Stallman on Software Patents

An Anonymous Coward writes "On Monday Richard Stallman gave a speech at the Cambridge University (UK) Computer Lab. Over at ZDNet UK they have a transcription of the speech - the most eloquent discussion of the subject I have yet seen. Software patents victimise developers, he says, but there are ways to get around them. The best part is his comparison of writing software to writing symphonies: 'Oh Beethoven,' they would have said in 1800 if there had been patents on music, 'you're just bitching because you've got no ideas of your own.'"

Comments

Music

[Iamthefallen]

Can Music be patentable? I mean software is just a bunch of zeroes and ones being processed and when they're in a certain order something cool happens. Music is just tones at different pitches and when in a certain order it sounds cool.

If one-click shopping is patentable, shouldn't one-hit rimshot be aswell? Why is copyright enough to protect music but not enough to protect software?

Allow an "independant discovery" defense

[redelm]

There is a solution to this morass. Simply allow the fact that an inventor discovered/invented a thing independantly of the patent as a defense against patent violation. Of course, there are evidentiary problems. But there always are.

The issue is that if something was independantly discovered, the patent should hardly be granted since it doesn't induce anything that wouldn't otherwise happen.

Re:Maybe something new?

[nagora]

Patents promote a developing market. It encourages you to get your ideas out in the open.

It seems to me that what they do is strike fear into the heart of all but the richest inventors, the legal fight to prove that you are not infringing a patent is more than most people can afford even when they are right. Patents encourage the small inventors to scrap the whole thing and just keep their day job, then everybody loses.

This is not an effect we need in the software industry where so much progress is made by individuals.

From what I gather the biggest flaw with patents are the clerks not the laws.

Software moves so fast that no prior-art system is ever going to be able to keep up. The only way to fix the clerk problem is to slow down the entire field to the point where they can cope. Sacking the idiot in charge of the USPO would help, too; paying clerks on the number of patents they approve is hardly professional or responsible.

TWW

I think he's on to something.

[AltGrendel]

What I like is at the end of the article, he implies that part (or most, or all) of the problem is that the US patent system is based on patenting a Physical Process, and here we have people patenting Idealized Processes. Copyrights are more apropriate for the Idealized Process, or at least it's a closer fit.I'm sure he's not the first to notice this, and he won't be the last, but it needs to be repeated over and over until we get it though the US Goverment's Thick Skull(tm).

Music comparison is an interesting one

[jvmatthe]

Although I didn't see him mention this specifically, I think it's worth pointing out, given his discussion of music and the borrowing of material from other sources. In particular, how borrowing is important culturally.

One moment I recall quite clearly from my college years is the day in class when the teacher of the survey course in music asked the question "What makes American music American?" This was something I hadn't considered before, and the answer wasn't clear to me until he asked more precisely "Why is the 1812 Overture so distinctly Russian? Why is Appalachian Spring American?" The answer is that both borrow themes from the folk music of each country. The Russians knew that Tchaikovsky was writing Russian music because it had recognizable themes that reminded them that they were Russian. The Shaker melody in Appalachian Spring is something many Americans had heard many times before, when that piece was written. (And even moreso now, as "Spring" is itself a common piece of music to hear performed.)

So without the ability to borrow ideas and themes and work them into new compositions, music would be a barren landscape.

One could argue, similarly, that if we impose stronger and stronger restrictions on what we can build into software, then we are resisting the natural cultural synergy that results from algorithms and features being shared among the community members.

Patents on Symphonies

[jea6]

I think this analogy is a bit of a stretch. One of the problems with a software patent is that it can broadly cover A BUSINESS PROCESS. Let's say that a composer had been granted a patent for creating symphonies as "A method to glorify God through the use of music." That patent would preclude anybody else (for a set period of time) from glorifying God through the use of music (unless the method could be improved upon). This patent does not necessarily stop Beethoven from glorifying God and it does not prevent him from finding a better way to glorify God (even through music). While ultimately restrictive, even such a broad based example doesn't fully apply to the situation of the 18th century composer.

You can make an argument that says that protecting a composer who pioneered the glory of God through music is important, maybe patentable. But the REAL issue (in every patent argument I've seen) is that patents are being issued for processes where there is prior art and where the method does not qualify as "not-obvious".

The real issue for Beethoven (and all other composers) was copyright and royalties. Scores might only be distributed hours before a performance. Otherwise, they would be swindled and the composer could not get paid for his/her music. The strong (but not too strong) protection of copyright is a pillar in the Capitalist develompent of Intellectual Property.