This allows the company to enlist US Customs to seize and destroy refurbished parts that are harvested from dead phones by workers in the Pacific Rim:
https://repair.eu/news/apple-uses-trademark-law-to-strengthen-its-monopoly-on-repair/
Of course, the easiest way to prevent harvested components from entering the parts stream is to destroy as many old devices as possible.
5/
nostr:npub1hykucplphuhelaxutcw4jw3vuu7gcg42czhqmk7jhchs8vdga4fsj73p33 nostr:npub14qsg3uuyk2qehlcamwlsjl4caxrf25h72w4mk0p5ty3vtwg2fnns75qwuh nostr:npub1sqfnxau480pnvm0t258kdrj5u2u72zwm2kh7tk3qf6lxtqkwvlmqgn5skr
Everybody dog piling on the woman is peak social media.
Hope you’re enjoying it.
nostr:npub1d4syxwzvpy5cj78necepfydykxkrwm9p79p4nsw6h7c45dz4k4aswrffhz Nope, but I'm sure enjoying the additional reach publishing that anonymized, unsolicited hate-mail is getting for my talk, to say nothing of the new members that have signed up for the org I've devoted my life to for 20+ years.
nostr:npub1s5agd2404mpe25g38jw79ptmp7hwtczh5ssmkjfz0s8gl5rp8als9w9qgk lighten up Francis
If she's right, this is Ton-That's true legacy, and the legacy of the funders who handed him millions to spend building this. Perhaps someone else would have stepped into that sweaty, reckless-grifter-shaped hole if Ton-That hadn't been there to fill it, but in our timeline, we can say that Ton-That was the bumbler who helped destroy something precious.
eof/
My ebooks and audiobooks (from Tor Books, Head of Zeus, McSweeneys, Beacon, Verso and others) are for sale all over the net, but I sell 'em too, and when you buy 'em from me, I earn twice as much and you get books with no DRM and no license "agreements."
10/
#10yrsago Rewire: Digital Cosmopolitans in the Age of Connection https://memex.craphound.com/2013/09/16/rewire-digital-cosmopolitans-in-the-age-of-connection/
#10yrsago #PrinceJefri of #Brunei: how to blow billions https://www.vanityfair.com/news/2011/07/prince-jefri-201107
#5yrsago AMA study: shooters armed with #SemiautomaticRifles kill twice as many people https://jamanetwork.com/journals/jama/article-abstract/2702134
#5yrsago More #googlers are quitting over the company’s plan to launch a censored, surveilling search product in China https://www.buzzfeednews.com/article/carolineodonovan/google-project-dragonfly-employees-quitting
6/
Greenwashing set Canada on fire: A generation of idealistic Canadian kids broke their backs every summer "planting thousands of blowtorches a day."
https://mamot.fr/@pluralistic/111075992121213249
3/
Hey look at this
* Download the Tor.com Summer 2023 #ShortFiction Bundle https://www.tor.com/2023/09/15/download-the-tor-com-summer-2023-short-fiction-bundle/
* #DrewBarrymore Opens GM Assembly Plant Amid Impending Autoworker Strike https://www.theonion.com/drew-barrymore-opens-gm-assembly-plant-amid-impending-a-1850839158
* Meet the Guy in Charge of Cleaning Up #BurningMan https://www.gq.com/story/burning-man-2023-cleanup-interview
4/
Greenwashing set Canada on fire: A generation of idealistic Canadian kids broke their backs every summer "planting thousands of blowtorches a day."
https://mamot.fr/@pluralistic/111075992121213249
3/
Image:
Tom Mrazek (modified)
CC BY 2.0
https://creativecommons.org/licenses/by/2.0/deed.en
--
Penguin Random House (modified)
https://www.penguinrandomhouse.com/books/707161/fables-20th-anniversary-box-set-by-bill-willingham/
Fair use
https://www.eff.org/issues/intellectual-property
eof/
A more muscular termination right - say, one that kicks in after 20 years, and is automatic - would turn circuses like Marvel-Lee/Ditko into real class struggles. Rather than having the *heirs* of creators reaping the benefit of termination, we could make termination into a system for getting creators themselves paid.
In the meantime, there's Willingham's "absolute table-flip badassery."
54/
Marvel was always an administrative mess, repeatedly going bankrupt. Its deals with its creators were indifferently papered over, and then Marvel lost a *lot* of the paperwork. I'd bet anything that many of the key documents Disney (Marvel's owner) needs to prevail over Lee and Ditko are either unlocatable or destroyed - or never existed in the first place.
53/
That's what's happening at Marvel *right now*. The estates of Marvel founder #StanLee and its seminal creator #SteveDitko are suing Marvel to terminate the transfer of both creators' characters to Marvel. If they succeed, Marvel will lose most of its most profitable characters, including #IronMan:
They're following in the trail of the #JackKirby estate, whom Marvel paid millions to rather than taking their chances with the Supreme Court.
52/
Why, they are so large - the mag is part of a global conglomerate - that it would be impractical for them to track exceptions to this completely fucking batshit clause. In other words: we can't strike this batshit clause because we decided from now on, all out contracts will have batshit clauses.
The performance of administrative competence - and the tactical deployment of administrative chaos - in giant entertainment companies is grotesque, but sometimes, it backfires.
51/
Larger and larger entertainment firms offer shabbier and shabbier treatment to creative workers, as striking members of @WGAWest and @SAGAFTRA can attest. Over the past year, I've seen a sharp increase in the presence of absolutely unconscionable clauses in the contracts I'm offered by publishers:
https://pluralistic.net/2022/06/27/reps-and-warranties/#i-agree
I'm *six months* into negotiating a contract for a *300 word* piece I wrote for a magazine I started contributing to in 1992.
49/
At issue is that they insist that I assign *film rights* and *patent rights* from my work as a condition of publication. Needless to say, there are no patentable inventions nor film ideas in this article, but they refuse to vary the contract, to the obvious chagrin of the editor who commissioned me.
Why won't they grant a variance?
50/
Giblin and I wrote a whole-ass book about this and related subjects, #ChokepointCapitalism, which not only details the scams that writers like Willingham are subject to, but also devotes fully half its length to presenting detailed, technical, shovel-ready proposals for making life better for creators:
https://chokepointcapitalism.com/
Willingham is doing something important here.
48/
Larger and larger entertainment firms offer shabbier and shabbier treatment to creative workers, as striking members of @WGAWest and @SAGAFTRA can attest. Over the past year, I've seen a sharp increase in the presence of absolutely unconscionable clauses in the contracts I'm offered by publishers:
https://pluralistic.net/2022/06/27/reps-and-warranties/#i-agree
I'm *six months* into negotiating a contract for a *300 word* piece I wrote for a magazine I started contributing to in 1992.
49/
Giblin and I wrote a whole-ass book about this and related subjects, #ChokepointCapitalism, which not only details the scams that writers like Willingham are subject to, but also devotes fully half its length to presenting detailed, technical, shovel-ready proposals for making life better for creators:
https://chokepointcapitalism.com/
Willingham is doing something important here.
48/
Termination is deliberately obscure, but it's incredibly powerful. The copyright scholar @RGibli has studied this extensively, helping to produce the most complete report on how termination has been used by creators of all types:
https://pluralistic.net/2021/10/04/avoidance-is-evasion/#reverted
Writers, musicians and other artists have used termination to unilaterally cancel the crummy deals they had crammed down their throats 30 years ago.
46/
Then they either re-sell their works on better terms or make them available directly to the public. Every George Clinton song, every Sweet Valley High novel, and the early works of Steven King have all be terminated and returned to their creators.
Copyright termination should and could be improved.
47/
But there is *another* policy lever American creators can and should yank on to partially resolve this: #Termination. The #1976CopyrightAct established the right for any creator to "terminate" the "transfer" of any copyrighted work after 30 years, by filing papers with the @CopyrightOffice. This process is unduly onerous, and the @AuthorsAlliance (where I'm a volunteer advisor) has created a tool to simplify it:
https://www.authorsalliance.org/resources/rights-reversion-portal/
45/
Termination is deliberately obscure, but it's incredibly powerful. The copyright scholar @RGibli has studied this extensively, helping to produce the most complete report on how termination has been used by creators of all types:
https://pluralistic.net/2021/10/04/avoidance-is-evasion/#reverted
Writers, musicians and other artists have used termination to unilaterally cancel the crummy deals they had crammed down their throats 30 years ago.
46/
This would be pretty good industrial policy - almost no works are commercially viable after just 14 years:
https://rufuspollock.com/papers/optimal_copyright.pdf
But there are massive structural barriers to realizing such a policy, the biggest being that the US had tied its own hands by insisting that long copyright terms be required in the trade deals it imposed on other countries, thereby binding itself to these farcically long copyright terms.
44/
But there is *another* policy lever American creators can and should yank on to partially resolve this: #Termination. The #1976CopyrightAct established the right for any creator to "terminate" the "transfer" of any copyrighted work after 30 years, by filing papers with the @CopyrightOffice. This process is unduly onerous, and the @AuthorsAlliance (where I'm a volunteer advisor) has created a tool to simplify it:
https://www.authorsalliance.org/resources/rights-reversion-portal/
45/
This would be pretty good industrial policy - almost no works are commercially viable after just 14 years:
https://rufuspollock.com/papers/optimal_copyright.pdf
But there are massive structural barriers to realizing such a policy, the biggest being that the US had tied its own hands by insisting that long copyright terms be required in the trade deals it imposed on other countries, thereby binding itself to these farcically long copyright terms.
44/