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NAF home > Scholarship, Intellectual Ownership and the Law
The aims of the symposium were:
Professor Malcolm Gillies is President of the National Academies Forum and of the Australian Academy of the Humanities. He is a Professor of Music at the University of Queensland, with research interests in 20th century arts and culture. In his Song of Myself, the 19th century American poet, Walt Whitman, looked at the animals, so placid and self-containd, and surmised: not one is demented with the mania of owning things. The Bible blames the snake for this mania. In the Garden of Eden, the snake tempted the woman to eat from the tree of knowledge of good and evil. Sharing that intellectual property of the gods, the knowledge of good and evil, led to Mans fall and banishment from the Garden of Eden. Much of human history has been concerned with the ownership of physical things, most notably, land. Colonisation, based upon the legal concept of terra nullius, has given rise to the most intense quandaries of 1990s Australia. The mass of inventions of the late 19th and early 20th centuries has pushed issues of ownership from the physical to the intellectual domain, into the realms of patents, trade marks, circuit layout rights and copyright. Here are several current flashpoints of intellectual ownership. Iceland is compiling a health database, containing medical records, genealogies and genetic information, for most of its population. Study of Icelands shallow gene pool could help show the cause of various diseases. But who will play God to Gods codes? Who will ensure that this knowledge is used for good and not for evil? Who will decide what is good and evil amid such complexity? Many Icelanders, fearing commercial abuse, have refused to give permission for their data to go into the national health database. Millions of people daily engage in the legally questionable downloading of music or audiovisual files from the World Wide Web. Can this be contained? Or will copyright not survive long into the 21st century? Indigenous people seek to gain or regain control of their cultural heritage. How can indigenous communities continue to own and manage their materials? What do we do, for instance, when indigenous law does not recognise an end date to copyright? Many gatherings have been held to ponder the legal intricacies of intellectual property laws or their ramifications particularly for business sectors or scholarly activities. For this symposium, the National Academies Forum wanted to capitalise on its reach across all the disciplines to examine the broader trends in intellectual ownership, then to see how these trends might relate to current or proposed laws. In particular, these include the Copyright Amendment (Digital Agenda) Bill to be introduced into the Federal Parliament later in 1999, and World Intellectual Property Organisation treaty proposals in areas of copyright, databases, performances and phonograms, and indigenous cultural rights. These laws and treaties are extending concepts of intellectual property into new and often contentious areas, such as industrial awards and international trade obligations. Some of the dialectics to be raised by the symposium are:
Associate Professor Henrietta Fourmile teaches in the Centre for Indigenous History and the Arts at the University of Western Australia. Before that, she worked in Montreal with the United Nations Secretariat for the Convention on Biological Diversity. She comes from Yarrabah, near Cairns. At least 600 million people identify as indigenous peoples and constitute much of the planets cultural diversity. If we include communities who have resisted the adoption of Western-derived practices of agriculture, forestry, animal husbandry and fishing, we are referring to the large majority of the worlds rural and coastal non-urban populations in Africa, Asia and Central America between 1.5 and 2 billion people. These communities are the principal custodians and users of the worlds biodiversity, particularly that associated with our food and medicines. The value of indigenous knowledge of traditionally used species has long been known. It has been used to increase the efficiency of screening plants for medicinal properties. The drugs atropine, codeine, morphine and quinine owe their origins to indigenous usage. Over 30 000 species of medicinal plants provide health care to an estimated 80 per cent of the worlds inhabitants. The biological diversity on which the worlds food and medicines depend cannot be conserved without cultural diversity. Yet cultural diversity is threatened on an unprecedented scale. If language extinction is a measure of the loss of cultural diversity, half the worlds languages will disappear within a century. Commercial interests seek free access to the knowledge of indigenous communities, which they consider to be in the public domain, and then modify the knowledge superficially and transfer it to the private domain of intellectual property rights. This is particularly the case in regard to the patenting of life forms and the recognition of plant breeders rights. This knowledge is communally owned by indigenous people but it cannot be protected by Western patent laws. The Convention on Biological Diversity acknowledges traditional ecological knowledge and the customary use of resources. Acknowledgment is needed through the existing intellectual property regime or by setting up a new regime. A number of options for the protection of indigenous knowledge are being considered. One is to require the prior informed consent of indigenous communities before bioprospecting contracts are issued. Another is to require the disclosure of the country or community of origin of knowledge or biological samples in patent applications; this could stop the issue of a patent. Other options include:
International treaties, such as the Convention on the Elimination of All Forms of Racial Discrimination and the World Trade Organisations TRIPs Agreement, could also be used to protect traditional knowledge. Ian David is a screenwriter, known for his works Blue Murder and Johs Jury. He is an advocate for the rights of artists and creators and a board member of the copyright society, Screenrights. As I get older I find I am persistently compelled to see myself as an economic unit, a cog in the machine of commerce. Marx didnt get it all wrong. Two maxims increasingly ring out with each passing financial year. Capitalism turns everything into a commodity; and the ultimate goal of all capital is to achieve monopoly. Those qualities of humanness (art, religion, language and kinship) eventually all fall to their knees and drop their heads to the sword of commerce, the balance sheet. The law of the jungle is, after all, the ultimate human environment. My university days were joyfully naive, free of grubby considerations like fees and user pays. Thinking was free. The very strings and building blocks of life were sacrosanct, out of reach of advertising and marketing managers. Unfortunately, thats all proving to be myth now. The gap between having an idea and using it is occupied by an accountant. Two developments in the last decade of the last century of the millennium have conspired to turn up the heat on copyright creators. They are the final triumphant lunge at the tape by the forces of capitalism and the information access explosion of the Internet. The free market economy has seen off its ideological competition and left us with a monopoly. Competition and productivity are words we now hear every day in relation to schools, universities and public utilities, as well as companies. Conceived as a vast network for disseminating knowledge and ideas, millions now see the Internet as a shopping mall in cyberspace for bargain hunters and bored yuppies and stockbrokers with an itch for the latest toy. Good ideas make money and the Internet is becoming the equivalent of the information fast food franchise. Recently The New York Times revealed that 83 per cent of the World Wide Web is reserved for commercial activity, while only 6 per cent contains scientific or educational material. The commingling of these two regimes, free enterprise and the Internet, pose a serious threat to the creative community. The Federal Governments proposed Copyright Amendment (Digital Agenda) Bill abandons the principles of free enterprise to regulate relationships and exchange in the digital age. The re-alignment of rights is disadvantageous to copyright creators and owners. It elevates end users and copyright holders above the creators of intellectual property. The Digital Agenda Bill will, in effect, disallow copyright owners to protect their intellectual property due to the provision of fair dealing. The Copyright Law Reform Committee reported that fair dealing provisions are needed to ensure the free use of copyright material in the digital environment for purposes that are socially desirable. Is this a gift to the people? It would seem that one of the great planks of the modern economy, the user-pays rule, doesnt apply here. The legislation will allow the wholesale copying by libraries and educational institutions without payment to authors or publishers of the works. This may be called fair dealing; others might call it theft or welshing or freeloading. Ideas are cheap, so cheap in fact, they dont have to be paid for. Why is it acceptable to purchase a book, the price of which includes the writers royalty, and not expect to pay for usage because the book has been rendered in digital form? Such usage is a denial of the copyright creators ability to earn a living from their intellectual property. The underlying suggestion is that authors arent part of commercial reality; they do it for the love of it, and should pay consumers for the privilege of being exploited. The kind of copyright collecting regime that operates in Europe acknowledges the relationship between the author and his or her work. This scheme rewards merit in the true spirit of free enterprise. This fast and furious journey into the digital future may force creators to become Luddites in order to protect their work, ideas and reputations. They may be forced to disseminate their work in the more secure forms that predate the digital age. Dr Kay Daniels is General Manager of the Intellectual Property Branch of the Department of Communications, Information Technology and the Arts. Before joining the public service, she taught history at the University of Tasmania. This is a very active period of copyright reform. A number of amendments to the Copyright Act 1968 are under way. This year two copyright amendment bills on decompiling computer software and on sound recordings have been introduced into Federal Parliament. Two more on the digital agenda and on moral rights will be introduced soon. With this legislation the government is trying to create a balanced, workable, up-to-date regime, one that encourages creators and investors while ensuring that users gain appropriate access. The intention is also to acknowledge the fundamental impact that changes in technology are having on the creation and transmission of copyright material. In the Digital Agenda Bill the exceptions given to libraries, museums, galleries and educational institutions allow reproduction for purposes such as study and research. Copyright holders argue that there is too much latitude in the proposed law. The libraries have also put their views forcefully. The dominant issue is the need to balance the interests of users on the one hand and creators and investors on the other. Another issue is the intellectual property of indigenous people: issues of traditional knowledge, community ownership and authenticity arise. Indigenous creators require more effective protection for their work. The government is encouraging the development of protocols and model contracts and a national authenticity label. To provide an incentive for creativity, the new regime requires mechanisms that distribute payments back to legitimate copyright holders in an efficient, equitable and transparent way. They need to be paid a fair price, not a price that is so high that it stifles the market. Copyright is not well understood. Lack of awareness leads to copyright infringement and a failure to manage intellectual property effectively. The government is developing guidelines on the use of intellectual property associated with information technology projects to improve Commonwealth management of its intellectual property and, where appropriate, allow its commercialisation by the private sector. Universities are major creators and users of intellectual property. The government discussion paper, New knowledge, new opportunities, makes it clear that universities will have to become much more efficient managers of intellectual property. Universities must ask whether it is wise to relinquish without payment control of their intellectual property (as in some journals), and then have to pay a third party for its use. Professor Tony Coady is the Founding Director, Centre for Philosophy and Public Issues, at the University of Melbourne. He is a popular commentator on social issues. In the intellectual arena tension exists between the demands of ownership and the values of free communication and the open exchange of ideas. Intellectual property is something of a misnomer since both legal and moral traditions hold that ideas cannot be owned. And yet, copyright and patents clearly give some entitlement to what has been intellectually produced. The usual resolution of the puzzle is that the ownership so conferred is to very particular expressions or practical applications of an idea. This is important ethically because any system of property rights which threatens our human potentiality for learning from each other and operating within a tradition of criticism and creativity is dangerous. It is clear that an awful lot about property rights is social, not natural. There may nonetheless be intrinsic property rights or important considerations about human beings that back up social property rights. One of these is the idea that we have a natural right to own our own thoughts. But this idea seems too weak to support the edifice of intellectual property rights, as does the idea of desert, that someone who has put in the effort involved in producing a new idea and its application should be rewarded. A second notion is that of contract. When I have thought up something, I am entitled to contract for the terms under which it will be revealed. This is inadequate because it begs the question whether the revealing of my idea is something that should be a matter of restrictive contract or not. Another defence often made for the granting of legal intellectual property rights is that they will act as an incentive for the production of new ideas, inventions and books. But there is not much evidence that this is true. Nonetheless, perhaps a utilitarian justification makes more sense than the alternatives. One interesting issue about authorship in humanities disciplines is the ownership of course materials. It is increasingly common for universities to assert their rights to such materials, but the moral case for their increasingly expansionist claims is thin. A general feature of all such proposals is a removal of teaching material from the realm of personal authorship and the marketing of it as neutral packaged knowledge. This is a particularly threatening process in the humanities. The provision of packaged information denies the perspectival reality of authorship and the contested, critical nature of knowledge. The progress of knowledge and its transmission is dialogical and conversational. Hence the personal voice is an essential element. I worry that the commercialisation and commodification of knowledge that is now dominating higher education may eventually destroy it. Issues in the sciences: scientists economic potential Professor Sue Serjeantson is President-elect of the Federation of Australian Scientific and Technological Societies and a Visiting Fellow at the Australian National University. As the former Director of the Institute of Advanced Studies at the ANU, she was closely involved in the protection and commercialisation of the universitys intellectual property. The main issue confronting Australian scientists with respect to intellectual property and the law is the collapse of business expenditure on research and development in Australia. This fell 4 per cent last year, following a fall of 7.4 per cent in the previous year. Many experts believe that the greatest hindrance to commercialisation of research is not the low level of tax concessions but, rather, the capital gains tax regime in Australia. Leaks about the Ralph review of business taxation suggest that recommendations may include a reduction in capital gains tax from the current marginal rate to about 15 per cent. Will a capital gains tax of 15 per cent attract foreign venture capital and increase the rate of commercialisation of intellectual property in Australia? This remains to be tested. A recent survey of scientists by the Federation of Australian Scientific and Technological Societies identified cultural obstacles to the commercialisation of intellectual property, but many consider these obstacles are of lesser import than current taxation law. The recent green paper on higher education research and research training, New knowledge, new opportunities, proposed that funds for university research should be diverted through various incentive schemes to support industry-oriented rather than basic research. But the problem must be tackled at the structural level of taxation reform, not at the level of using incentives to distort the academic enterprise. Professor Peter Spearritt is Foundation Director of the National Centre for Australian Studies at Monash University in Melbourne. He was an author representative on the Public Lending Right Committee. No paper on social science is complete without a survey. Please raise your hands. How many people here own copyright in and have received income from text, music, images or voice recordings? I estimate about 25 per cent. How many people have signed over copyright to the Crown or, by the nature of their employment, produce works owned by the Crown? 25 per cent. How many people pay royalties or fees to other copyright holders on a regular basis, for text, videos and the like? 45 per cent. How many people have knowingly abused or otherwise tried to get around copyright, for scholarly or library purposes of course? 55 per cent. Copyright affects all of us. When I am choosing photographs to illustrate a book, the copyright fees affect my choice. As indicated above, minor transgressions are occurring all the time. However, with the advent of the World Wide Web, the scale has reached an all-time high. All sorts of people are downloading text, pictures, music and sounds with abandon, and altering these materials without regard for the creator. A whole generation of web manipulators doesnt even regard this as sinful. This extraordinary infringement of copyright is happening at the same time as knowledge, especially in the form of databases, is becoming increasingly expensive. I once bought a few volumes of census results for the equivalent of 25 cents each. Census statistics now cost $40 per run or $4000 for the data on CD-ROM. Census data is something we all have to contribute to. Because of the policies of some journals, publicly funded authors at universities now have to pay to get access to their own research results. Universities and libraries are trying to enter this commercial world, but are not successfully expanding. They and other public organisations are subsidising the rest. Issues in the technological sciences Dr Colin Adam is Deputy Chief Executive of CSIRO, from which position he oversees the organisations commercial activity. He is also an adjunct professor in the Faculty of Engineering, Physical Sciences and Architecture at the University of Queensland. Scientists have to understand the way a deal is constructed. Returns from intellectual property rights are negotiable. A company has to do something to set its value for negotiation: make an investment (on its own, with others or in a pool) and calculate the likely returns on that investment. If you dont understand the potential use of your intellectual property, you are at a disadvantage to someone who does. New technologies such as biotechnology may have problems during commercialisation. For example, when Sainsburys supermarkets in Britain placed genetically modified food in its stores, the public did not buy it. For Australian technology to be sold at a profit, markets will look at a number of factors to determine the value of the company that owns the technology:
The technology (and its associated intellectual property) is at the bottom of the list. The potential earning stream through the marketing of products and the negotiation of deals may be independent of the original technology. Knowledge is becoming the most valuable asset of major corporations. But to cut costs, some corporations are closing their research and development departments. Their technologies will increasingly be sourced from competitors, government research bodies, universities or private consultants. As a result, the bargaining balance over intellectual property between corporations and research providers seems to be shifting. The companies used to dictate terms; now they need research providers. They are more likely to confine their demands to the real requirements of their competitive position. Global businesses must face global issues. This means Australia has to match international policies and practices. If you have a choice between filing a patent in the USA, Europe or Australia, you should be aware that US patent protection makes international negotiation easier. One aspect of globalisation is that CSIRO has become more like a high-technology company than a university. The research of many Australian universities is not yet internationally competitive. We have to ask: Is the Australian community getting a reasonable return on its investment in these universities? This is a summary of discussion. Audience comments are in italics. Would moral rights help authors? Do they carry weight? Colin Adam. Environmental disasters such as Bhopal and the North Sea have led to a reluctance to accept genetically modified foods; consumers dont trust chemical companies. The recognition of scientists moral rights may increase trust in companies. Citizens bear the cost when things go wrong. Ian David. That shows a lack of understanding of moral rights. Moral rights cover the relationship between the creator and the work. Legislation would be a great step forward: people would understand the relationship a European idea better than before. The audience survey showed that 55 per cent are abusing copyright. What does the law matter if enforcement is weak? Is copyright dead? Peter Spearritt. Its not dead. The World Wide Web will evolve so that you can search it for copyright infringements. It is a big technological ask, given the low success rate for search engines. Some artworks and databases those with an income stream attached will be well respected. You will be chased for infringing the copyright of Norman Lindsay, but not for Emil Mercer. A lot of those who obtain royalties are not the owners of copyright. When publishers negotiate with an author, they are not interested in a licence; they want the copyright. A lot of authors need help from the Australian Society of Authors. What are the priorities for intellectual property? The web offers an effective means of payment some shareware operations have become major businesses. Scientists say investment is the top priority. The humanities are agnostic; for them, more protection might help. Peter Spearritt. A challenge to the universities is major publishers buying the rights in popular areas so they can corner the market in, say, first year accounting texts. The publishers buy the bestsellers and set up elaborate web sites. What happens when the small publishers are bought out? How does accounting maintain its critical edge? Tony Coady. As a liberal Catholic I would have to take exception to being described as an agnostic. The extension of free use to accommodate extensive abuse indicates that there might be something wrong with the regulations. There are different sorts of constituencies: copying doesnt worry me because I have a job, but others live entirely from the pen and they have a desire for more restriction. Sue Serjeantson. The example of publishing in accountancy shows how things should be done. If the books get expensive, someone else can write and produce a new text. Peter Spearritt. The web sites allow publishers to monopolise the market. Knowledge is being commercialised. Universities are becoming glorified private schools. Colin Adam. Academics could talk to their colleagues in business schools. They could construct a deal which would benefit authors and undergraduate students. What strikes me is that many Australian academics are naive in business. How much protection is enough? Australia generates 2 per cent of the worlds intellectual property and 98 per cent is produced elsewhere. Should we be the pioneers in extending patent protection? Should we pioneer the decompilation of computer software? Should we give 100-year protection to software with a three-year commercial life? The USA came to dominate English-language publishing by plagiarising English rights until they had gained the dominant position in the market. Japan and Germany did not recognise patent rights for chemicals until their local chemical industries developed. Bill Gates started his business with someone elses code and then used the law to knock everyone else into line. Colin Adam. CSIRO takes out patents in Australia and the USA. There are differences in the two systems. Australian patent examiners are spread thinly. Some patents are extremely complex. How long can we keep playing this game in Australia? For our influenza compound we had to have US patents. You would be ill advised to rely on one countrys protection. An Australian patent only makes sense in mining and minerals, the one industry where we are world class. The corporatisation of the patent office means that the patentee is seen as the client. The examiners are being pressured to grant bad patents, and they are put at a disadvantage because the patentee doesnt have to disclose any prior rights. Charles Sturt University claims to own the intellectual property created by its staff; it sells their course materials in Asia. Do academic staff have any moral rights? Tony Coady. The university rights are claimed because the university is the employer and provider of facilities. But much material originates in the spare time of staff, or even during work with a former employer. Specific contracts may be needed. It is a moral and legal mess. Judging from the intellectual property policies of a number of universities, there is an extraordinary diversity in what universities claim to own. It is a legal matter, not a matter for institutional decision. Even if the university says it owns the intellectual property, it might not assert that claim.
The indigenous knowledge industry Associate Professor Henrietta Fourmile teaches in the Centre for Indigenous History and the Arts at the University of Western Australia. Before that, she worked in Montreal with the United Nations Secretariat for the Convention on Biological Diversity. She comes from Yarrabah, near Cairns. Three different domains of the indigenous knowledge industry the arts, the social sciences and the biological sciences each represent different kinds of consumers of indigenous knowledge and raise different issues of intellectual property. My framework for dealing with such concepts includes cultural heritage, cultural property and intellectual property. Intellectual property is a subset of what we regard as cultural property, over which we assert our cultural rights. We want to have this ownership recognised in Australian law, whether through native title rights, through a special law, or through the exercise of a number of different laws regarding intellectual property rights, indigenous heritage, natural resources and community governance. Because of obvious breaches of copyright, the visual arts have been the main battleground for the last 25 years. There have been numerous reviews concerning the misappropriation of Aboriginal art and a number of very successful and well publicised legal actions initiated by the artists or their industry representatives. However, federal governments of both persuasions have preferred to perpetually review the matter rather than legislate to resolve it. The Copyright Act still offers no protection to works such as rock paintings, which are unattributable to individual artists, or to particular art styles like Western Desert dot painting, and does not control imitations of them which are often imported from overseas. We need to be wary of attempts to introduce sui generis legislation to protect our intellectual property, as past experience has taught us that legislation created supposedly to protect our heritage has frequently offered inferior protection to that afforded to mainstream heritage. Within the general domain of the social sciences there now exists a considerable body of guidelines, codes and principles intended to guide researchers toward the right conduct in their dealings with indigenous communities. Major concern is now centred on biotechnology, where failure to protect traditional knowledge of native species could cost indigenous communities millions of dollars in lost royalties, commercial rights and product licences. While native title rights, land rights and some natural resource laws may provide some means for the protection of traditional knowledge, biodiversity contracts are increasingly finding favour. From garret to global marketplace Dale Spender is the Deputy Chair of the Australian Society of Authors (ASA) and a Director of the Copyright Agency Ltd. The author or editor of more than 30 books, she is now creative director of Digital Style, which delivers online professional services to educators. The Australian Society of Authors is already encouraging its members to think of their work less in terms of freelance writing, and more in terms of running a small business. Partly because there is a dwindling number of publishers, there are fewer contracts being offered to authors, and their terms represent an erosion of the authors position. Now that new models of payment for authors are up for renegotiation, there is complete commitment by the ASA to obtain a much better deal for the new content providers. Our mission statement is to maximise the income-generating opportunities for members in the new digital environment. Because the protection of copyright is not a workable business arrangement in the digital age, the ASA is examining the radical possibility of obtaining a fee for electronic use. This raises several issues. What uses should be covered? What should be zero rated? Licences or fees? How do you know it is the authors own work? This will be the beginning of an entirely new form of authorship, one which will not necessarily be text, and almost certainly not created by a single author. We are in the process of developing a new aesthetic, new protocols and a very new audience. For those authors who want to make the transition from the garret to the global market, the ASA will be able to serve as a broker, matching Australian authorial content with international users. Some authors are not keen about online use of their work; they dont want one comma changed. Moral rights may provide some form of integrity protection for them. There is a lot of groundwork to do. The ASA must be completely webified. Old relationships with publishers and libraries need to be reinvented. New relationships need to be forged. And we do not believe that we have to wait for the digital agenda to become law; we suspect we dont need it to set up our own professional businesses. Mara Bún is Manager, Policy and Public Affairs, for the Australian Consumers Association. Her policy interest is the information society and the impact of new business models on consumers and public goods. An audio file format, MP3, recently supplanted sex as the most popular term entered into Internet search engines. The recording industry is blaming music downloads for declining sales. Is MP3 about piracy or is it a new way to create music? This technology allows anyone to put a song on the Internet, by-passing the intermediaries in production and retailing. Small record companies can be like multinationals. Musicians can cut record companies out of their contracts; they see the Internet as the way to make it. In the new millennium, speed is the new success factor; rapidly shifting consumer preferences demand speed, in research, production, distribution, communication. Cultural connectedness gives everyone global reach. We dont just have to listen to the big American hits; there is a much greater choice. Information and culture are developing as a pastiche of many different styles of interactions. How does the old paradigm of copyright fit with the new technology? Jack Valenti, of the Motion Picture Association of America, has said, Our future is blighted because we know that unless we can protect what we own, we dont own anything. He is wrong. Companies have to deliver value, quickly, to have a future. Peter Fowler, of the US Patent and Trade Office, has stated, The vast majority of copyrighted works will eventually be distributed electronically. There are powerful national interests at stake. The USA exported copyright worth $60.2 billion in 1996 more than cars or agricultural products. From 1987 to 1996 the copyright industries grew twice as fast as the US economy. Some computer software imprints an identification number on every document created so that the software manufacturer can track copyright. This may help identify legitimate users but it could also infringe peoples privacy. What else could this technology be used for? The power of the new media shifts control back towards the individual users; they can choose the information they want. If consumers have a relationship with the Internet that is instantaneous, diverse and changing, how do we compensate the creators of information? We need new models of compensation that do not restrain shifting tastes and innovation. Henrietta Fourmile expressed concern about the applicability of any copyright protection regime. Are there any schemes that could meet indigenous peoples requirements? Mara Bún. I cannot imagine how it would feel to have my cultural identity flogged. One becomes very cynical. The big companies are trawling the world and patenting little bits of life, then selling it back. Public opinion still has some sway: we need to make copyright issues more mainstream. Henrietta Fourmile. Were still trying to catch up. Indigenous people are trying to get advisers with expertise in various areas. We have to consider the lifestyle were living. You cant eat technology. Its not food. Dependence on technology has dangers. If payments are made to authors over the Internet, will there still be public libraries for people who cannot afford to pay? Dale Spender. We need a more equitable distribution of wealth. Libraries of books will be bypassed, though we should have free digital libraries. Fair dealing is for stude | |