Authors and Apparatus: A Media History of Copyright -- Monika Dommann Full Citation Dommann, Monika. Authors and Apparatus: A Media History of Copyright. Trans. Sarah Pybus. Ithaca & London: Cornell University Press, 2019. Chapter Notes Introduction: A Media History of Legal Norms PART I: Writing and Recording 1. Sheet Music 2. Images of Books 3. Voice Recorders 4. Canned Music PART II: Collecting Agencies and Research Materials 5. Collecting Collectives 6. Celluloid Circulations 7. Performing Artists PART III Private Copies and Universal Standards 8. Fees for Devices - Radio, since the beginning how listeners were interested in what could be done with radio than simply listening to content; radio listeners recording off the radio (pp. 133) - Distinction between private and commercial as framework for practices of recording the radio (pp. 134) - This chapter is on fees for devices and how that came with a legal "paradigm shift" changing copyright theory and practice; use of a new medium "interacts with legal norms in flux" (pp. 134) - Narration of Max Grundig's story, described popularly as a "self made man", face of "German economic miracle", got his start supplying the Nazis with transformers and fire control circuitry (pp. 134), distant enough from the party to come out of the war "politically unscathed", moved from radio to producing tape recorders in the 50s (pp. 135) - Magnetic tape recording emerges out of Nazi research (see Kittler Gramaphone, Film, Typewriter); Kittler stresses the manipulability of tape recordings as important to their use in propaganda: "allowing the unmanipulable to be manipulated.", this is also what made it attractive top radio stations and recording industry, aiding production and censorship (pp. 135) - Manipulability of previously unmanipulable is the practice domestic users hooked onto as well (pp. 135), increasing popularity and cheapness of tape recorders, made Grundig lots of spondulicks (pp. 136-137) - Grundig as target of GEMA (Society for Musical Performing Rights and Mechanical Reproduction Rights), the German collecting society, for lawsuits concerning tape recorder royalties (pp. 137) - GEMA as successor to Nazi STAGMA organization, set up by occupying forces in 1950; based rules on those set by Cooperative of German Composers in 1898; positioned itself as a non-profit; membership only open to those who were already musically established (pp. 137); criticized for simultaneous collection of fees and recording of royalties, monopolistic/bureaucratic, "cultural decline" (pp. 138) - Attempts at synonymizing IP piracy and theft: sending official letters signed by composers, calling for copyright revisions, demanding royalties on tape recordings to protect rights of composers, record manufacturers, and radio stations, attempts to enforce position through legal action (pp. 138) - New alliances which pitted records (old medium) against tapes (new medium); successfully "problematized" (see Michel Callon) (pp. 139) - Proposal of device fees to cover royalties; arguments: 1) loss of collecting society control, 2) potential for recordings to be deleted and danger for creators brought by manipulability; all use without permission as misuse (pp. 139) - Alternatives to fees proposed in precursors to DRM or playback only machines (pp. 140) - Tape producing modes of music consumption which bypassed record producers, importance of 1949 and the founding of French tape recording amateur group; emergence of manuals and magazines; the importance of deletion and overwriting as a means of experimentation (pp. 141) - consumer dynamics: tape recorder brought pleasure beyond "comfort"; gateway to further consumption since it didn't come "ready to use" (pp. 142); form of creativity, an art, and a hobby of cutting, dubbing, etc. for older men who could afford to buy them (at first), standardized devices were seen to fend off standardization of everyday life through personal choice; interpassive, ie. deferring enjoyment by having a technology listen for you now so you can come back later (pp. 143), culture of memory around preserving sounds (pp. 145) - The battle between GEMA and Grundig (pp. 145); defeat of GEMA when it requested contact info from Grundig to bill every consumer individually for royalties in the mid 50s; introduction of device fees in 1965 for tape recorders (pp. 146) - Magnetic tape brought a kind of consumer who no longer cared about copyright, with arguments that hinged on rights to use recording technology rather than rights over specific works (pp. 148) 9. Flow of Information - Use of the term "information", its explosion in the 1940s in re state backed science research, the dubious connotations of "information" (pp. 149) - This section covers copyright between 1950 and 1980 around books and new library technologies of Xerox copying and computers that allowed librarians to meed demand for information (pp. 149) - 1941 as first time when US defined copyrights over science and tech; revisiting of that in 1967 over legitimacy of library copies and licensing in a period when "information society" became description rather than just a cipher (pp. 150) - US science and the official story of US support for "peaceful basic research" in Europe and decolonized world to "create safer world"; how librarians saw themselves as key components of this (pp. 150) - View of split in interests between authors and scientists in re copyright: authors motives in monetary return and scientist motives in professional reputation (pp. 151) - Arguments over relaxation of copyright for scientific research, need to share studies as widely as possible (pp. 151) - 1955 US library of congress studies on the revision of copyright law; new mode of legal proposal process: not closed door drafting in consultation with old stakeholders but "research and analysis" as basis of legal draft; these studies identified major conflicts: 1) need for exceptions in making library copies, 2) whether agreement could be reached over fair use (pp. 152) - Development of "xerography" (pp. 152); how early xerox machines were by rented and sold to large libraries, universities; that this meant individual copies could be made for cheap (pp. 153) - the choice by Xerox to rent machines as a strategy of bringing in more customers since they were so expensive (pp. 153) 10. Authors of Tradition Conclusion: Legal Histories of Media Transformation