Imagine this…

Snapshot_002You wake up in the morning and look out your window at the snow. You go to your inventory and pick out a nice outfit and shoes. Then go into appearance and, after wearing your clothes and shoes, you quickly take off all your hair; you need to look sophisticated today. You attach a new ‘do. On second thought…

A quick skin change and some low key accessories later, you teleport out. A few seconds pass, and you find yourself among a group of people in shorts & skirts under the bright sun of Tropical Eden. You realize that the organizers of the contest you came to enter preferred tropical dress, so you popo open your inventory and change outfits, shorten your hair and put on different shoes.

Now that you are ready, you walk to the line that has formed. As you do, you notice the chat around you. “No furries allowed in the contest.” A well dressed wolf curses and disappears and a few tails come off. “Please no biting during the contest.” A lady behind you whispers to a friend, “That is what garlic is for.”

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What We Talk About When We Talk About Editing

Random House logoLike Mike Madison, I noticed Jonathan Galassi’s op-ed in the New York Times on Sunday. Galassi—the president of Farrar, Strauss & Giroux—argues that ebook publishers who republish print books are committing at least a moral wrong by appropriating the work of the print publisher, even if they have the permission of the copyright owner. Mike views this argument, I take it, as one more sign of the “IP apocalypse,” but I have a somewhat different take: I see in Galassi’s op-ed a fascinating old copyright chestnut that has basically (and correctly) gone against Galassi.

The argument goes like this: the naive view of authorship is that authors sit down at their typewriters and churn out complete copyrighted works. But not only is this view incomplete on the input end—as just about everyone recognizes, artists slurp inspiration from all over the place—it’s also incomplete on the output end. Once an author (or a director, or songwriter) finishes a work, all sorts of things happen to it before it reaches the public as a final product, sometimes altering the content of that work substantially. Artists often chafe under the rule of editors, always forcing them to trim out the good stuff, but you can often tell which authors have gotten powerful enough to throw off their editors’ yoke, and not usually in a good way. “Doorstopper” is the term that comes to mind.

Galassi’s argument focuses on the creative nature of all that post-author authorship. And there’s a hidden suggestion in his op-ed—shouldn’t the publisher have some sort of proprietary rights over all the stuff it adds? The ebook publishers can distribute William Styron’s unedited manuscripts if they like, but not the version Random House put out.

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Should We Abolish Copyright in Academic Journal Articles?

scholarSome years ago, when I was on the Marquette Law Review editorial board, my responsibilities included obtaining a rudimentary copyright release from authors whose articles we had agreed to publish.  In fact, I signed the form myself when I published my Note.  If we did not obtain the release, we would not publish the article.  I presume this is still the Review’s policy, although current members can confirm or deny it, and I also suspect that many journals have a similar procedure.  If the “open access” movement continues to gather steam, however, one can wonder how long this and similar practices will continue.    For example, Professor Steven Shavell recently posted a draft, pre-publication article for public comment arguing that we should abolish copyright for all academic writings.

The open access debate goes well beyond the world of academia, and what follows is only a brief summary.  Many open access advocates support both free online access to works as well as the granting of a license that permits copying and redistribution of the work.  They underscore the broad societal benefits that would flow from broad public access to such information.  Opponents of the movement have argued that true open access is impossible because publishers could not then recover the costs of their work, and that all but a few scholarly journals would cease to exist.  The usual response to this criticism is that the journals could simply charge the authors fees to cover their costs in publishing such works (and, in turn, that the fees would likely be paid by the authors’ university employers).  Perhaps this counterargument is less attractive given the current global economic downturn.

I think the fundamental question is the following: what motivates academic authors to write and publish journal articles? 

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