I am willing to accept the idea that IP rights are based on something more fundamental than utilitarian concerns for efficiency. And I look forward to reading Merges’ discussion of his mid-level principles and end-of-the-line doctrines and rules. In particular, I am interested in what he has to say with regard to duration of IP protection and how it relates to the fundamental principles he pulls from Locke, Rawls, and Kant.
But like some of you who posted in the first group, I have some reservations about his arguments. Like Conor, I worry that he is cherry-picking from these authors’ writings and extending their subservient ideas to the modern world in a way they would think absurd. Noah pointed out problems of reconciling Lockean ideals with current contexts of software and online content.
It seems to me that the world of IP deals with conceptually different types of matter, and for Merges’ treatment of philosophical underpinnings, it might be a good idea to separate them. Nicolas referred to the two areas as arts and technology, or something to that effect. For me the conceptual difference is in the purpose of the intellectual endeavor or product. On the one hand, we have expressive content — works that are intended to express some idea, thought, personality, message, etc. For the most part, this is the domain of copyright — books, film, sculpture, photography. On the other hand, we have works intended to deliver some function apart from expression. You might call it technology, as Nicolas did, or functional innovation.
The two conceptualizations are not exclusive; functional items like an Eames chair may have aesthetic externalities attributable to some expression contained therein. IP law has struggled to deal with instances where the two merge — architecture, for example, or more recently, typefaces. So perhaps the law should attempt some measuring test, to place a contested work in one camp or the other. The creator’s intent may be the surest way to separate the two, but that comes with all of the evidentiary problems we are familiar with in dealing with intent in other areas of the law. A reasonable-person standard might work well enough. Extremely rare is the building the purpose of which is predominantly to express some idea; rather, a building is for inhabiting, and the expressive qualities of a well-designed house are subservient to its functional purpose.
Merges’ foundational principles should, I believe, apply differently to these two conceptualizations of intellectual property. Or in other words, I would expect the foundational principles for the two conceptualizations to be different. Lockean ideas work better for functional innovation — for example, the new technology that goes into electronic devices, or the improved algorithms that produce better software. When it comes to expressive creation, “sweat of the brow” theories like Locke’s are less relevant — and often expressly discounted by copyright laws.
Similarly, Kant’s autonomy principles argue persuasively for protection of technological innovation, but not so much for expression of ideas. If creation is part of human nature, then people will create as long as the benefits equal the costs. Most expressive work, in my opinion, requires less investment than technological innovation. (I recognize that this conclusion is susceptible to challenge. For example, one could argue that the most valuable expression requires larger investments of time and effort — and Asher’s idea of using emotional investment as a measure of rights creation might be useful here — but an extension of Nicolas’s argument could strike down that concern. What we seek from expressive material has more to do with perfection than innovation; one can only contribute to the pool of ideas because others have contributed as well.) If the costs of expression are relatively low — a few dollars for paint and brushes, a few hours to apply to them to canvas — then people will continue to produce expressive intellectual works without a strong property right in the product. A beautiful work of art carries enough personal enjoyment or reputational benefit for many an artist. I admit that a world without any protection for expressive intellectual property might result in a somewhat lower quality of expression — scholarship won’t be as thorough and insightful, film won’t be as engaging or effective. But people will still produce; those who master its form will still find ways to profit from their skill.
Perhaps the distinction between expression and function is irrelevant to the foundations of IP law. Both are abstractions from what was traditionally considered “property,” and there might be additional conceptualizations in play. But the philosophical underpinnings laid out by Merges don’t offer equal support to all kinds of intellectual property, and it might be useful to figure out what it does support. Highlighting different forms of intellectual innovation may lend more insight into what really justifies protecting them. And that in turn, could lead to more intelligible and effective doctrines and rules for things like architecture, typeface, or product design.
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