06/08/2021 Copyright violations could crash the NFT party

As NFTs become a more serious investment vehicle, creators are on the lookout for copycats—and copyright law can be unforgiving to buyers. 

CryptoPunk non-fungible tokens (NFTs) displayed on digital billboards in Times Square on May 12, 2021. “Even in the decentralized world of NFTs, copyright laws apply,” writes Jonathan Schmalfeld. 

NFTs, just like cryptocurrencies before them, have reached a point where it has become irresponsible for investors to just ignore them. In the first half of 2020, NFT sales totaled $13.7 million, according to CoinDesk. In the first half of 2021, those sales reached $2.47 billion, and those sales figures show no signs of slowing down. NFTs come in all shapes and sizes, with a range that spans basketball GIFsdigital racehorses, and uniquely generated social media avatars

As more and more institutional money is invested into NFTs, issues that may have been ignored in a niche industry are suddenly becoming important in a multibillion-dollar industry.  In the NFT sphere, one previously ignored issue is intellectual property (“IP”) law. Even in the decentralized world of NFTs, copyright laws apply, and investors should understand their importance prior to investing. 

The United States Copyright Office put out a summary of its basic rules, which is worth a read for any would-be NFT investor. Generally, any original work of authorship, be it music, paintings, books, or any other even minimally creative tangible work, is protected under federal law. While the copyright on art exists automatically as soon as that art is “fixed,” that art needs to be registered with the U.S. Copyright Office to be legally protected (i.e., for the IP rights holder to be able to sue for infringement damages). The copyright and all associated IP rights belong to the creator of the work, but some or all of those rights can be assigned or transferred to any subsequent purchaser of the work. 

One advantage to purchasing an NFT is that all authentication is done on the blockchain. Let’s take the example of somebody who buys a Ghxsts piece: As long as the buyer can confirm the original selling account is linked to the artist (which is often “verified” by the marketplace) then the buyer knows for a fact that purchased piece is authentic, no matter how many times it changes hands. What the blockchain doesn’t tell the buyer, though, is whether that piece was merely a copy of somebody else’s copyrighted work—rendering that purchase worthless and subjecting the buyer to substantial legal liability if it is resold.

Unforgiving copyright rules

The reason this is important is that copyright law is exceedingly unforgiving. Under section 504 of the Copyright Act, the sale of an infringing work, even if done by a completely innocent actor who unknowingly violated somebody else’s copyright, makes the seller automatically liable for actual damages and/or statutory damages of $750 to $30,000 per infringement. If that infringement is found to be willful (i.e., the seller knew this was a copyright infringement but sold it anyway) that number bumps up to $150,000 per infringement.

Take, for example, a recent story which took the NFT world by storm. There was a Twitter thread in which a 12-year-old programmer named Benyamin Ahmed described how he was able to launch his own NFT project. The 3,350 computer-generated “Weird Whales” almost instantly sold out based on the heartwarming story. Suddenly, these pixelated whale images, which were originally sold for 0.033 ETH (about $66 at the time), were being sold hours later for 3 ETH ($6,000). As more people jumped in, NFT influencers pumped this project as the next big NFT to own.

However, while this hype was going on, one user took the time to google “pixel whale” and found that the art for the project appeared to be directly copied from another project, using a four-year-old pixel image as the base for all the Weird Whale images. It’s still not currently clear whether the Weird Whale project constitutes IP theft. That base image may have been placed in the public domain by the original artist, or Benyamin Ahmed may have had permission to use it. But shortly after this potential IP theft was revealed, people began selling their whales at a loss, and momentum for the project instantly faltered. It doesn’t matter whether the person who took the image was 12 years old and did so innocently, because there is no such thing as innocent copyright violation. 

Let’s say hypothetically that the Weird Whales do constitute copyright infringement (and I’m not saying they do), and you happened to buy 10 of them at $6,000 each before all this information came out. Let’s say, also before all this news came out, you sold them for $7,000 each for a quick $10,000 total profit. The owner of the copyright could sue you for all $70,000 of gross revenue from those sales, and for up to $300,000 in statutory damages. Say you knew the Weird Whales were potentially copyright infringement, but you sold them anyway to limit your losses? The owner of the copyright could argue you were a willful infringer, and now you would be on the hook for up to $1.5 million. Best-case scenario: You would have to return the NFTs to the copyright owner, and you are out your $60,000 initial investment. 

Play it safe

So what can you do to protect yourself from this situation? First, before buying any NFT project, do your own research. Look into the developer(s) and artist(s) and search for similar projects. If the project has a website, investigate exactly what IP rights you are buying. If you are expending large sums of money, it may be worth hiring an attorney to determine if there is a registered copyright matching the project. 

Second, if the project seems to toe the fine line between intellectual property theft and parody (like the recent CryptoPhunks vs. CryptoPunks dispute, which I wrote about for my blog) go into it understanding your risks and invest accordingly. Copycat projects are unavoidable in the NFT world, which means that with their potential gains also come potential risks. 

This article is not intended to FUD (meaning to spread fear, uncertainty, or doubt about) any particular NFT project or NFTs in general. I am an NFT investor myself and am bullish on the industry. However, as NFTs become a more serious investment vehicle, more serious attention must be paid to the legal issues they represent. 

Arts

https://fortune.com/2021/08/04/nfts-copyright-violations-penalties-non-fungible-tokens-collectibles-nfttorney-jonathan-schmalfeld/amp/

Interesting NFTs
Fuku-Shiva
The term “Fuku” refers to fortune or good luck. “Shiva” refers to the Hindu deity who represents strongly polar qualities, both severe and delicate. On a beach inspired by adventures on Phi Phi island in Thailand, three youths cavort. Two are representational figures and the third is psychologically rendered. A dynamic relationship ensues between the triad; a reciprocity of active and passive states. The boy on the right engages in maneuvers of evasion, defense, and is dressed in a speedo which reiterates the colors and symbolism of the caution tape on the left and upper right frame of the composition. In concurrent reaction the psychedelic figure shoots out a rocket powered paper airplane. The nude boy seated in the froth and sand approaches in passive repose, and is met with active attention but equal physical reserve by the psychedelic being. Perhaps the most naked figure is also the least representational. Looming large, dynamic, and active, it engages its companions playfully. Various symbols interject into the otherwise naturalistic scene, most notably a beach ball and two contaminated barrels nested in the sand. The upright barrel reads “FukuShima” in Kanji. The barrel laying down reads “Dharma”. To the left the scene is bounded by caution tape, reiterating the danger of the nuclear waste while also hosting alien archetypes, whose presence, as is the nature of these entities, runs up and just behind the consciousness of the psychedelic figure’s eggshell-like skull.
Lovers and unravelled obi, from the series Picture-book Models of Couples
Katsushika Hokusai (1760-1849) Lovers and unravelled obi, from the series Picture-book Models of Couples 1812 - Japan
Alex in Wonderland
A figure, Alex, stands mostly naked in the midst of a physical and psychological maelstrom. He is clad only in nostalgic 80’s era socks, on a tenuous island between active waters and a variety of shark denizens. Sharks on the right side of the image are all beached, including a shark with a quartz crystal snout, an orange shark wrapped in a life buoy, and a shark further in the distance wearing an 80’s style shirt with the number “88”. On the left side is the largest shark, wearing bright glossy red lipstick and brandishing prominent teeth with braces. She is cordoned off from the figure by a roped float divider, and within her thought bubble is a warning symbol. Behind the figure, hovering in the air, are Grey aliens emerging from the distance, out of a series of elliptical UFO shaped interdimensional membranes. The Greys take on the visual form of spermazoa ostensibly impregnating the interdimensional thresholds. As is typical, these Greys inhabit a zone just behind the unconscious topology of Alex’s dissociative mind. Though Alex’s bottom half is representative, his top half mutates into a psychological cornucopia. In a manner akin to “Auto-Erotic Sphinx”, a predecessor work, the figure has self suctioned—an act of sensual infatuation, enjoyment, and exploration. Upward exists the figure’s primary conscious eye, adorned with a revolutionary beret emblazoned with a Bitcoin badge. The figure’s summit features the nose of a fighter jet facing off against video game Bullet Bills, one of whom is marked by a communist North Korean star. A cropped section of a UFO observes the contest. Alex’s mind branches both left and right. To the left is more singular embodied consciousness, manifesting two eyes and a Ganesh trunk grasping crayons. The right branch dissociates upward diagonally, emerging into an array of eyes, faces, teeth, tail, a unicorn horn, and much more—all of which participate in expressing his unconscious being; a democracy of psychic factions representing thought impressions and associations. All illumination and darkness– fernal, infernal, high consciousness and corporeal underbelly–reside in this realm. In the distance are relatively languid, light clouds, and against the firmament hovers a colossal distant eye peering over the scene and far beyond. This painting possesses underlying genetic traits with previous works such as “Auto-Erotic Sphinx with Toys”, “Dionysus”, and “Fuku-Shiva”. The work serves also as a nod to an earlier period of art inspiration during late teens and early twenties— born out of the nakedness, vulnerability, curiosity, and wonder inherent to coming of age and all subsequent psychedelic revelation.
Block Chain Dungeon
Once upon a time... a little boy named Leo loved to paint, draw and experiment. He also loved to play with blocks and chains, which drew him again and again into the rooms of his friends Michel and Angelo. Often they also met in virtual rooms of Cryptovoxels, Decentraland, Somnium Space or Sandbox to create new inventions, read books about new technologies, or just swing the brushes. But on this day something gigantic happened. A good friend of Leo came to visit and brought his girlfriend Mona, who wanted a piece of Leo's art on her skin. This was the birth of the NFT's, as Leo developed Non Fungible Tattoos in the Block Chain Dungeon of Michel and Angelo. From that day on people from all over the world came to get NFT's from Leo or one of his students, like "Skeenee the rat", who controls the NFT machine with his laptop. A new age began.
Destroyed Rage Tablet
The cracks kept forming due to the tablet resting in one place too long and now the tablet has been destroyed. All warmth has gone from the tablet and it is now worthless. It's become apparent that the time is shorter the less Tablets there are in existence!