1. Copyright Law Ronald W. Staudt Class 3 September 3, 2013 Copyright © 2001, 2002,2007, 2009, 2010, 2013 Ronald W. Staudt

2. Assignments Today—Pp. 75-100 Supp. pp. 1-2. Original Works of Authorship Fixation Performers' Right to Fix Tuesday—Sept. 10—Pp. 100-110 Idea Expression Dichotomy

3. Publishers Lose Copyright Suit Over Articles In Patent Apps IP Law360 9/3/2013 zA Minnesota federal judge on Friday overruled two academic publishers’ objections to a magistrate judge's finding that it is fair use for Schwegman Lundberg & Woessner PA and other firms to use copyrighted scientific journal articles in patent applications, calling the report well-reasoned.

4. Original Works of Authorship zSect. 102 yAuthorship and Originality Kelley, Feist, Acuff-Rose v. Jostens & Kim Seng xMagic Marketing xSebastian Int’l xQuestions p. 90-91 yFixation xCopies and Phonorecords xPerformer’s Right of Fixation Kiss and Martignon

5. Sec. 102. Subject matter of copyright: In general Copyright protection subsists, in accordance with this title, in original works of authorship fixed in any tangible medium of expression, now known or later developed, from which they can be perceived, reproduced, or otherwise communicated, either directly or with the aid of a machine or device. Works of authorship include the following categories: (1) literary works; (2) musical works, including any accompanying words; (3) dramatic works, including any accompanying music; (4) pantomimes and choreographic works; (5) pictorial, graphic, and sculptural works; (6) motion pictures and other audiovisual works; (7) sound recordings; and (8) architectural works.

6. Authorship zMachines and authors ySorony & Catalda zHuman authorship v. forces of nature yKelley and Puppy yFood zQuestions p. 82-83 yGoogle Translate yBlow up ySupplement p. 1- food sculpture- Kim Seng case

7. Puppy in Wildflower Works out

10. Feist on Originality zThe sine qua non of copyright is originality..Originality means that the work was independently created by the author (as opposed to copied from some other works) and it possesses some minimal degree of creativity…the requisite level of creativity is extremely low…Originality does not signify novelty… Originality is a constitutional requirement.

11. If a copyrighted work that is independently created by a party is copied by another party, there is an infringement of the copyright, regardless of whether other independent, and legitimate uses of the same material exist. See id. at 346 (noting that if "two poets, each ignorant of the other, compose identical poems [then n]either work is novel, yet both are original and, hence, copyrightable"); Alfred Bell & Co. v. Catalda Fine Arts, Inc., 191 F.2d 99, 103 (2d Cir. 1951) …("It makes no difference how far the [copyrighted work] was anticipated by works in the public demesne which the plaintiffs did not use."), aff'd, 309 U.S. 390, 84 L. Ed. 825, 60 S. Ct. 681 (1940).id. at 346Alfred Bell & Co. v. Catalda Fine Arts, Inc., 191 F.2d 99, 103 (2d Cir. 1951)309 U.S. 390, 84 L. Ed. 825, 60 S. Ct. 681 (1940). Acuff-Rose v. Jostens, 155 F3d 140 (2d Cir. 1988) LEXSEE® 155 F.3d 140 Originality and Copying

12. Referring to these prior uses of the saying, the district court decided that … the lines in Acuff-Rose's song lacked the requisite originality to warrant protection, in effect finding that, given the widespread popular usage of the phrase, William Brock most likely did not independently create the lyric lines of Acuff-Rose's song. Acuff-Rose contends that the record before the district court is insufficient to warrant a determination that William Brock did not come up with the phrase entirely on his own. To support its argument of independent creation, Acuff-Rose had proffered to the district court: (1) a letter, dated July 2, 1996, from William Brock to Buddy Brock in which William asserts that "the lyric lines, YOU'VE GOT TO STAND FOR SOMETHING OR YOU'LL FALL FOR ANYTHING' are original with me"; and (2) a supplemental copyright registration, filed by Acuff-Rose on June 20, 1996, adding William Brock as an author to the song. Both of these constitute some evidence that Brock thought he had come up with the words on his own. But the district court reasonably concluded that the prior usage of the saying was sufficiently widespread as to make it exceedingly unlikely -- whatever Brock believed -- that Brock had, in fact, independently created the phrase.

13. PRIORITY MESSAGE: CONTENTS REQUIRE IMMEDIATE ATTENTION TELEGRAM Magic Marketing v. Mailing Services of Pittsburgh

14. © Ins & Outs z"fragmentary words and phrases" zforms of expression dictated solely by functional considerations zWords and short phrases such as names, titles, and slogans; familiar symbols or designs; mere variations of typographic ornamentation, lettering or coloring; mere listing of ingredients or contents zCFR Title 37, Sect. 202.1CFR Title 37, Sect. 202.1

15. © Ins & Outs zlabel was copyrightable when it contained such phrases as "Cut to desired length.... Will not run.... zcliched language and expressions communicating an idea which may only be conveyed in a more or less stereotyped manner zmore colorful descriptions, such as advertising slogans- "most personal sort of deodorant" zserving directions on a frozen dessert package

16. © Ins & Outs zHair stays wet-looking as long as you like. Brushes out to full-bodied dry look. WET 4 is one step-four choice (finishing) in Sebastian's four step program for a healthy scalp and head of hair. WET is not oily, won't flake and keeps hair wet-looking for hours, allowing you to sculpture, contour, wave or curl. It stays looking wet until it's brushed out. When brushed, hair looks and feels thicker, extra full. Try brushing partly, leaving some parts wet for a different look zdirection or instruction for use zserving directions on a frozen dessert package zexpressions such as "hang in there"

17. © Ins & Outs zHugga-hugga, brrrHugga-hugga, brrr zUh-oh x 4Uh-oh x 4 zSwirsky v. CareySwirsky v. Carey z Solid black stripes z listing of the contents of an envelope or package

18. © Ins & Outs Arrows ???? Pp. 90- 91

19. Fixed in any tangible medium of expression yCopy or phonorecord yRAM “fixation” xQuestions p. 93 ySection 1101

20. Copies & Phonorecords ''Copies'' are material objects, other than phonorecords, in which a work is fixed by any method now known or later developed, and from which the work can be perceived, reproduced, or otherwise communicated, either directly or with the aid of a machine or device. The term ''copies'' includes the material object, other than a phonorecord, in which the work is first fixed. z''Phonorecords'' are material objects in which sounds, other than those accompanying a motion picture or other audiovisual work, are fixed by any method now known or later developed, and from which the sounds can be perceived, reproduced, or otherwise communicated, either directly or with the aid of a machine or device. The term ''phonorecords'' includes the material object in which the sounds are first fixed.

21. Fixed zA work is ''fixed'' in a tangible medium of expression when its embodiment in a copy or phonorecord, by or under the authority of the author, is sufficiently permanent or stable to permit it to be perceived, reproduced, or otherwise communicated for a period of more than transitory duration. A work consisting of sounds, images, or both, that are being transmitted, is ''fixed'' for purposes of this title if a fixation of the work is being made simultaneously with its transmission.

22. Sec. 1101. Unauthorized fixation and trafficking in sound recordings and music videos (a) Unauthorized Acts. - Anyone who, without the consent of the performer or performers involved - (1) fixes the sounds or sounds and images of a live musical performance in a copy or phonorecord, or reproduces copies or phonorecords of such a performance from an unauthorized fixation, (2) transmits or otherwise communicates to the public the sounds or sounds and images of a live musical performance, or (3) distributes or offers to distribute, sells or offers to sell, rents or offers to rent, or traffics in any copy or phonorecord fixed as described in paragraph (1), regardless of whether the fixations occurred in the United States, shall be subject to the remedies provided in sections 502 through 505, to the same extent as an infringer of copyright.502

23. Is 1101 Constitutional? zMoghadam and KISS Catalog and Martignon–Congress has power under the Commerce Clause to protect “unfixed” works. yKISS’s earlier, now withdrawn opinion, and Martignon below, now overruled, to the contrary.