Best 54 quotes in «copyright quotes» category

My life is too short to focus on legislation when I could be making art. So I'm not a copyright reformer, I'm a copyright abolitionist.

My love has no copyright; however, my beloved may have it.

I was once told I am being Arrogant as an Author just because I legally protect my books with copyrighting them and trademarking my titles and names. That's not being Arrogant. It's about being Smart. I went to law school And I'm married to a lawyer. It's ingrained in me to fight the sh*t out of protecting what is mine even if it is perceived as "arrogant". I'd rather be arrogant than stupid. - Strong by Kailin Gow

Posthumous retention of copyright is really a gangrenous foot-in-the-door for the coming zombie apocalypse. And who in tarnation really wants that?

Moral rights form the essence of copyright law. When they conflict with economic rights, moral rights must always prevent

Technically, you cannot really own a book you bought; you can only own the sheets of paper your copy is printed on; unless, of course, you are the book’s publisher.

my problem isn’t piracy, it’s obscurity

Satan plagiarized by dictator, and he doesn’t even have copyright! (Satan plagié par dictateur, - Et il n’a même pas de droits d’auteur!)

Successful is one whose imitators are successful.

That person is a failure who steals the science of a scientist and claims that he is the owner.

The US traded its manufacturing sector’s health for its entertainment industry, hoping that Police Academy sequels could take the place of the rustbelt. The US bet wrong. But like a losing gambler who keeps on doubling down, the US doesn’t know when to quit. It keeps meeting with its entertainment giants, asking how US foreign and domestic policy can preserve its business-model. Criminalize 70 million American file-sharers? Check. Turn the world’s copyright laws upside down? Check. Cream the IT industry by criminalizing attempted infringement? Check. It’ll never work. It can never work. There will always be an entertainment industry, but not one based on excluding access to published digital works. Once it’s in the world, it’ll be copied. This is why I give away digital copies of my books and make money on the printed editions: I’m not going to stop people from copying the electronic editions, so I might as well treat them as an enticement to buy the printed objects. But there is an information economy. You don’t even need a computer to participate. My barber, an avowed technophobe who rebuilds antique motorcycles and doesn’t own a PC, benefited from the information economy when I found him by googling for barbershops in my neighborhood. Teachers benefit from the information economy when they share lesson plans with their colleagues around the world by email. Doctors benefit from the information economy when they move their patient files to efficient digital formats. Insurance companies benefit from the information economy through better access to fresh data used in the preparation of actuarial tables. Marinas benefit from the information economy when office-slaves look up the weekend’s weather online and decide to skip out on Friday for a weekend’s sailing. Families of migrant workers benefit from the information economy when their sons and daughters wire cash home from a convenience store Western Union terminal. This stuff generates wealth for those who practice it. It enriches the country and improves our lives. And it can peacefully co-exist with movies, music and microcode, but not if Hollywood gets to call the shots. Where IT managers are expected to police their networks and systems for unauthorized copying – no matter what that does to productivity – they cannot co-exist. Where our operating systems are rendered inoperable by “copy protection,” they cannot co-exist. Where our educational institutions are turned into conscript enforcers for the record industry, they cannot co-exist. The information economy is all around us. The countries that embrace it will emerge as global economic superpowers. The countries that stubbornly hold to the simplistic idea that the information economy is about selling information will end up at the bottom of the pile. What country do you want to live in?

The right to be attributed as an author of a work is not merely a copyright, it is every author’s basic human right

Vassals of an outdated ideology unrelated to the real world, they can, when questioned on this issue, only mumble neoliberal mantras that have delivered the world economic stagnation, rising inequality and global environmental crisis

When the web started, I used to get really grumpy with people because they put my poems up. They put my stories up. They put my stuff up on the web. I had this belief, which was completely erroneous, that if people put your stuff up on the web and you didn’t tell them to take it down, you would lose your copyright, which actually, is simply not true. And I also got very grumpy because I felt like they were pirating my stuff, that it was bad. And then I started to notice that two things seemed much more significant. One of which was… places where I was being pirated, particularly Russia where people were translating my stuff into Russian and spreading around into the world, I was selling more and more books. People were discovering me through being pirated. Then they were going out and buying the real books, and when a new book would come out in Russia, it would sell more and more copies. I thought this was fascinating, and I tried a few experiments. Some of them are quite hard, you know, persuading my publisher for example to take one of my books and put it out for free. We took “American Gods,” a book that was still selling and selling very well, and for a month they put it up completely free on their website. You could read it and you could download it. What happened was sales of my books, through independent bookstores, because that’s all we were measuring it through, went up the following month three hundred percent. I started to realize that actually, you’re not losing books. You’re not losing sales by having stuff out there. When I give a big talk now on these kinds of subjects and people say, “Well, what about the sales that I’m losing through having stuff copied, through having stuff floating out there?” I started asking audiences to just raise their hands for one question. Which is, I’d say, “Okay, do you have a favorite author?” They’d say, “Yes.” and I’d say, “Good. What I want is for everybody who discovered their favorite author by being lent a book, put up your hands.” And then, “Anybody who discovered your favorite author by walking into a bookstore and buying a book raise your hands.” And it’s probably about five, ten percent of the people who actually discovered an author who’s their favorite author, who is the person who they buy everything of. They buy the hardbacks and they treasure the fact that they got this author. Very few of them bought the book. They were lent it. They were given it. They did not pay for it, and that’s how they found their favorite author. And I thought, “You know, that’s really all this is. It’s people lending books. And you can’t look on that as a loss of sale. It’s not a lost sale, nobody who would have bought your book is not buying it because they can find it for free.” What you’re actually doing is advertising. You’re reaching more people, you’re raising awareness. Understanding that gave me a whole new idea of the shape of copyright and of what the web was doing. Because the biggest thing the web is doing is allowing people to hear things. Allowing people to read things. Allowing people to see things that they would never have otherwise seen. And I think, basically, that’s an incredibly good thing.

The obvious point of Conrad’s cartoon is the weirdness of a world where guns are legal, despite the harm they can do, while VCRs (and circumvention technologies) are illegal. Flash: No one ever died from copyright circumvention. Yet the law bans circumvention technologies absolutely, despite the potential that they might do some good, but permits guns, despite the obvious and tragic harm they do.

Things can be copyrighted, thoughts cannot be copyrighted, meditations cannot be copyrighted. They are not things of the marketplace. Understand the difference between an objective commodity and an inner experience.

We can instantly map the usage of the word 'raven' across the United States, in works of narrative poetry, written by men in their thirties. but only up to 1923. When it comes to the last century, save if new law affords entry, then the lawyer - dark-robed sentry - who is ever at our door, will yet whisper, "Nevermore!

You will only have copyright in a society that places a very high value on the individual, the individual intellect, the products of individual intellect.

And the haters gonna hate, hate, hate, hate, hate

But here's the thing: what you do as a screenwriter is you sell your copyright. As a novelist, as a poet, as a playwright, you maintain your copyright.

Certainly the interest in asserting copyright is a justified one.

Designed to ‘Effectively Frustrate’: Copyright, Technology, and the Agency of Users.

I am outraged that the Gorillaz have infringed the copyright of my song 'Time Warp,' claiming their song 'Stylo' to be an original composition.

How much greater would their contributions to the U.S. economy be if U.S. copyright owners could access foreign markets otherwise dominated by pirate product?

I believe in copyright, but I don't believe in copyright extremism.

I spend all my time right now trying to combat music retail and copyright.

You can steal someone's work but you can't steal the experience that he has gained from that work.

I should probably bequeath the copyrights to my screenplay for Spies Like Us, just in case.

I stole a lot from Gary Oldman. I stole the hairdo from his incarnation of Dracula. We cheated it just enough, so we couldn't get accused of copyright infringement.

Napster was predicating its business model on violation of copyright.

The thing I have to be willing to do is work - I think I'm the one that is going to actually copyright the term "25/8." You ever hear of the term "25/8?" It's the cousin of "24/7." I have to go "25/8.

Men don't like nobility in woman. Not any men. I suppose it is because the men like to have the copyrights on nobility -- if there is going to be anything like that in a relationship.

One of the convenient things about literature is that, despite copyrights [...] a book belongs to the reader as well as to the writer.

Unfortunately you can't copyright a title... bummer.

The world is right because I feel good. p. 83, Awareness, copyright 1990

Traditional copyright has been that you can't make a full copy of somebody's work without their permission.

Any files I give to the model are downsized (typically 800x1200 pixels)... By not giving out my high resolution files, they cannot be used without my knowledge.

A tap is a zero-length swipe.

A true poet writes from the language and experiences of their own heart, not those of others.

Beware of the life coach. They are world-renowned plagiarists. If you see one reciting or publishing my words, tell them my work is all registered at the copyright office. We will have a field day in court. I copyright everything and I like to surprise people.

Als u de regelgeving goed toepast, komt u in ieder geval niet voor onverwachte dingen te staan.

Every film must be assessed through the eyes of the contemporary, Intelligent, Informed Spectator with a distracted mind, and not the outdated, Innocent, gullible Spectator of the past. The rapid progress of entertainment technology, and the emergence of novel modes and means of content distribution obviates the need for censoring public exhibition of films

Every day, librarians enforce copyright policies that we may disagree with and that, in some ways, run contrary to the values of our profession. Every day, librarians must decide between a desire to preserve the privacy of our community members and offering services our communities demand. Every day, librarians must make a choice between doing what’s easy, doing what’s right, and determining what’s right in the first place. No textbook or mission statement or policy document can relieve us of the necessity to make those decisions, nor remove the complexity of those decisions. That’s why we are librarians and why librarians are professionals, not clerks. That’s why we are stewards within the communities we serve, not servants to them. That’s why we must shape the missions and the work of our organizations and communities, and not simply accept them.

Footnoting references, signalling quotations, and so on were no part of a 13th-century scholar's duty. He could recycle his own and his predecessor's work without a qualm. He knew nothing of copyright and plagiarism, which are 17th-century inventions.

Economics itself offers a parallel that explains why this integration affects creativity. Clay Christensen has written about the “Innovator’s Dilemma”: the fact that large traditional firms find it rational to ignore new, breakthrough technologies that compete with their core business. The same analysis could help explain why large, traditional media companies will undermine our tradition of free culture. The property right that is copyright is no longer the balanced right that it was, or was intended to be. The property right that is copyright has become unbalanced, tilted toward an extreme. The opportunity to create and transform becomes weakened in a world in which creation requires permission and creativity must check with a lawyer.

Given an area of law that legislators were happy to hand over to the affected industries and a technology that was both unfamiliar and threatening, the prospects for legislative insight were poor. Lawmakers were assured by lobbyists a) that this was business as usual, that no dramatic changes were being made by the Green or White papers; or b) that the technology presented a terrible menace to the American cultural industries, but that prompt and statesmanlike action would save the day; or c) that layers of new property rights, new private enforcers of those rights, and technological control and surveillance measures were all needed in order to benefit consumers, who would now be able to “purchase culture by the sip rather than by the glass” in a pervasively monitored digital environment. In practice, somewhat confusingly, these three arguments would often be combined. Legislators’ statements seemed to suggest that this was a routine Armageddon in which firm, decisive statesmanship was needed to preserve the digital status quo in a profoundly transformative and proconsumer way. Reading the congressional debates was likely to give one conceptual whiplash. To make things worse, the press was—in 1995, at least—clueless about these issues. It was not that the newspapers were ignoring the Internet. They were paying attention—obsessive attention in some cases. But as far as the mainstream press was concerned, the story line on the Internet was sex: pornography, online predation, more pornography. The lowbrow press stopped there. To be fair, the highbrow press was also interested in Internet legal issues (the regulation of pornography, the regulation of online predation) and constitutional questions (the First Amendment protection of Internet pornography). Reporters were also asking questions about the social effect of the network (including, among other things, the threats posed by pornography and online predators).

If a creative person steals your idea, he’s killing his creative ability, if he steals your art, he’s killing his art, if he makes it available to the world, it won,t create de impact you could have created, because it wasn’t from the right source.

If “piracy” means using value from someone else’s creative property without permission from that creator–as it is increasingly described today – then every industry affected by copyright today is the product and beneficiary of a certain kind of piracy. Film, records, radio, cable TV… Extremists in this debate love to say “You wouldn’t go into Barnes & Noble and take a book off of the shelf without paying; why should it be any different with online music?” The difference is, of course, that when you take a book from Barnes & Noble, it has one less book to sell. By contrast, when you take an MP3 from a computer network, there is not one less CD that can be sold. The physics of piracy of the intangible are different from the physics of piracy of the tangible.

If you have ever wanted to serve god, go on and serve him. Don't wait to be authorized by anybody. He is not copyrighted

I'm not a lawyer, but I play one in my novel COPYRIGHT. I also play a serial rapist, a drug addict, a teenage boy and lesbian model.