This article originally appeared on 3DPrint.com.

Yesterday the Copyright Office released all of the answers to the questions they had after the unlocking hearings.  Turns out that Stratasys, Public Knowledge, and I all agree!  We all told the Copyright Office that there is no meaningful way to make some sort of distinction between “commercial” and “non-commercial” users of 3D printers for the purpose of the exemption.  What’s going on here?

After the hearing, the Copyright Office submitted an additional question about unlocking 3D printing.  The question was:

One of the most exciting things about widespread access to 3D printing is how it has started to push cultural institutions to begin digitizing their 3D collections.  Now, in addition to being able to see free high quality 2D scans of paintings like a 15th Century Italian Pentecost  and 18th Century Japanese Woodcuts, you can see (and sometimes download, print, and modify) high quality 3D scans of the Cooper Hewitt Mansion, Abraham Lincoln’s face,  and Musette the Maltese Dog.  With objects reaching back thousands of years scattered across cultural institutions around the world, it isn’t hard to imagine a future where the world’s cultural heritage objects are available to anyone with a 3D printer (or, say, a Shapeways account).

Podcast -Your Rights and 3D, A conversation with Shapeways about IP

Bridgette Mongeon had me on to talk about 3D printing and IP from a designer’s perspective.  It was interesting (for me) to get into the kinds of concerns that professional sculptors have with services like Shapeways in terms of security and accessibility of support.