entertainer, and a friend who collects old music gave me a photocopy of her antique sheet music to a 19th-century music-hall song. I’ve scanned them all on my home scanner and I’d like to put them on the Web for others to download, but I’ve no way of knowing if these are actually out of copyright. Plus, copyright holders are so aggressive these days that I’m afraid even if these pieces are in the public domain someone might convince my ISP to shut down my account under the DMCA, and if that happened there’d be no good way for me to prove I was in the right. So instead, I just gave up and have kept these scans to myself. It’s just not worth the risk to share with others.

Update: Larry Lessig has some pointers on writing comments (e.g. be nice, these guys are overworked) and stories people have submitted over at eldred.cc.

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Is ABC’s Primetime Live fleecing the sick and dying?

While I’m on the subject of skepticism, James Randi has posted an infuriating article about ABC’s recent Primetime Live program Is ‘John of God’ a Healer or a Charlatan? Searching for Hope and Health in a Remote Brazilian Village. João Teixeira, AKA John of God, is a very successful faith-healer — successful in the sense that he makes lots of money and fame by performing standard carney tricks to con desperately ill patients with nothing to lose, not in the sense that he actually heals anybody. As you might guess from the subtitle, ABC’s spin is along the lines of “Wow, this is really amazing stuff, and while we can’t know for sure we’ll bend over backwards to make you believe it’s all true.”

I’m usually mildly pissed off by junk like this from the press, but something about Randi’s commentary really boils my blood this time. Maybe it’s the fact that ABC so clearly wanted to interview Randi not to give their audience real insight, not even to provide balance (as if it was appropriate for a so-called “investigative report” to give equal weight between a con artist’s lie and facts). They clearly wanted Randi just to provide cover, so they could tell their story and yet still claim to have interviewed a token skeptic (you’ll note that Randi doesn’t even appear in the print version of the story I link to above.)

Then again, maybe it’s Randi’s brief description of the personal tragedy con men like this cause that brought it all home:

It must be easier just not to care, but I can’t manage that. I must care when I know that John of God will claim more victims, and that I couldn’t stop it. Though I earnestly wish it could be different, based on what we know to be the hard facts, David Ames will not recover from ALS (amyotrophic lateral sclerosis). Lisa Melman will most probably die of breast cancer because she’s decided to forego legitimate surgical help. Mathew Ireland’s brain tumor will still be there and will probably kill him, too. But Jo?o Teixeira will continue to flourish and be worshiped as a god.

Folks, I was in Mexico City on the plaza outside the shrine of the Virgin of Guadalupe when a young peasant father crawled by me along the rough pavement with an obviously dead infant in his arms, swaddled in a tiny white serape. There were twin tracks of blood behind him from his bleeding knees. He was seeking a miracle. Through the adjacent barred window in the basilica I could hear the coin-sorting machines packaging the money that was pouring into the offering boxes inside. I turned away and wept.

In a St. Louis auditorium I stood in the lobby as paramedics treated a heavy elderly woman who lay in a fetal position on the carpet, white-faced and moaning in agony. Moments before she’d been seized in ecstasy in front of faith healer “Reverend” W. V. Grant, leaping up and down in an adrenaline rush that made her temporarily oblivious to the bone spurs on her arthritic spine that were cutting into her muscle tissues and bringing about internal bleeding. The attendants got her onto two stretchers and into an ambulance. I wept.

Outside an arena in Anaheim, California, my camera crew approached a tiny, thin, Asian boy with twisted legs on worn crutches to ask him if he’d been healed by Peter Popoff, the miracle-worker who he’d told us two hours earlier was “gonna ask Jesus to fix my legs.” When he turned toward us, we saw his tear-streaked face and anguished eyes. The cameraman lowered his camera. “I can’t do this,” he said, and we both turned away and wept.

I’ve had my share of tears and sleepless nights, wondering what I might do to keep people from chasing this chimera. I had another chance in New York City on January 25th, 2005, and I tried.

Rather than expose a fraud, ABC wanted to share his limelight. How many more poor, desperate people will go to Brazil because a “reputable news organization” made it sound like a good idea? How many more head of cattle will João Teixeira be able to buy from what he fleeces off the world’s most unfortunate? How many more rating points will ABC gain from their complicity in his con game?

ABC has blood on its hands — if they were a responsible news organization they would try to undo the damage they’ve done.

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