September 19th, 2017| Scrapbook | Comments:Kommentek: 0
Between 2011 and 2013, the Silk Road marketplace was able to attract transactions worth hundreds of millions of dollars worth of (bitcoin-based) transactions. However, relatively little is known about the geography of this global trade. Although the strong anonymity on darknet markets prohibits any data collection about the geography of consumption, there is a large amount of data available about the sale of such goods and services.This project thus seeks to employ techniques from computational social science and digital geography in order to achieve two primary objectives. First, we seek to scrape all relevant geographic information on darknet markets, building a re-usable data set at the country level (e.g. ‘the number of heroin sellers based in every country’, ‘the total number of vendors selling weapons in every country’ etc.). Second, we seek to map, visualize, and analyse those data: using multiple variables (the various categories of products and services) to ask ‘what is the geography of illicit products and services?’We think this is an interesting question to ask
The blinding rise of Donald Trump over the past year has masked another major trend in American politics: the palpable, and perhaps permanent, turn against the tech industry. The new corporate leviathans that used to be seen as bright new avatars of American innovation are increasingly portrayed as sinister new centers of unaccountable power, a transformation likely to have major consequences for the industry and for American politics.That turn has accelerated in recent days: Steve Bannon and Bernie Sanders both want big tech treated as, in Bannon’s words in Hong Kong this week, “public utilities.” Tucker Carlson and Franklin Foer have found common ground. Even the group No Labels, an exquisitely poll-tested effort to create a safe new center, is on board. Rupert Murdoch, never shy to use his media power to advance his commercial interests, is hard at work.“Anti-trust is back, baby,” Yelp’s policy chief, Luther Lowe, DM’d me after Fox News gave him several minutes to make the antitrust case against Yelp’s giant rival Google to its audience of millions.
Distributed ledger technologies “are starting to look an awful lot like some of the more conventional technical solutions that we have,” says Prof. Vili Lehdonvirta, an associate professor and senior research fellow at the Oxford Internet Institute, at a recent talk he gave at the Alan Turing Institute.
At the heart of the issue (as always) is who dictates and enforces the rules of the system if and when things go wrong, according to Lehdonvirta. He echoes a point we’ve long made, namely, that what really matters in these systems is how they deal with exceptions rather than norms.
PURCHASING AND BORROWING E-BOOKS: EVIDENCE FOR ‘CANNIBALIZATION’? In developing e-lending models, the fear by rights holders of ‘cannibalization’ of sales by lending has been a factor of importance. The fear is based on a series of assumptions including at least these three: profit margins on a sold title are higher than on a title lent out persons borrowing a title will not buy the same title despite protection measures (‘digital rights management’, DRM), titles lent out might be stripped of that protect
Detecting (and Stopping) Robot PiratesPosted by Phil Davis ⋅ Jul 11, 2016 ⋅ 4 CommentsFiled Under piracy, Sci-Hub, Security Pirate SeasPirate Seas (Photo credit: Wikipedia)On the high seas, you can see a pirate approaching for miles. This gives the captain and crew time to prepare themselves against the onslaught, warn other ships, and call the naval authorities for help. On the Internet, pirates act with stealth. Often, you don’t even know that you’ve been boarded until the pirates have left
U.S. Republican congressional staff said in a report released Wednesday that previous efforts to regulate privacy technology were flawed and that lawmakers need to learn more about technology before trying to regulate it. The 25-page white paper is entitled Going Dark, Going Forward: A Primer on the Encryption Debate and it does not provide any solution to the encryption fight. However, it is notable for its criticism of other lawmakers who have tried to legislate their way out of the encryption debate. It
1 ReviewsReview ItThis was originally published as two separate blog posts at my blog: part 1 & part 2.If you’re following the world of academic publishing (and the paywalls that keep researchers from doing their jobs) you will have heard of Sci-Hub, which offers an elegant way to get around those paywalls. Often called the PirateBay of Academia, Sci-Hub gives you access to over 48 million paywalled articles, happily ignoring copyright. In my book that’s a great thing to do, after all it’s
In Table 1 the results are presented, both for the overall Utrecht dataset and broken down by publisher. In total, 2878 of 2968 unique DOIs could be resolved, the others giving error messages. Availability Utrecht Sci-Hub downloads through publishers Table 1 – Availability of Utrecht Sci-Hub downloads through publishers Overall, 75% of Utrecht Sci-Hub downloads would have been available either through our library subscriptions (60%) or as Gold Open Access/free from publisher (15%). In so far as thes
Depending on whom you ask, Sci-Hub — the piracy network for academic journals — is either the Robin Hood of academic publishing or a parasite preying upon for-profit publishers. A lawsuit filed by Elsevier, the publishing giant, led to the suspension of one of Sci-Hub’s most prominent domain names last week, but the network continues to allow millions of academic articles to be downloaded around the world.What do the authors of the papers think? Do they feel they’ve been ripped off? Are they flattered? After Science revealed the 10 most-downloaded papers on Sci-Hub, The Chronicle spoke to three authors whose articles appeared on the list.There’s no obvious formula for a widely downloaded Sci-Hub article. Topics of popular papers range from wind-turbine tests to iron deficiencies. Publication dates of the 10 articles range from 2000 to 2015, but most of them were published more than five years ago. Some of the papers are kept behind journal paywalls; others, published through open-access models, are already available free.That might raise eyebrows: Why bother to pirate material that is already available free? For some Sci-Hub users, who see piracy of paywalled articles as a financial necessity, it could be the convenience of finding every paper in one place. But many academics whose work has been widely downloaded on the site say they’re not sure what it all means — or whether the popularity of their work on Sci-Hub is anything more than an interesting footnote.Jordan S. Pober, Yale UniversityUntil last month, Jordan S. Pober had never heard of Sci-Hub.In Context: Are Researchers Missing What Matters Most?Download a booklet that is a starting point for discussion of the mission of university research. Inside you’ll find a special package of stories by Paul Basken, a senior reporter at The Chronicle, who examines how scientists can turn their work into societal solutions. Already have an account? Log InMr. Pober, a professor of pathology and translational medicine at Yale University, first learned of the piracy site when a colleague forwarded him an email about the Science article. “It’s flattering, but it’s a dubious honor,” he says. Mr. Pober was one of several authors contacted by The Chronicle who wasn’t aware of the site’s existence until recently. At 67 years old, he generally uses only university libraries to gain access to journal articles. “It’s a generational thing,” he says of Sci-Hub’s success.His article, “Efficient Gene Disruption in Cultured Primary Human Endothelial Cells by CRISPR/Cas9,” was published in the American Heart Association’s Circulation Research journal in the summer of 2015. Mr. Pober’s research determined that the endothelial cells, which are derived from umbilical-cord blood and are non-cancer-forming, could be divided by the genome-editing approach and cloned. This method, he says, is an important advancement in cell therapy and tissue engineering. The paper was downloaded just over 2,000 times from September 2015 through February 2016, making it the ninth-most-downloaded paper on Sci-Hub during that time.What makes the paper so popular? Mr. Pober says he knew his work had gained attention, just not with online pirates. The research was something of a real-world hit too: It was promoted by Circulation Research as one of its 10 most-read articles of 2015, and Mr. Pober says the journal temporarily offered it to the public free.Mr. Pober says the article’s subject matter is likely to have played a big role in its popularity. “In biology there has been this technology revolution of being able to manipulate cells genetically by the use of CRISPR/Cas9, but there have been limitations of this approach,” he says.Mr. Pober says he doesn’t mind that many people download his paper free since he didn’t make money from its publication. In fact, like most academics, he paid to submit his article.”I’m torn in the sense I think it would be better for the science community if findings were made freely available,” he says. “But I’m not sure how to sustain functions of society journals.”Parwiz Abrahimi, Yale UniversityMr. Pober might not have known what to make of his appearance on the Science list, but Parwiz Abrahimi, a medical Ph.D. student in Mr. Pober’s research lab and a co-author of the CRISPR paper, was excited when he came across the article by chance. To him, the paper’s popularity on Sci-Hub was “an honor.” And it made sense: “CRISPR papers are hot right now,” he says.As a researcher attempting to get his work disseminated to as many people as possible, he feels Sci-Hub is actually helping. “I never felt people were pirating my work,” he says. He has never used the piracy site, but he says he has many friends in Iran and Afghanistan for whom it is the only way to read many academic articles.Of course, not everyone who uses the piracy site does so out of that kind of need. Data retrieved by Science show that many downloads come from the United States, and many Americans using the site
When publishers lock away the results of research, it hurts us all. On this site, we’ll talk to people in all walks of life who need access to research but can’t get it because of restrictive publishing practices. Here are some of the people we’ll be talking to:
Clearly, two decades of negotiations, talks and diplomacy have led us nowhere. In my opinion, the time to be inclusive has come and passed. Publishers have opted to remain outside of the scholarly community and work against it, rather than with it. Actions of civil disobedience like those of Aaron Swartz and Alexandra Elbakyan are a logical consequence of two decades of stalled negotiations and failed reform efforts.
Just as spring arrived last month in Iran, Meysam Rahimi sat down at his university computer and immediately ran into a problem: how to get the scientific papers he needed. He had to write up a research proposal for his engineering Ph.D. at Amirkabir University of Technology in Tehran. His project straddles both operations management and behavioral economics, so Rahimi had a lot of ground to cover.
Deeper thought and reflections will be much more evident in the many recent articles and posts I’ve linked to below. I’m also mostly concentrating on the most recent Sci-Hub flare up rather than older posts.
There is no question that Sci-Hub is illegal. They are keeping the site live despite a legal injunction. Elbaykan is happy to talk to the press and make specious legal arguments, but has never actually had the courage to show up in court. As the OA advocates, librarians, and publishers try to create a more open and collaborative environment, they should condemn this solution and realize the harm their silence will cause.
There’s been a lot of concern in some corners of the world about the Finch Report‘s preference for Gold open access, and the RCUK policy‘s similar leaning. Much of the complaining has focussed on the cost of Gold OA publishing: Article Processing Charges (APCs) are very offputting to researchers with limited budgets. I thought it would be useful to provide a page that I (and you) can link to when facing such concerns.This is long and (frankly) a bit boring. But I think it’s important and needs saying.
April 14th, 2016| books, Scrapbook | Comments:Kommentek: 0
This book comprises a curated selection of Lorcan Dempsey’s blog posts that have offered thousands of readers valuable insights into libraries’ future. It shows where libraries have been in the last decade and where they’re heading now.
A few thoughts on Sci-Hub. I was just quoted in the NYTimes saying that “Unlawful [open] access gives open access a bad name.” http://www.nytimes.com/2016/03/13/opinion/sunday/should-all-research-papers-be-free.html I’m already taking heat from friends and allies for saying it. But I also said more on the same subject that was not quoted. I’ll clarify a bit here by providing some of what the NYT omitted. But I’m well aware that some friends and allies who disagree with the short formulation will also
February 24th, 2016| books, Scrapbook | Comments:Kommentek: 0
We asked the spokesman of the illegal e-book website Sci-Hub about open access, the future of copyright, the money policy of Elsevier and other publishing houses and last, but not least Alexandra Elbakyan’s role as something of a Jeanne d´Arc of piracy. The interview was performed by our visiting author Manuel Bonik. Sci-Hub recently had…
A saving grace for students across the world, Alexandra Elbakyan’s portal, Sci-Hub, pools millions of expensive academic papers published in online journals for free. At the center of a potentially multi-billion dollar court battle with US courts, she has vowed to continue her work. “There should be no obstacles to accessing knowledge, I believe,” she told RT in an email interview, echoing her earlier reference to Article 27 of the United Nations Declaration of Human Rights: that “everyone has the right
If a for-profit business cannot prosper without demanding huge amounts of free labor, then surely the business model needs reinventing. And if enough professors refuse to referee without compensation, the reinvention will begin.
He says that many colleges have been targeted by Sci-Hub. In one case at Marquette, a professor received an email stating that he or she needed to update his or her university user name and password by following a link. Once on the site, which was actually in New Zealand, the faculty member typed in new credentials, which were then captured by what the publisher later linked to Sci-Hub.”Then you start seeing your downloads going to unusual locations or downloads that are occurring in huge quantities — thousands of downloads,” Mr. Sanchez says.Typically, the publisher notices such irregularities first, notifies the college, and tells it to shut down the problem quickly. At Marquette, additional layers of security were added, the IP addresses of the compromised accounts were given to the publisher, and the faculty member changed the user name and password within 24 hours. But, Mr. Sanchez says, “it puts us in a tough situation.”
The majority of academic papers are scarcely cited while a few others are highly cited. A large number of studies indicate that there are many factors influencing the number of citations. An actual re
We asked the spokesman of the illegal e-book website Sci-Hub about open access, the future of copyright, the money policy of Elsevier and other publishing houses and last, but not least Alexandra Elbakyan’s role as something of a Jeanne d´Arc of piracy. The interview was performed by our visiting author Manuel Bonik.Sci-Hub recently had to change the domain, because the old one was confiscated after the administrator refused to delete all e-books from Elsevier. Sci-Hub is the biggest illegal source for
Operators of Internet repositories that provide illicit free access to millions of research papers seem determined to keep up their services, despite being barred by an injunction.
A New York district court ruled on 28 October that online services such as Sci-Hub and the Library Genesis Project (Libgen) violate US copyright law. The court ruled in favour of academic publisher Elsevier, which in June filed a complaint against the main operators of the sites for unlawfully accessing and distributing its copyrighted papers.
Sci-Hub downloads articles by aping university IP addresses and stores them in a repository that now contains more than 46 million papers.
Access to the site’s web domain was suspended following the injunction. But Sci-Hub, which is advertised as a service “to remove all barriers in the way of science”, has since moved to a different domain. Its revamped site continues to provide unauthorized free access to millions of papers.
Other pirate services, including Libgen, which also allows users to freely download audiobooks, and BookFi, a free repository of more than 2 million books, have also resurfaced on different Internet domains.
Hide and seek
Sci-Hub had an average of 80,000 visitors per day before its previous domain was blocked, says Alexandra Elbakyan, a former neuroscientist who started the site in 2011. The number of users has since dropped to about 30,000 per day, she says.
It is just a matter of time until Sci-Hub’s new domain name, which is administered by a UK-based Internet company, will be suspended, thinks Eli Dourado, who researches Internet governance and intellectual property at George Mason University’s Mercatus Center in Arlington, Virginia.
But the site also has an alternative anonymous address that can be reached by users of the Tor network, a group of servers that encrypts Internet traffic and disguises its origins. “I could see the site staying up quite a long time through the use of Tor,” Dourado says.
Elbakyan, who was born and educated in Kazakhstan and is now based in Russia, says she doesn’t think that reviving her site violates the New York court ruling, because Sci-Hub is not a US-based company, and she is not a US citizen or resident of New York. That is incorrect, as Sci-Hub infringes US copyright law simply by serving its content to US citizens, says Toby Butterfield, a lawyer with the firm Frankfurt Kurnit Klein & Selz in New York.
In principle, foreigners can be fined by US courts, Dourado adds — but if they do not have any assets in the United States, there is no simple way for the government to collect the fines.
Copyright clash
“We are definitely not going to stop spreading the knowledge,” says Elbakyan, who believes that any limitation on the free distribution of scientific knowledge is unacceptable. She says she hopes that the case will raise awareness of a lack of access to relevant literature faced by many scientists.
In his October ruling, New York district judge Robert Sweet argued that “Elbakyan’s solution to the problems she identifies, simply making copyrighted content available for free via a foreign website, disserves the public interest”.
In a statement on the case made before the court ruling, the Association of American Publishers (AAP) in Washington DC said: “Sci-Hub’s and Libgen’s scheme to reproduce and distribute copyrighted works poses a significant threat to book and journal publishing and to authors and scholarly societies reliant on the royalties derived from sales and subscription income.” On concerns about lack of access for less privileged researchers, the AAP added that scientific publishers, including Elsevier, grant academic institutions in more than 100 developing countries free or very cheap access to scientific literature.
Sci-Hub’s approach has parallels with people who set up sites to illegally distribute music, notes Butterfield. “Scientific publishers are finding themselves in the same spot that record companies faced a few years ago,” he says. “It was only when iTunes and other services made it swift, easy and cheap to buy individual songs that people began turning away from infringement to get their music. So publishers, like record companies before them, have little choice but to get redress from blatant infringers in whatever ways the courts will allow.”
Asked for comment, an Elsevier spokesperson said that the lawsuit was supported by the wider publishing industry and referred Nature’s news team to the AAP.
Tom Allen, president of the AAP, says that his organization will use all available legal means to block access to pirated papers and that the group will continue to support Elsevier’s New York lawsuit. “We will continue to make domain administrators aware of the Sci-Hub enterprise, and urge all service providers to refrain from supporting the sites, which both the operator has admitted and the court found to be illegal,” Allen says.
Elsevier is not the only publisher whose copyrighted papers are available on Sci-Hub. Nature’s parent company – Springer Nature – is another; it says it does not wish to comment on the case. (Nature’s news team is editorially independent of Nature’s research editorial team.)
Article Sharing Authors who publish in Elsevier journals can share their research by posting a free draft copy of their article to a repository or website. Researchers who have subscribed access to articles published by Elsevier can share too. There are some simple guidelines to follow, which vary depending on the article version you wish to share.
To gain a better understanding of the current landscape of article sharing through scholarly collaboration networks and sites, STM conducted an open consultation across the scholarly community in early 2015. The aim of this consultation was to facilitate discussion by all stakeholders in order to establish a core set of principles that clarify how, where and what content should be shared using these networks and sites, and to improve this experience for all. Our hope for this initiative is for publishers and scholarly collaboration networks to work together to facilitate sharing, which benefits researchers, institutions, and society as a whole.
Two weeks ago, the entire editorial board of the journal Lingua quit and announced they would launch a new journal named Glossa. Lingua’s executive editor Johan Rooryck said the reason for the resignation was that Elsevier, which publishes Lingua, did not comply with the editors’ request to turn the journal into an open access publication. Lingua has existed since 1949 and is among the top-3 linguistic journals on Google Scholar. The Lingua/Glossa case is a good opportunity to reflect upon our understanding of open access.
In januari van dit jaar heb ik een blogpost geschreven over het aandeel e-books op het aantal uitleningen.Ik merk nu pas dat ik het helemaal verkeerd berekend heb. Ik heb destijds de e-books vergeleken met alle uitleningen. Fout!Ik ga nu alleen uit van het aantal uitgeleende boeken: 72.382.000 fysieke boeken. Volgens de gegevens waren er in totaal 826.557 e-books uitgeleend (exclusief het kleine aantal van de E-book Selectie en de Eregalerij).Volgens niet meer beschikbare bron waren 1,5 miljoen e-books uit de Vakantiebieb 2014 gedownload. Dan kom je uiteindelijk op 2.326.557 e-books over 2014.En dan gaan we rekenen. In totaal zijn er 75.535.114 boeken uitgeleend in de Nederlandse bibliotheken. Fysiek en digitaal. Dan komt het aandeel e-books op 3,08% uit, inclusief de Vakantiebieb.Halen we de Vakantiebieb er vanaf, dan is het percentage 1,13%. 826.557 e-books op het aantal van 73.208.557 boeken.Gaan we het omdraaien, dan blijkt dus dat van de uitgeleende boeken er respectievelijk 96,92% en 98,87% fysiek uitgeleend werd.
Operations like Thriftbooks step in and buy these landfill-bound books, sight unseen, for around 10 cents a pound. Thriftbooks has 10 warehouses across the country, each with its own name. Ward says each of them is “about the size of your typical Walmart,” somewhere between 70,000 and 90,000 square feet. The enterprise is still largely a human operation: Between 15 and 18 people at each warehouse sift through the truckloads of books, sending more than 80 percent of the material immediately to the recycling plant. (Hey, it’s better than the dump.) That 80 percent may include stuff that’s obviously garbage: old three-ring binders, notebooks, half of a Bible. Anything that might possibly be sellable is scanned into the company’s database.
Discover Books, another major used bookseller on Amazon, is also based in the Seattle area. Unlike Thriftbooks, Discover Books relies on automated scanners to enter books into its system, which can handle more than 60 books per minute. “If there’s any history of that book online, our system will pick it up,” says Tyler Hincy, Discover Books’ vice president of marketing.
Each company takes pains to pick out any rare books that might be difficult to scan automatically. The systems rely on barcodes and International Standard Book Numbers (ISBNs), relatively recent innovations in the history of book publishing. Thriftbooks has a special “vintage” team dedicated to picking out rare, older books, trained to recognized first editions. Discover Books relies on its regular scanning system to pick out potentially valuable vintage books.
From that point on, it’s all about software. Say a new copy of “A Visit From the Goon Squad” is scanned into the database. The software races to figure out how many copies are in stock, how many copies have been sold, how the price has changed over time, what the current average, high and low prices are on Amazon, Barnes & Noble, Half.com, AbeBooks, eBay and Alibris, and decides: Do we want this book? If the software’s algorithm decides that this is a book that can be sold and is worth selling, it will be stocked and automatically listed in the online marketplace where it has the best chance to be sold. This all happens tens of thousands of times per day.
This is a game of pennies and lightning-quick readjustment. Buyers have no particular loyalty to any of these sellers; it’s all about what’s cheapest and what’s listed first. Each company, seeking an edge, builds and zealously guards its own software. Ward was the lead developer on Thriftbooks’ software before he became president. He has 12 developers, a full-time data scientist and two financial analysts on his staff. Discover Books’ software is known in-house as Trim2. “We have software that we’ve spent years and a lot of money on,” Hincy says, “tweaking to be as optimal as possible to give that book the best opportunity to be sold.”
Elsevier journals — some facts Update: figures now in from Imperial. See below.Further update: figures in from Nottingham too.Further update: figures now in from Oxford.Final update: figures in from LSE.
The dark web actually has promise. In essence, it’s the World Wide Web as it was originally envisioned.
Looking beyond the scaremongering, however, the dark web actually has promise. In essence, it’s the World Wide Web as it was originally envisioned: a space beyond the control of individual states, where ideas can be exchanged freely without fear of being censored. As countries continue to crack down on the web, its dark counterpart is only going to become more relevant as a place to discuss and connect with each other. We shouldn’t let the myth of the dark web ruin that potential.
So, let’s say I’m doing research on issues related to privilege and inequality. Google Scholar tells me there’s a an article on stratification in higher education that’s looks interesting. Here’ another one on how postcolonial theory can inform resistance to neoliberalism in universities. And ooh, this looks really interesting: digital inequality and participation in the political process. How great that academics turn their methods and theories to solving the problem of inequality. Too bad most people won’
This selection of 30 key texts is drawn from a bibliography published here on 7 September 2015 — and subsequently updated — in which I brought together a large set of (mostly academic) references on a specific category of political actor that I am calling ‘freedom technologists’. By this term I refer to those tech-minded individuals, groups and organisations with a keen interest in the democratic and emancipatory potential of information and communication technologies (ICTs). Freedom technologists combine technological and political abilities to pursue greater Internet and democratic freedoms, which they regard as being inextricably entwined (Postill 2014). Far from being techno-utopians or deluded ‘slacktivists’ (Morozov, 2013, Skoric, 2012), I find that most freedom technologists are in fact techno-pragmatists, that is, people who take a very practical view of the limits and possibilities of new technologies for political change. This reading list is part of current research towards Chapter 2 of my forthcoming book Freedom Technologists:Digital Activism and Political Change in the 21st Century (working title).
IPAF’s survey also reveals that the proportion of consumers using streaming services grew from 26 per cent last year to 32 per cent this year.Of those, 33 per cent were taking advantage of some form of free trial and 66 per cent planned to pay for the service after their trial expired.That has helped drive down the proportion of consumers aged 18 to 24 engaged in piracy, from 54 per cent last year to 46 per cent this year.For consumers aged 25 to 34 the rate has fallen from 48 per cent to 40 per cent. Piracy rates for consumers aged 35 to 49 remain steady.Overall, piracy rates across all age groups have fallen from 29 per cent to 25 per cent.About a third of those pirating less frequently said it was due to the emergence of legal alternatives. About 16 per cent said it was because they feared getting caught or downloading a computer virus.Ms Flekser warned that the biggest challenge continued to be a lack of education and unwillingness by some consumers to perceive online piracy as theft.However, she said recent changes to the legal and regulatory environment around online piracy were starting to have an impact on consumer perceptions.Ms Flekser was referring to the court bid by the film studio behind Dallas Buyers Club to force iiNet to reveal the identities of alleged infringers and new federal laws allowing copyright holders to apply for court orders to block websites promoting copyright infringement.
This Kat sometimes wonders whether every big copyright dispute these days seems to have a major political or philosophical subtext to it — an example of which can be found below. From guest contributor Emma Perot comes this appraisal of a dispute (reported on TorrentFreak here) between a giant publisher of valuable and useful scholarly material on the one hand, and those who seek access to that same information on the other. Writes Emma: In a Robin Hood-like manner, Sci-Hub.org has been providing academic articles to researchers in the science and technology community free of charge since 2011. Now Elsevier, one of the largest academic publishers, is seeking to put an end to this open access model. Elsevier publishes over 2,000 journals and has an income of more than US$1 billion. Wielding its dominance in the research community, Elsevier charges US$30 to access an article. This is a staggering price when you consider how many articles are needed in order to undertake significant research. In the UK, universities generally pay subscriber fees so that students and staff can access journals. However, this is not the case for everyone. Alexandra Elbakyan is one researcher who could not access Elsevier’s journals because the University of Kazakhstan did not subscribe to the service. In order to progress with her research project, she found forums that facilitated the sharing of articles for free. Elbakyan realised that there were many others like herself who were jumping through hoops for their research. From this necessity sprang the creation of Sci-Hub.org which collects journal articles and makes them available to the public without charge. The problem that SciHub is now facing is that the copyright of many of the articles they have published vests in Elsevier. As stipulated by the terms and conditions of publication, authors assign their exclusive rights (s.106 U.S. Copyright Act 1976) to the publisher. As such, Elsevier is entitled to charge whatever access fee they desire, or to restrict access all together. By reproducing these articles without Elsevier’s permission, Sci-Hub is infringing Elsevier’s copyright and is likely to lose the case against it. Nonetheless, Elbakyan is insistent on fighting for continued open access as she believes that “Everyone should have access to knowledge regardless of their income or affiliation”. The author is sympathetic to Elbakyan’s stance and believes that her moral argument is compelling, if not viable under the current capitalist regime. The history of copyright protection reveals an idealistic beginning which better accords with Elbakyan’s philosophy. Copyright protection in the U.S has a foundation in s.8 of the U.S. Constitution which states that “The Congress shall have power … to promote the progress of science and useful arts, by securing for limited times to authors and inventors the exclusive right to their respective writings and discoveries.” This clause underpins copyright with utilitarianism by providing an incentive of control to authors. The purpose of this control is to encourage (but not guarantee) the creation of products which will contribute to the growth of society. The main criticism of the incentive theory is that people create works even in the absence of intellectual property protection. This seems apparent on the facts before us as authors who publish with Elsevier surrender their copyright protection at the first possible opportunity. Even if the control incentive (there are many other forms of incentive such as reputation building, money, and pure interest) were necessary to encourage research, the utilitarian philosophy does not bode well in a capitalist society where publishers such as Elsevier operate to make a profit rather than to further the altruistic goal of disseminating information. Pay wall or ordinary wall? They’re all the same to Hubert Different approaches can be taken to overcome the barriers presented by legal paywalls. One such approach is to publish in independent, open access journals. The problem with this is that researchers want the benefit of the prestige associated with well-established, peer-reviewed journals. While this may seem like an egotistical issue, researchers spend years trying to develop a reputation of excellence in order to be presented with more opportunities for advancement. Publishing in a well-respected journal ensures quality control standards have been met, thus validating the article. This is particularly so in the science world where research often requires funding to access lab facilities and equipment. Alternatively, researchers could boycott publishers such as Elsevier with the aim of reducing access fees. The Cost of Knowledge, which encourages publishing in open access journals, is currently doing this and has attracted over 15,000 signatures to date. Signatories agree not to publish or perform editorial work for Elsevier’s journals. The success
The Kindle, which was joined by other devices like Kobo’s e-reader, the Nook from Barnes & Noble and the iPad, drew millions of book buyers to e-readers, which offered seamless, instant purchases. Publishers saw huge spikes in digital sales during and after the holidays, after people received e-readers as gifts.But those double- and triple-digit growth rates plummeted as e-reading devices fell out of fashion with consumers, replaced by smartphones and tablets. Some 12 million e-readers were sold last year, a steep drop from the nearly 20 million sold in 2011, according to Forrester Research. The portion of people who read books primarily on e-readers fell to 32 percent in the first quarter of 2015, from 50 percent in 2012, a Nielsen survey showed.Higher e-book prices may also be driving readers back to paper.As publishers renegotiated new terms with Amazon in the past year and demanded the ability to set their own e-book prices, many have started charging more. With little difference in price between a $13 e-book and a paperback, some consumers may be opting for the print version.On Amazon, the paperback editions of some popular titles, like “The Goldfinch” by Donna Tartt, are several dollars cheaper than their digital counterparts. Paperback sales rose by 8.4 percent in the first five months of this year, the Association of American Publishers reported.The tug of war between pixels and print almost certainly isn’t over. Industry analysts and publishing executives say it is too soon to declare the death of the digital publishing revolution. An appealing new device might come along. Already, a growing number of people are reading e-books on their cellphones. Amazon recently unveiled a new tablet for $50, which could draw a new wave of customers to e-books (the first-generation Kindle cost $400).It is also possible that a growing number of people are still buying and reading e-books, just not from traditional publishers. The declining e-book sales reported by publishers do not account for the millions of readers who have migrated to cheap and plentiful self-published e-books, which often cost less than a dollar.At Amazon, digital book sales have maintained their upward trajectory, according to Russell Grandinetti, senior vice president of Kindle. Last year, Amazon, which controls some 65 percent of the e-book market, introduced an e-book subscription service that allows readers to pay a flat monthly fee of $10 for unlimited digital reading. It offers more than a million titles, many of them from self-published authors.Some publishing executives say the world is changing too quickly to declare that the digital tide is waning.“Maybe it’s just a pause here,” said Carolyn Reidy, the president and chief executive of Simon & Schuster. “Will the next generation want to read books on their smartphones, and will we see another burst come?”
A draft report commissioned by the Society of Chief Librarians (SCL) has said £20m should be invested in digital services over the next three years to prevent libraries from becoming “soup kitchens for the written word.”The report, entitled ‘Essential Digital Infrastructure for Public Libraries in England’ and conducted by Bibliocommons, a commercial provider of library software systems, says libraries are “pushing” users away by their lack of investment in digital technology.However, library campaigners including former Waterstones boss Tim Coates has criticised the draft report as “vexacious” for portraying libraries as “no longer being predominantly about books.”The draft document outlines the possibilities of digital development for public libraries in England and is intended to help libraries identify the changes to technology needed to “provide leverage and cohesiveness” for library services, and to meet the demands of users who journey “online and off” to the institutions.The official report will be published in October.
Kids today with their selfies and their Snapchats and their love of literature.Millennials, like each generation that was young before them, tend to attract all kinds of ire from their elders for being superficial, self-obsessed, anti-intellectuals. But a study out today from the Pew Research Center offers some vindication for the younger set. Millennials are reading more books than the over-30 crowd, Pew found in a survey of more than 6,000 Americans.Some 88 percent of Americans younger than 30 said they read a book in the past year compared with 79 percent of those older than 30. At the same time, American readers’ relationship with public libraries is changing—with younger readers less likely to see public libraries as essential in their communities.
The creator of Popcorn Time, software which lets people watch movies illegally online, has chosen to reveal his identity and speak out about his experiences developing the site.TorrentFreak reports that 29-year-old designer Federico Abad from Argentina revealed his identity in an interview with Norwegian newspaper Dagens Næringsliv.Abad explained that he was inspired to create Popcorn Time because internet speeds in Argentina are so bad and because major movies often reach Argentinian cinemas months after they are released in the US.Developer Abad said that he recruited other people around the world using Twitter and Facebook. They worked overnight to create Popcorn Time and eventually “had concentration problems at work because of the project.” Abad said that he worked so hard on the project that his girlfriend left him.Popcorn Time let users illegally stream movies online for free. But it was shut down by Abad in 2014 after authorities put pressure on the site. Since then, other similar sites have launched that that use the same software. There’s even a Popcorn Time app.Popcorn TimeAbad said that he decided to shut down the project when he noticed that a lawyer working for Warner Brothers had viewed LinkedIn profiles belonging to developers working on Popcorn Time.“We do not know how, but he had managed to track us down. We were quite put out. We thought it was a scare tactic,” he said. “And we were frightened. None of us were anonymous anymore. They knew where we worked and where we lived.”
So I’d been asked to write a book about whatever I wanted, and this editor didn’t even know whether I’d written anything before. It didn’t matter. It would sell its 300 copies regardless. Not to people with an interest in reading the book, but to librarians who would put it on a shelf and then, a few years later, probably bury it in a storeroom.Most academics get these requests. A colleague was recently courted by an editor who, after confessing they only published expensive hardbacks (at around £200), explained that this was an opportunity for my colleague to enhance his academic record. He was told he could give them pretty much anything, like an old report, or some old articles.“I can’t believe anyone would write a book that would be too expensive for anyone to buy,” the colleague told me over the phone. “Just to add a line to your cv.”Another colleague, on discovering his published book was getting widespread attention but was too expensive to buy, tried to get the publishers to rush out a cheaper paperback version. They ignored his request.These may sound like stories of concern to academics alone. But the problem is this: much of the time that goes into writing these books is made possible through taxpayers’ money. And who buys these books? Well, university libraries – and they, too, are paid for by taxpayers. Meanwhile, the books are not available for taxpayers to read – unless they have a university library card.In the US, taxpayers are said to be spending $139bn a year on research, and in the UK, £4.7bn. Too much of that money is disappearing into big pockets.So what are the alternatives? We could stop publishing these books altogether – which may be advisable in a time of hysterical mass publication . Or we publish only with decent publishers, who believe that books are meant to be read and not simply profited from. And if it’s only a matter of making research available, then of course there’s open source publishing, which most academics are aware of by now.So why don’t academics simply stay away from the greedy publishers? The only answer I can think of is vanity.
These are heady days for supporters of open access (OA), who argue that the results of publicly-funded research should be made freely available to all, not just those who can afford subscriptions to the scientific journals in which they are published.Earlier this year, the World Bank announced that it would adopt an open access policy for all its research outputs and “knowledge products”, which will be entered into a central repository to be made freely accessible on the internet.Last month, the British government said that, in future, it will require all the research it funds in British universities to be made openly accessible, with authors paying publishers a fee (funded out of research grants) to make this possible – a position already adopted by the influential Wellcome Trust. The move was rapidly followed by an announcement from the European commission that the same rule will apply to all commission-funded research.The UK’s Department of International Development recently announced all its research will be made freely available. And publishers such as BioMed Central are pioneering open access journals in developing regions such as Africa.
But an article published in March by the Journal of the Association for Information Science and Technology found it was starting to occur, albeit slowly.“Various text-sharing platforms distribute tens of millions of documents online for free,” the study found. “However, these are still unknown to most of academia. Only a handful of articles acknowledge their existence in short passages, and no systematic study of the available collections has been undertaken until now.”
Pirate e-book libraries enable historically unprecedented access to the best of scholarly knowledge, which CEE countries are definitely taking advantage of. Who is using these libraries and for what reasons? Unique data on pirate library use helps answer these questions.
June 1st, 2015| music, Scrapbook | Comments:Kommentek: 0
“I think the idea of intellectual property will naturally have to be modified to accommodate the way people exchange ideas and music and information. “The old copyright model has expired. It can no longer exclusively control music.”
Hello,We represent the Saint Joseph University of Beirut, Lebanon and we would like to kindly ask you to forbid access to both our IPs (we are sure you can find them otherwise contact us to provide them to you) to the website libgen.org.We have included you in our restricted list in the institution firewall, but students have found ways to bypass it. We hope you could make it radical from your side.Please note that many students have been severely punished for using this website. We are only asking for this, in order to spare the others.We pay yearly subscriptions to many Editors and hope to stay “legal”. We appreciate all your efforts and respect them. We hope to come to an understanding together.Thank you very much.Hoping to hear from you very soon.PS: Move this thread to where it should be if needed, we couldn’t find an appropriate thread for such a request.
Science departments in Russia’s universities are facing a crisis of information following the decision last week of a Western publisher to lock them out of access to thousands of unique scientific journals and magazines because the government can no longer afford to foot the bill.
According to a spokesperson from the Russian Ministry of Education and Science, the Russian Foundation for Basic Research, one of Russia’s state agencies, which is responsible for the development of national science, is unable to pay for subscriptions for scientific journals and magazines published by Springer due to a sharp devaluation of the Russian ruble this year.
Yriy Popov, a former associate professor of the Voronezh State University of Building Technologies and a well-known Russian scientist in the field of building science and technologies, warned that, in addition to Springer, there is a threat that the Russian scientific community may lose access to the magazines of other Western scientific publishers, such as Elsevier.
Matthias Aicher, head of Springer for Russia and the Commonwealth of Independent States, has confirmed that the company closed the access to scientific publications for Russian universities and research institutes from 12 May.
According to Aicher, the Russian government failed to pay for the subscription for 2014 to the amount of €890,000 (US$1 million).
Vladimir Fortov, head of the Russian Academy of Sciences, said the current problem is very serious as scientific periodicals have so far been the main way for Russian scientists to get information regarding basic and applied sciences.
Fortov said: “Thanks to these journals, Russian scientists are aware of the latest developments and research in global science. Failure of further subscriptions means that Russian scientists will be isolated from global science.
“Springer is a very serious publishing house, and the loss of access to its journals will be a major blow for Russian science, including university science.”
He has not ruled out the possibility that this issue may be resolved after the intervention of the national government. At the same time, according to some sources close to the Russian Academy of Sciences, representatives of some leading Russian universities are considering signing a petition to the Russian Prime Minister Dmitry Medvedev asking him to help resolve the problem.
In 2014 the annual subscription for Springer publications in Russia was set at €3.2 million (US$3.6 million).
According to an official spokesperson of Springer, the company extended free subscription to Russian science several times, but eventually due to existing debts decided to close it for an indefinite period.
In the meantime, representatives of the press service of the Russian Foundation for Basic Research said that the agency could not use the same model as before the economic crisis in Russia in December 2014 to January 2015 and devaluation of the local currency.
The seriousness of the current situation is confirmed by recent statements of Alexander Hlunov, board member of the Russian Foundation for Basic Research.
He said that Springer sets prices for its journals in Euros but devaluation of the Russian currency has meant that the price in rubles has doubled.
“The Russian budget currently has no available funds for these projects. We currently cannot afford such costs but if there is an increase of scientific spending in the Russian federal budget, this decision could be revised.”
According to Yriy Popov, many Russian scientists and university professors from different areas of science have used Springer journals as guidelines in their research activities.
Today in Science, members of the Facebook data science team released a provocative study about adult Facebook users in the US “who volunteer their ideological affiliation in their profile.” The study “quantified the extent to which individuals encounter comparatively more or less diverse” hard news “while interacting via Facebook’s algorithmically ranked News Feed.”*
Newsmax reports that according to according to KRC Research about 64 percent of Americans familiar with Snowden hold a negative opinion of him. However 56 percent of Americans between the ages of 18 and 34 have a positive opinion of Snowden which contrasts sharply with older age cohorts. Among those aged 35-44, some 34 percent have positive attitudes toward him. For the 45-54 age cohort, the figure is 28 percent, and it drops to 26 percent among Americans over age 55, U.S. News reported. Americans overall say by plurality that Snowden has done "more to hurt" U.S. national security (43 percent) than help it (20 percent). A similar breakdown was seen with views on whether Snowden helped or hurt efforts to combat terrorism, though the numbers flip on whether his actions will lead to greater privacy protections. "The broad support for Edward Snowden among Millennials around the world should be a message to democratic countries that change is coming," says Anthony D. Romero, executive director of the American Civil Liberties Union. "They are a generation of digital natives who don’t want government agencies tracking them online or collecting data about their phone calls." Opinions of millennials are particularly significant in light of January 2015 findings by the U.S. Census Bureau that they are projected to surpass the baby-boom generation as the United States’ largest living generation this yea
Then there are the quieter exclusives; already-released music that appears on one service but not another because of the vagaries of record-label licensing. I had considered switching to Tidal permanently after signing up last week, because the interface is nearly identical to Spotify (what’s missing are social-listening capabilities and a desktop app, though it’s possible both features are on their way), and because I like many of the artists who co-own the platform. But I keep running into gaps in its library; Grimes’s excellent 2012 album Visions, for example, and the well-reviewed new release from Jlin, are on Spotify but not Tidal. So what am I supposed to do? Pay for two services? Make up the important gaps by buying albums on iTunes, even though it’s not clear which gaps will be permanent? These aren’t the most pressing problems in the world, but they are, at least, more pronounced inconveniences than the ones streaming consumers have faced in the past few years.
When the new Beats arrives, this state of affairs may get more hectic. In an interview with Billboard, Jay Z made clear that Jimmy Iovine, the legendary record executive who now works with Apple, had been competing with Tidal for celebrity-musician endorsements. This might explain why big names like Taylor Swift and Drake didn’t join their friends Nicki Minaj and Madonna at last week’s press conference; it’s possible they’re aligned with Beats instead. Apple’s huge market reach and deep pockets also means that record companies have another party to negotiate distribution rights with, which gives labels power to ask for more favorable deals. It seems likely that this will lead to the various services’ catalogues becoming patchier, perhaps fluctuating over time à la Netflix’s Friends-one-month-then-gone-the-next offerings. (Probably not as dramatically, though; it’s in labels’ interest, generally, to have their music as widely available as possible.)
notes from Paula Marie Helm’s talk on “On the Relationship between Addiction, Autonomy and Anonymity”.
Anonymity can help to regain formal autonomy.
1 – works as a crutch to overcome fear
2 – serves as a protection for the collective, it safeguards common values so they will not be corrupted by ego-driven individuals
3 – a performative practice that shapes personalities. anon is an educational and therapeutic instrument, as it teaches people to distance themselves form vain, pride and ego-centrism, and helps them to be more social and less selfish.
Traditional television watching is declining faster than ever as streaming services become a mainstream feature in American homes, according to new research by Nielsen.
Adults watched an average of four hours and 51 minutes of live TV each day in the fourth quarter of 2014, down 13 minutes from the same quarter of 2013, according to Nielsen’s fourth-quarter 2014 Total Audience Report. Viewing was down six minutes between the fourth quarter of 2013 and 2012. And between 2012 and 2011, viewing time actually increased for live TV.
At the same time, more homes turned to online video, with 40 percent of U.S. homes subscribing to a streaming service such as Netflix, Amazon Instant Video or Hulu compared with 36 percent in the fourth quarter of 2013, according to Nielsen. Netflix is by far the most popular streaming service, in 36 percent of all U.S. homes, and Amazon Instant Video is in 13 percent of homes.
The trends have rattled the entertainment industry, with broadcast and cable networks scrambling to take on new competitors on the Web. Cable networks have seen steep ratings declines, which got much worse in the last six months of 2014. Cable ratings among adults fell 9 percent in 2014, three times the rate of decline over 2013, according to Michael Nathanson, an analyst at Moffett Nathanson research.
“It’s hard to ignore our belief that technology is disrupting viewer consumption of linear network programming,” Nathanson wrote in a recent research note.
In response, companies such as HBO, NBC and CBS are launching their own streaming services. The moves could unleash a fast demise of the cable and satellite industries that have fed TV networks with licensing fees.
Television is still king, with viewers of all ages getting the vast majority of their video entertainment and news from live programs and using time-shifted services such as DVRs. But even older viewers — the stalwarts of traditional TV — are spending less time watching live TV and programs saved on DVRs.
Between 2012 and 2014, viewers ages 50 through 64 watched one hour and 12 minutes less of traditional TV each week; they increased viewing of videos over the Internet by 22 minutes. Viewers ages 35 through 49 watched two hours and five minutes less of traditional TV each week and increased viewing of online videos by 35 minutes.
Welcome to Kindle Worlds, a place for you to publish fan fiction inspired by popular books, shows, movies, comics, music, and games. With Kindle Worlds, you can write new stories based on featured Worlds, engage an audience of readers, and earn royalties. Amazon Publishing has secured licenses from Warner Bros. Television Group’s Alloy Entertainment for Gossip Girl, Pretty Little Liars, and The Vampire Diaries; Valiant Entertainment for Archer & Armstrong, Bloodshot, Harbinger, Shadowman, and X-O Manowar; Hugh Howey’s Silo Saga; Barry Eisler’s John Rain novels; Blake Crouch’s Wayward Pines series; and The Foreworld Saga by Neal Stephenson, Greg Bear, Mark Teppo, Eric Bear, Joseph Brassey, Nicole Galland, and Cooper Moo. Licenses for more Worlds are on the way.
New record company figures out of France suggest that artists receive just 68 cents from every €9.99 monthly music streaming subscription – as major labels keep hold of 73% of payouts from the likes of Spotify.
French recorded music trade body SNEP, whose members include Universal Music, Sony Music and Warner Music, ran a recent study with Ernst & Young to discover where money paid by a subscriber to the likes of Spotify or Deezer ultimately ends up.
As you can see below, in terms of the turnover that these platforms generate, the major labels (‘producteurs’) take home the lion’s share, pulling in an average of €4.56-per-subscriber every month after tax.
In terms of the total subscription payment, that’s a 46% share of the spoils.
However, further analysis from MBW gives a more interesting split: who takes home what from the revenues paid out by streaming companies to music rights-holders.
If SNEP’s figures are correct, €6.24 of every €9.99 subscription is paid to music rights-holders – that’s what’s left after tax and the digital platforms’ fee.
That would means the labels keep 73% of payouts from Spotify/Deezer etc.
They’re followed by writers/publishers with a 16% share, and then artists – mostly paid by their labels – who get 11%.
Here’s how that €9.99 turnover payout share looks when you divide it up by percentage – both in terms of total revenue, and the recipients of the €6.24 payout by Spotify/Deezer etc.
How can the majors justify taking home such a huge chunk? Well, SNEP and E&Y’s research doesn’t stop there: they also estimate how much each party brings home in net pre-tax profit.
That means scoping how much major labels, publishers and digital platforms spend on costs – including marketing, making and/or distributing the music in the first place.
Here things get debatable: the net income of labels and digital platforms is, in SNEP/E&Y’s eyes, estimated at just 5% of total revenue.
That, in itself, will be a highly contested figure; many managers would argue that a 95% margin of cost doesn’t ring true on digital platforms devoid of packaging, breakages and returns.
Applying the 5% profit margin to SNEP’s figures changes the percentages of ‘take home’ money quite dramatically, as you can see below.
SNEP and E&Y calculate that labels earn €0.26 net profit for each subscription, while digital platforms earn just €0.10 per €9.99.
These tiny profit margins – if at all accurate – go some way to explaining why even the biggest streaming services find turning a profit no easy task.
It’s also the exact reason why managers want more streaming cash for their artists… and why major labels say they can’t pay it.
Overall, the publishing industry is not really concerned with eBook piracy. Many of the top companies such as HarperCollins, Hachette, S&S and Penguin have told me that piracy is a minor blip on the radar and does not hamper sales to any discernible degree. They all admit it is an extreme minority of tech savvy individuals and statistically people who pirate eBooks tend to be the biggest purchasers of digital content. There has even been some notable authors such as Tim Ferris that harnessed the power of Bitorrent to promote his book, the 4 Hour Chef. He recently said “Torrent conversion is NUTS. Of 210,000 downloads earlier this week, more than 85,000 clicked through “Support the Author” to the book’s Amazon page. We all had to triple and quadruple check that to believe it.
And if CDs are truly dead, then digital music sales are lying in the adjacent grave. Both categories are down double-digits in the last year, with iTunes sales diving at least 13 percent.
Universal Music claims that a private company providing commissary services to prisons across the US is selling inmates pirated music in the form of mixtapes, and it wants the courts to stop it.
First, a reality check. How big and dangerous is the phenomenon? PageFair, a startup-based in Dublin, Ireland, comes up with some facts. Here are key elements drawn from a 17-pages PDF document available here.
As former CIA officer John Stockwell observed both large corporations and intelligence services are “vigorously committed to supporting the system.” Another former CIA officer, Philip Agee, explained this dynamic more bluntly, stating that the intelligence services are the “logical, necessary manifestations of a ruling class’s determination to retain power and privilege.” These assertions have been rigorously documented by activists like William Blum and filmmakers like Scott Noble.In a nutshell, US intelligence pursues the interests of private capital. Snowden indicated as much in an open letter to Brazil. He warned, in no uncertain terms, that the surveillance state has little to do with preventing terrorism and that instead it was focused on “economic spying, social control, and diplomatic manipulation.” There’s no doubt whom this sort of activity actually benefits.
November 28th, 2014| books, Scrapbook | Comments:Kommentek: 0
How damaging is book piracy? It depends whom you ask. An author who’s just stumbled across an illicit copy of her work will be upset and full of anger. Over time these individual anecdotes of loss and outrage coalesce into generally received wisdom: that piracy is aggressive and pervasive and that it is bringing the book trade to its knees. Piracy is theft. Piracy is killing publishing. Piracy is taking food out of my children’s mouths. How can I stop it happening to me?
The answer is simple: you cannot stop piracy. The illegal copying of the stuff we’re now forced to call ‘content’ is an inevitable consequence of digital technology. Piracy is a side effect of the internet. But before we lose ourselves in helpless outrage, it’s worth asking a simple question: just how big a problem is it? The answer may surprise you.
Look at the data that’s available. Britain’s communications regulator Ofcom has now produced four waves of its commendably detailed Copyright Infringement Tracker. Anyone interested in piracy should read it in some detail.
The most recent survey covers March to May 2013 and it suggests that book piracy, as opposed to movie or music piracy, is a marginal activity that barely registers in the data. Only 1 per cent of British internet users downloaded a book illegally in the period surveyed, and only 10 per cent of all book downloads were illegal (these figures include legitimate free downloads from services such as Project Gutenberg).
To put it another way, 90 per cent of the online book trade is made up of paid-for retail or legitimate free services. Pause for a moment on that figure. Can the physical book trade, with its libraries and charity shops, boast a figure that high?
This is hardly a piratical takeover and the British book trade is not crumbling in the face of it. According to the Publishers Association, UK publishers’ sales across all formats in 2012 were up by 4 per cent on the previous year. Physical book sales fell by 1 per cent while digital sales surged by 66 per cent. Mapping the Ofcom numbers onto the Publishers Association figures suggests that in 2012 book piracy may have been equivalent to around £40 million (10 per cent of digital publishing revenues) out of total publishing revenues of £3.3 billion. And that assumes that each of those illegal downloads replaced a legitimate, purchased one.
Books, it is clear, are different to music and film, where illegal downloading is ten times more prevalent. Is there something different about the audience for books which makes piracy less of a problem? Yes. The book audience is older, it’s more affluent and it’s more female. Men download and share illegal material more than women; younger people download illegally more than older people. Older people, particularly those who are book readers, have the money to buy their entertainment legitimately and they probably don’t have either the time or the inclination to poke around in the darker corners of the web for free books or to install the obscure and clunky software needed to download them. They’d rather plug in their Kindles, iPads or Kobos and forget about it.
What the British figures tell us is this: where legitimate e-books are widely available and easy to access, piracy barely registers. But this is not the case in other countries and raises a crunchier problem for any rational discussion of piracy. Russian book-sharing site Library Genesis offers a massive archive of almost a million books. The site describes itself as a ‘scientific community targeting collections of books on natural science disciplines and engineering’, but the purity of this mission is at odds with the titles that are available. The most commonly pirated Western fiction seems to be material beloved by computer engineers. A search for ‘Terry Pratchett’ brings up almost nine pages of results in a variety of formats; David Foster Wallace, three pages; Donna Tartt, barely one.
Markets such as Russia remain a problem for publishing. By some estimates, 95 per cent of e-book downloads in Russia are illegitimate. But the big players in e-books – specifically Amazon – do not operate in Russia and there is a paucity of legitimate titles available (perhaps only 60,000). I have no experience of downloading an e-book in Russia but I’d like to bet it’s not as easy or convenient as downloading an e-book in Britain. In such an environment, piracy becomes the convenient option, not the outlaw one.
All of which raises an interesting question: if your book isn’t being distributed in Russia but is being merrily downloaded there, how should you feel? Before the internet, such piracy (in physical formats) would have been invisible to you. Now you know about it, what should you do? Should you even be (secretly, of course) pleased?
Neil Gaiman, whose titles seem to make up a large proportion of all the books on Library Genesis, has said that piracy in Russia has, in fact, increased his sales there. In this light, there is only one thing worse than being pirated and that is not being pirated, at least in those countries where you’re not receiving much distribution anyway.
Piracy, then, is unavoidable. This is not to say there are no weapons with which to fight back. One option might be the web service Muso, which will track whether illegal versions of your books are appearing and issue automated ‘takedown requests’ that, in most cases, are enough to have the illegal file removed. It’s simple to use and seems to be effective.
But here is the dilemma: Muso costs £12 a month per author name, book title or publication. That puts a price on your appetite to confront the pirates and, for all but a small number of authors, £12 a month is likely to be a good deal more than is being lost from piracy anyway.
And that itchier question remains: if you find a copy of your book on a service such as Library Genesis, what do you do? Do you hit the ‘takedown’ button in Muso and get it removed? Or do you ask yourself whether it’s better to be read illegitimately than not to be read at all? It is, at the very least, a question worth asking.
An analysis on the role of hackers in the age of cyberwarfare, published in the special issue on business and technology of the Hungarian weekly HVG. Read the rest of this entry »
This paper discusses whether a compensation system (CS) for recorded music – endowing private Internet subscribers with the right to download and use works in return for a fee – would be welfare increasing under current market conditions. It reports the results of a discrete choice experiment conducted with a representative sample of the Dutch population consisting of 4,986 participants. The Internet penetration rate in the Netherlands is 95%, one of the highest worldwide (Eurostat 2014). The Netherlands also entertain a system of levies on copying technology, so that basic elements of a CS should be familiar to many residence.
We find that applied only to recorded music, a mandatory CS could increase the welfare of rights holders and users in the Netherlands by over €600 million per year (over €35 per capita). This far exceeds the current sales value of recorded music of ca. €144 million. Even if a CS were to substitute all of the current sales of recorded music and provided no cost savings, it could simultaneously increase user welfare and rights holder revenues at a price that constitutes a reasonable surplus split. According to our results, this is achieved over a broad range of CS user fees, for example between ca. €1.74 and €9.25 for a CS that is mandatory for all households with Internet subscription.
RuNet, the Russian segment of the internet is now the home of the most comprehensive scientific pirate libraries on the net. These sites offer free access to hundreds of thousands of books and millions of journal articles. In this contribution we try to understand the factors that led to the development of these sites, and the sociocultural and legal conditions that enable them to operate under hostile legal and political conditions. Through the reconstruction of the micro-histories of peer produced online text collections that played a central role in the history of RuNet, we are able to link the formal and informal support for these sites to the specific conditions developed under the Soviet and post Soviet times.
Aleph is currently the biggest online piratical collection of scholarly publications, with more than a million books, and tens of millions of journal articles. This chapter explores the question of the growth and impact of the Aleph network, via a close look at its collections and traffic. In so doing, we want to push the debate beyond the simple rhetoric of criminality and the accompanying claims of criminal profits made via these sites . Instead we want to better understand how these services operate, what publics they serve, and what harms to publishers and authors can be reasonably attributed to them. Aleph and its mirror sites infringe the copyrights on hundreds of thousands of works, potentially undercutting the market for those works. But they also respond to clear (and sometimes not so clear) market failures where work is unavailable or unaffordable, and play a role in the democratization of scientific and scholarly work. On what basis can we evaluate these trade offs? To date, there has been no substantive account of the shape, reach, or impact of these archives. This chapter takes some steps in that direction.
On the 10th of August, for its 10th anniversary, The Pirate Bay (TPB) released a piece of software called the Piratebrowser, tagged with the headline: “No more censorship!”(Anon 2013b) It enables users who live in countries where access to TPB is blocked to circumvent national internet filters. It is a simplified version of a Tor network-based web-browser , which is used by many who want to stay anonymous and avoid the blocking and the surveillance of their online activities. The Tor network is used by: dissenters in oppressive countries with pervasive internet censorship; privacy-conscious users who wish to stay hidden from the surveillance machinery of spy agencies; leakers and whistleblowers; and users who wish to engage in various illegal activities from watching child pornography to buying drugs.
In the digital era where, thanks to the ubiquity of electronic copies, the book is no longer a scarce resource, libraries find themselves in an extremely competitive environment. Several different actors are now in a position to provide low cost access to knowledge. One of these competitors are shadow libraries – piratical text collections which have now amassed electronic copies of millions of copyrighted works and provide access to them usually free of charge to anyone around the globe. While such shadow libraries are far from being universal, they are able to offer certain services better, to more people and under more favorable terms than most public or research libraries. This contribution offers insights into the development and the inner workings of one of the biggest scientific shadow libraries on the internet in order to understand what kind of library people create for themselves if they have the means and if they don’t have to abide by the legal, bureaucratic and economic constraints that libraries usually face. I argue that one of the many possible futures of the library is hidden in the shadows, and those who think of the future of libraries can learn a lot from book pirates of the 21st century about how users and readers expect texts in electronic form to be stored, organized and circulated.
Is Public Debate of Trade Agreements Against the Public Interest?
Posted by timothy on Sunday November 02, 2014 @03:28PM
from the you-can-discuss-it-afterwards dept.
onproton writes The Trans Pacific Partnership (TPP), currently being negotiated in secret, has been subject to numerous draft leaks that indicate these talks are potentially harmful to everything from public health to internet freedom. So why isn’t the public involved, and why are the terms of the agreement being debated behind closed doors? According to New Zealand’s current Trade Minister, Tim Groser, full disclosure of what is being discussed would likely lead to “public debate on an ill-informed basis before the deal has been done.” Leaving one to question how revealing the full context and scope of the agreement talks would lead to an increase in misinformation rather than clarity.
In The Netherlands, people spend about half as much on recorded music as they did in 2003. They spend about twice as much on live music as on CDs, downloads, and streaming.
Other countries have shown this shift from recorded to live revenue, including the UK, but nowhere as dramatically as in The Netherlands. However, consumer spending on music bounced back in 2013, arguably due to increased contributions from streaming services like Spotify:
The failure of the Fire Phone has been widely cited as the reason for Amazon’s disastrous quarter, but a darker cloud has settled over the world’s biggest online retailer. The core of Amazon’s business—its original reason for being: selling books and other media—has grown wobbly. The problem: many people no longer want to buy stuff. They’d rather rent.
Amazon is not alone. This long-predicted shift in consumer priorities–from ownership to access—also seems to be taking a bite out of Apple, another business that depends on convincing people to buy things. For companies built on the practice of purchasing media, it’s time to reexamine basic assumptions.
During the last quarter, Amazon’s North American sales of media—books, music, movies, games—grew five percent compared to the same time a year ago. This may sound respectable. But that figure turns out to be the lowest year-over-year growth in North American media sales in more than five years, says Colin Gillis, an analyst at Wall Street outfit BGC Financial.
“Given the dispute with book publisher Hachette, it is hard to not view that the very public dust up had a negative impact on media sales, both from the decision to stop selling certain book titles and a possible backlash against Amazon from readers,” Gillis says.
The problem: many people no longer want to buy stuff. They’d rather rent.
But according to Amazon, a leading culprit is something that at least sounds much more innocuous: textbooks. “As you look at our North American media growth rates, one thing that we are seeing is certainly a shift from a textbook standpoint from purchase to rental,” Amazon CFO Tom Szkutak told analysts on Thursday. More customers also are renting rather than buying digital media, Szkutak said.
The irony is that in both cases, these are problems Amazon created for itself. Textbook rentals have exploded in part because Amazon makes it so easy. Instead of a would-be renter and lender having to track each other down one-on-one, the owner of a used text book can simply put it up on Amazon. (It’s a model textbook publishers hate, because they only make money on new book sales, which is one reason textbook prices are going through the roof).
Similarly, Amazon has made streaming media so easy that the practical incentive to buy diminishes. Renting or buying digital video from Amazon, for example, never has to involve a download. You never really have to “have” it. It simply streams from Amazon’s cloud to apps, browsers, and over-the-top internet TV boxes. The setup would seem to work to Amazon’s favor because you’re still paying Amazon money—but not as much, perhaps, as you’d pay to own.
A Bite Out of Apple
At the same time as the stock market started hammering Amazon on Friday, a report surfaced that Apple was having its own problems with owning. The Wall Street Journal, citing anonymous sources, reported that digital music sales on iTunes had declined 13 percent to 14 percent since the start of the year. This worries the music industry, the Journal said, because Apple is the world’s biggest seller of music.
If fewer people are buying music from Apple, fewer people are probably buying music, period. The reason is obvious, and much as with Amazon, it’s a problem Apple is largely responsible for creating. The rise of streaming music apps wouldn’t be possible without powerful, portable, connected digital devices that have access to significant bandwidth for transferring data quickly. In other words, the iPhone is very much responsible for streaming becoming a viable, popular way to consume music. As the Journal notes, Apple acknowledged this trend with its purchase of Beats Music, a deal that included both its headphone and streaming music businesses.
In a recent New York Times Magazine piece, writer Dan Brooks lamented the loss of a certain kind of cultural identity deeply tied to the ownership of music: the record collection. The culprit: streaming music services that give everyone everywhere access to nearly every song ever recorded:
The bad news is that we have lost what was once a robust system for identifying kindred spirits. Now that we all share the same record collection, music snobs have no means to recognize one another. We cannot flip through a binder of CDs and see a new friend, a potential date. By making it perfectly easy to find new music, we’ve made it a little more difficult to find new people.
The irony, Brooks notes, is that streaming has brought once obscure music out of hiding: searching for tiny acts is as easy as searching for the biggest Top 40 stars. But it’s not only hipster obscurantism that streaming has upended. The most mainstream tech companies, the ones that have made access versus ownership easier than ever, are now experiencing their own losses because they’ve helped make accessing easier than owning. The only winners here seem to be consumers.
Well, except for one thing: If no one gets paid, nothing gets made.
My work—which involved interviews with file sharers as part of a dissertation in Social Anthropology—has focused on the strong non-economic undercurrent to participation in file sharing networks, ranging from the greater sense of agency and freedom they provided in an expanding cultural universe to their role as a perceived alternative to the ongoing Greek delegitimation of most social and political institutions. Freedom of expression, freedom to communicate, access to knowledge and information, excitement at the rediscovery and “rebirth” of old and rare works… All have figured as important motives for engagement with P2P networks. So too do perceptions of the lack of formal infrastructure and institutions for supporting cultural creativity; the successive shrinking of the welfare state; and the ongoing political crisis, shaped by scandals, nepotism and patronage relations. Within this context, P2P networks represent a form of self-organization and reconfiguration of social life outside established channels that has proved both valuable and—for some—inspirational in the context of the larger Greek crisis.
For some Greek youth, especially, the growth of P2P networks in Greece crystallized aspects of their broader social and political disaffection. Since 2008, P2P culture has merged with wider forms of political and sociocultural critique from all sides of the political spectrum. During the riots of December 2008, a popular Greek P2P tracker published a manifesto in which envisioned a full spectrum of social demands, from the development of alternative sources of energy; to free education, health care and public transportation; to the abolition of the anti-riot police units used to suppress protests; to the “copyleft of all spiritual and informative material.”
The future of copyright amendments crowdsourced by the Finnish public appear to be in doubt. The citizen-drafted proposals, which received 50,000 signatures, seek to decriminalize file-sharing, but Finland’s Education and Culture Committee now wants to reject the historic initiative.
Adobe has just given us a graphic demonstration of how not to handle security and privacy issues.A hacker acquaintance of mine has tipped me to a huge security and privacy violation on the part of Adobe. That anonymous acquaintance was examining Adobe’s DRm for educational purposes when they noticed that Digital Editions 4, the newest version of Adobe’s Epub app, seemed to be sending an awful lot of data to Adobe’s servers.My source told me, and I can confirm, that Adobe is tracking users in the app and uploading the data to their servers. Adobe was contacted in advance of publication, but declined to respond. Edit: Adobe responded Tuesday night.And just to be clear, I have seen this happen, and I can also tell you that Benjamin Daniel Mussler, the security researcher who found the security hole on Amazon.com, has also tested this at my request and saw it with his own eyes.
Home StoryFBI chief: Apple, Google phone encryption perilousBy Ken DilanianAssociated PressPosted: 09/25/2014 02:06:09 PM PDT# Comments | Updated: about 18 hours agoWASHINGTON — The FBI director on Thursday criticized the decision by Apple and Google to encrypt smartphones data so it can be inaccessible to law enforcement, even with a court order.James Comey told reporters at FBI headquarters that U.S. officials are in talks with the two companies, which he accused of marketing products that would let people put themselves beyond the law’s reach.Comey cited child-kidnapping and terrorism cases as two examples of situations where quick access by authorities to information on cellphones can save lives. Comey did not cite specific past cases that would have been more difficult for the FBI to investigate under the new policies, which only involve physical access to a suspect’s or victim’s phone when the owner is unable or unwilling to unlock it for authorities.FILE – In this Sept. 23, 2014 file photo, FBI Director James Comey speaks at the FBI Albany Field Office in Albany, N.Y.FILE – In this Sept. 23, 2014 file photo, FBI Director James Comey speaks at the FBI Albany Field Office in Albany, N.Y. Mike Groll/AP Photo”What concerns me about this is companies marketing something expressly to allow people to hold themselves beyond the law,” Comey said. At another point, he said he feared a moment when “when people with tears in their eyes look at me and say, ‘What do you mean you can’t?'”
Last month UK police took down several torrent site proxies and arrested their owner. Now a UK developer has created a new & free service that not only silently unblocks any website without falling foul of the law, but one that will eventually become available to all under a GPL 3.0 license.
The blocking of sites such as The Pirate Bay, KickassTorrents and Torrentz in the UK led to users discovering new ways to circumvent ISP-imposed censorship. There are plenty of solutions, from TOR and VPNs, to services with a stated aim of unblocking ‘pirate’ sites deemed illegal by UK courts.
Last month, however, dozens of these went offline when the operator of Immunicity and other related proxy services was arrested by City of London Police’s Intellectual Property Crime Unit. He now faces several charges including breaches of the Serious Crime Act 2007, Possession of Articles for Use in Fraud, Making or Supplying Articles for use in Frauds and money laundering.
While it’s generally accepted that running a site like The Pirate Bay is likely to attract police attention, merely unblocking a domain was not thought to carry any such risk. After all, visitors to torrent sites are just that, it’s only later on that they make a decision to infringe or not.
In our earlier article we discussed some of the possible reasons why the police might view “pirate” proxies to be illegal. However, there are very good arguments that general purpose proxies, even ones that are expressly setup to bypass filtering (and are able to unblock sites such as Pirate Bay), remain on a decent legal footing.
One such site is being operated by Gareth, a developer and networking guru who grew so tired of creeping Internet censorship he began lobbying UK MPs on the topic, later moving on to assist with the creation of the Open Rights Group’s Blocked.org.uk.
After campaigning and documenting Internet censorship issues for some time, Gareth first heard of last month’s proxy arrest during a visit to the United States.
“I was at DefCon in Las Vegas when the news of the Immunicity arrest reached me and I realized that for all my volunteer work, my open source applications, operation of Tor relays, donations and letters to MPs to highlight/combat the issues with Internet censorship, it was not enough,” the developer told TorrentFreak.
“I felt that this issue has moved from a political / technical issue to one about personal liberty and Internet freedom. e.g. first they came for the ‘pirate proxies’, then the Tor operators, then the ISPs that don’t censor their customers. The slippery slope is becoming a scary precipice.”
Since his return to the UK, Gareth has been busy creating his own independent anti-censorship tool. He’s researched in detail what happened to Immunicity, taken legal advice, and is now offering what he hopes is an entirely legal solution to website filtering and subsequent over-blocking (1)(2).
“Unlike Immunicity et al I’m not specifically building a ‘Pirate Proxy’. Granted people might use this proxy to navigate to torrent websites but were I to sell a laptop on eBay that same person may use it for the same reasons so I see no difference,” he explains.
“In fact Section 44, subsection 2 of the Serious Crimes Act 2007 even states [that an individual] is not to be taken to have intended to encourage or assist the commission of an offense merely because such encouragement or assistance was a foreseeable consequence of his act.”
The result of Gareth’s labor is the anti-censorship service Routing Packets is Not a Crime (RPINAC). People who used Immunicity in the past should feel at home, since RPINAC also utilizes the ability of popular browsers to use Proxy Auto-Config (PAC) files.
In the space of a couple of minutes and with no specialist knowledge, users can easily create their own PAC files covering any blocked site they like. Once configured, their browser will silently unblock them.
Furthermore, each PAC file has its own dedicated URL on RPINAC’s servers which users can revisit in order to add additional URLs for unblocking. PAC ‘unblock’ files can also be shared among like-minded people.
“When someone creates a PAC file they are redirected to a /view/ endpoint e.g. https://routingpacketsisnotacrime.uk/view/b718ce9b276bc2f10af90fe1d5b33c0d. This URL is not ephemeral, you can email it, tweet it (there is a tweet button on the left hand side of the site) etc and it will provide the recipient with the exact same view.
“It’ll show which URLs are specified to be proxied, which have been detected as blocked (using the https://blocked.org.uk database) and if the author passed along the password (assuming the PAC was password protected) they can add or remove URLs too,” Gareth explains.
“Each view page also has a comments section, this could allow for a small collection of individuals to co-ordinate with a smaller subset of password possessing moderators to create a crowd sourced PAC file in an autonomous fashion. There is also a ‘Clone’ button allowing anybody to create their own copy of the PAC file with their own name, description and password if the PAC file they’ve received isn’t quite what they need.”
This user-generated element of the process is important. While dedicated ‘pirate’ proxy sites specifically unblock sites already deemed illegal by the UK courts (and can be deemed to be facilitating their ‘crimes’), RPINAC leaves the decision of which sites to unblock completely down to the user. And since no High Court injunction forbids any user from accessing a blocked domain, both service and user remain on the right side of the law.
In terms of use, RPINAC is unobtrusive, has no popups, promotions or advertising, and will not ask for payment or donations, a further important legal point.
“To avoid any accusations of fraud and to avoid any tax implications RPINAC will never ask for donations,” the dev explains. “The current platform is pre-paid for at least a year, the domain for 10. At a bare minimum PAC file serving and education for creating local proxies will continue indefinitely.”
Finally, Gareth notes that without free and open source software his anti-censorship platform wouldn’t have been possible. So, in return, he has plans to release the source code for the project under the GPL 3.0 license.
RoutingPacketsIsNotACrime can be found here and is compatible with Firefox, Chrome, Safari and IE. Additional information can be sourced here.
The evidence is mounting that Edward Snowden and his journalist allies have helped al Qaeda improve their security against NSA surveillance. In May, Recorded Future, a predictive analytics web intelligence firm, published a persuasive timeline showing that Snowden’s revelations about NSA’s capabilities were followed quickly by a burst of new, robust encryption tools from al-Qaeda and its affiliates:
This is hardly a surprise for those who live in the real world. But it was an affront to Snowden’s defenders, who’ve long insisted that journalists handled the NSA leaks so responsibly that no one can identify any damage that they have caused.
In damage control mode, Snowden’s defenders first responded to the Recorded Future analysis by pooh-poohing the terrorists’ push for new encryption tools. Bruce Schneier declared that the change might actually hurt al Qaeda: “I think this will help US intelligence efforts. Cryptography is hard, and the odds that a home-brew encryption product is better than a well-studied open-source tool is slight.”
Schneier is usually smarter than this. In fact, the product al Qaeda had been recommending until the leaks, Mujahidin Secrets, probably did qualify as “home-brew encryption.” Indeed, Bruce Schneier dissed Mujahidin Secrets in 2008 on precisely that ground, saying “No one has explained why a terrorist would use this instead of PGP.”
But as a second Recorded Future post showed, the products that replaced Mujahidin Secrets relied heavily on open-source and proven encryption software. Indeed, one of them uses Schneier’s own, well-tested encryption algorithm, Twofish.
Whatever the reason, Schneier says, al-Qaida’s new encryption program won’t necessarily keep communications secret, and the only way to ensure that nothing gets picked up is to not send anything electronically. Osama bin Laden understood that. That’s why he ended up resorting to couriers.
Upgrading encryption software might mask communications for al-Qaida temporarily, but probably not for long, Schneier said….”It is relatively easy to find vulnerabilities in software,” he added. “This is why cybercriminals do so well stealing our credit cards. And it is also going to be why intelligence agencies are going to be able to break whatever software these al-Qaida operatives are using.”
So, if you were starting to think that Snowden and his band of journalist allies might actually be helping the terrorists, there’s no need to worry, according to Schneier, because all encryption software is so bad that NSA will still be able to break the terrorists’ communications and protect us. Oddly, though, that’s not what he says when he isn’t on the front lines with the Snowden Defense Corps. In a 2013 Guardian article entitled “NSA surveillance: A guide to staying secure,“ for example, he offers very different advice, quoting Snowden:
“Encryption works. Properly implemented strong crypto systems are one of the few things that you can rely on.”
Scheier acknowledges that hacking of communication endpoints can defeat even good encryption, but he’s got an answer for that, too:
Try to use public-domain encryption that has to be compatible with other implementations. …Since I started working with Snowden’s documents, I have been using GPG, Silent Circle, Tails, OTR, TrueCrypt, BleachBit, and a few other things I’m not going to write about.…
The NSA has turned the fabric of the internet into a vast surveillance platform, but they are not magical. They’re limited by the same economic realities as the rest of us, and our best defense is to make surveillance of us as expensive as possible.
Trust the math. Encryption is your friend. Use it well, and do your best to ensure that nothing can compromise it. That’s how you can remain secure even in the face of the NSA.
It sounds as though al Qaeda took Bruce Schneier’s advice to heart, thanks to leaks from Edward Snowden — even if Schneier is still doing everything he can to avoid admitting it.
UPDATE: The description of Recorded Future was changed at the request of the company, which said, “While this may seem like splitting hairs, in the world of data analysis software “predictive analytics” has specific technical meaning which implies something different. We use the term web intelligence to reduce this confusion.”
July 23rd, 2014| books, Scrapbook | Comments:Kommentek: 0
A Dutch marketplace for second hand eBooks is being allowed to continue operating after the Amsterdam Court dismissed complaints from book publishers. The Court ruled that “Tom Kabinet” operates in a legal gray area which requires further investigation. Meanwhile the used eBook business is booming.
July 11th, 2014| Scrapbook, tor | Comments:Kommentek: 0
“It is clear from the TOR website that TOR is knowingly assisting websites such as Pinkmeth in committing torts against Texas resident, that the sole cause of action alleged against TOR herein conspiracy arises from its conduct in Texas and against Texas residents, and that assumption of jurisdiction by this court will not offend traditional notions of fair play and substantial justice.”
A complex system of rules and governance mechanisms control the lives of piratical P2P file-sharing darknets and ensure the survival and the quality of the shared P2P resource pool. In some communities these rules include the voluntary intellectual property (IP) protection as well. I show three different examples of voluntary, bottom-up IP regimes in piratical file-sharing communities. I demonstrate that though the emergence of such norms may sound counter-intuitive, they are in fact logical consequences in the development of the underground file-sharing scene. I then move to discuss whether or not the long-term consolidation of such norms is harmonious with the default ethical vision of copyright. Here I show that current practices in the IP field are scattered in both the legal and the ethical dimensions, and stable (social, business) practices consolidate not according to their legality but according to whether they comply with the default ethical vision. Finally I suggest that voluntary IP regimes can be effective enforcement mechanisms that rights-holders should begin experiment with.
Austrian Tor Exit Node Operator Found Guilty As An Accomplice Because Someone Used His Node To Commit A crime
from the bad,-bad-news dept
Three years ago we wrote about how Austrian police had seized computers from someone running a Tor exit node. This kind of thing happens from time to time, but it appears that folks in Austria have taken it up a notch by… effectively now making it illegal to run a Tor exit node. According to the report, which was confirmed by the accused, the court found that running the node violated §12 of the Austrian penal code, which effectively says:
Not only the immediate perpetrator commits a criminal action, but also anyone who appoints someone to carry it out, or anyone who otherwise contributes to the completion of said criminal action.
In other words, it’s a form of accomplice liability for criminality. It’s pretty standard to name criminal accomplices liable for “aiding and abetting” the activities of others, but it’s a massive and incredibly dangerous stretch to argue that merely running a Tor exit node makes you an accomplice that “contributes to the completion” of a crime. Under this sort of thinking, Volkswagen would be liable if someone drove a VW as the getaway car in a bank robbery. It’s a very, very broad interpretation of accomplice liability, in a situation where it clearly does not make sense.
NSA: Linux Journal is an “extremist forum” and its readers get flagged for extra surveillance
A new story published on the German site Tagesschau and followed up by BoingBoing and DasErste.de has uncovered some shocking details about who the NSA targets for surveillance including visitors to Linux Journal itself.
While it has been revealed before that the NSA captures just about all Internet traffic for a short time, the Tagesschau story provides new details about how the NSA’s XKEYSCORE program decides which traffic to keep indefinitely. XKEYSCORE uses specific selectors to flag traffic, and the article reveals that Web searches for Tor and Tails–software I’ve covered here in Linux Journal that helps to protect a user’s anonymity and privacy on the Internet–are among the selectors that will flag you as “extremist” and targeted for further surveillance. If you just consider how many Linux Journal readers have read our Tor and Tails coverage in the magazine, that alone would flag quite a few innocent people as extremist.
While that is troubling in itself, even more troubling to readers on this site is that linuxjournal.com has been flagged as a selector! DasErste.de has published the relevant XKEYSCORE source code, and if you look closely at the rule definitions, you will see linuxjournal.com/content/linux* listed alongside Tails and Tor. According to an article on DasErste.de, the NSA considers Linux Journal an “extremist forum”. This means that merely looking for any Linux content on Linux Journal, not just content about anonymizing software or encryption, is considered suspicious and means your Internet traffic may be stored indefinitely.
A kiadókkal, forgalmazókkal és egyéb jogtulajdonosokkal ápolt viszonyuk amúgy érdekes. Mint mondják, rengeteg dolog szerepel a tiltott anyagok listáján. „Alapvetően mindenkivel megegyezünk, aki normális hangnemben közelít. A kamerás filmek sem csak azért lettek letiltva, mert lesújtóan szar minőségűek; hanem több filmforgalmazóval is megállapodtunk, hogy a dvd/bluray kiadásig várunk, így adva több esélyt a moziknak.” A legfrissebb olyan dolog, amit sokan keresnének, de nem találják az oldalon, a Watch Dogs című játék, amit egy ideig a magyar forgalmazó kérésére nem engednek majd feltölteni senkinek.A hivatalos indoklás szerint erre azért van szükség, hogy a játék kiadó
The Law Library of Congress has digitized its collection of pre-1923 piracy trial. This historical collection of piracy trials is critical for understanding how the various nations of the world handled piracy issues before the year 1900. The full texts of these titles are available from the bibliography listed below.
The leaked New York Times innovation report is one of the key documents of this media ageIt’s an astonishing look inside the cultural change still needed in the shi
f the world starts looking like a scene from “Matrix 3” where everyone has Agent Smith’s face, you can thank Leo Selvaggio.
His rubber mask aimed at foiling surveillance cameras features his visage, and if he has his way, plenty of people will be sporting the Personal Surveillance Identity Prosthetic in public. It’s one of three products made by the Chicago-based artist’s URME Surveillance, a venture dedicated to “protecting the public from surveillance and creating a safe space to explore our digital identities.”
MacInnis, who previously worked for Apple, knew the soon-to-be-launched iPad held great potential for the education market. Bringing a boring and bulky science textbook onto a tablet in an easy-to-digest format that incorporated quizzes and videos, would make learning fun.
The Industry That Didn’t Want to Innovate
The problem was textbook publishers were slow to want to digitize their content. “They were still making a lot of their money off books,” says McInnis. To make matters worse, the small number of textbook publishers that made up the industry weren’t feeling the competitive pressures to innovate. Despite these challenges, Inkling continued to focus on their vision of digitizing textbooks, without realizing the infrastructure they had built was applicable to many other area
Jotunbane: Sure I care. But what can I do? The laws are wrong on several different levels (the copyright monopoly have been extended 16 times in my lifetime alone, and will continue to be extended every time Mickey Mouse is getting close to the public domain). There will always be consequences when you decide to break the law and the risk of punishment is clearly part of the equation. Under US law I could get fined $150.000 for each infringement, but this is not a question of money, it’s a question of doing the right thing. Sharing is caring, so of course I care.
“IP Industries’ Contribution to Economic Performance and the Public’s Perception Thereof” was the grand title of a session at this year’s Fordham IP Conference that was moderated by Coenraad Visser (University of South Africa, Pretoria). First to speak was Katfriend Paul Maier (Director, The European Observatory on Infringement of Intellectual Property Rights, Alicante), who reviewed two recently-prepared EU studies on the economic importance of IP and consumer perception. Paul took us through the statistics recorded in these studies, warning us that they represented a mere snapshot of how things currently look — they say nothing, in terms of causation, as to whether prosperity, employment or anything else is caused by IP rights or only accompanies their presence or use. The two studies to which Paul made reference, printed copies of which were provided in the black bag packs of all conference registrants, are
Intellectual property rights intensive industries: contribution to economic performance and employment in the European Union (Industry-Level Analysis Report, September 2013: A joint project between the European Patent Office and the Office for Harmonization in the Internal Market) here
European Citizens and Intellectual Property: Perception, Awareness and Behaviour, here
“When Edward Snowden first emailed Glenn Greenwald, he insisted on using email encryption software called PGP for all communications. Now Klint Finley reports that Snowden also used The Amnesic Incognito Live System (Tails) to keep his communications out of the NSA’s prying eyes. Tails is a kind of computer-in-a-box using a version of the Linux operating system optimized for anonymity that you install on a DVD or USB drive, boot your computer from and you’re pretty close to anonymous on the internet. ‘Snowden, Greenwald and their collaborator, documentary film maker Laura Poitras, used it because, by design, Tails doesn’t store any data locally,’ writes Finley. ‘This makes it virtually immune to malicious software, and prevents someone from performing effective forensics on the computer after the fact. That protects both the journalists, and often more importantly, their sources.’
The developers of Tails are, appropriately, anonymous. They’re protecting their identities, in part, to help protect the code from government interference. ‘The NSA has been pressuring free software projects and developers in various ways,’ the group says. But since we don’t know who wrote Tails, how do we know it isn’t some government plot designed to snare activists or criminals? A couple of ways, actually. One of the Snowden leaks show the NSA complaining about Tails in a Power Point Slide; if it’s bad for the NSA, it’s safe to say it’s good for privacy. And all of the Tails code is open source, so it can be inspected by anyone worried about foul play. ‘With Tails,’ say the distro developers, ‘we provide a tongue and a pen protected by state-of-the-art cryptography to guarantee basic human rights and allow journalists worldwide to work and communicate freely and without fear of reprisal.'”
The School of Public Policy at the Central European University organised an excellent forum on how to counter the anti-democratic trends in various countries. The discussion took place the day after Fidesz, the party which is responsible for countless anti-democratic steps in the last 4 years won a landslide victory in the general elections. Though this could have defined the discussion, due to the large number of foreign participants (both on the podium and in the audience) enabled us to move beyond the specifics of the Hungarian situation and address anti-democratic tendencies and counter-strategies from the US via France to the Ukraine.
You should check out the recorded panels, and/or the twitter archive for the amazing contributions by the participants. What I would like to do here is to sum up my arguments in the panel that was addressing the role of digital technologies in the pro-democratic process.
Why should I even bother to back up my existing data? If I lose it, I’ll just get what I want from the cloud hereafter — I’m 100 percent positive I wouldn’t bother to re-rip all my CDs for the third time. Sure, the cloud is the physical embodiment of the surveillance state. But its siren song works too well to turn it off.
The error message that launched this whole investigation.
Darrell Whitelaw / Twitter
For years now, Internet users have accepted the risk of files and content they share through various online services being subject to takedown requests based on the Digital Millennium Copyright Act (DMCA) and/or content-matching algorithms. But users have also gotten used to treating services like Dropbox as their own private, cloud-based file storage and sharing systems, facilitating direct person-to-person file transfer without having to worry.
This weekend, though, a small corner of the Internet exploded with concern that Dropbox was going too far, actually scanning users’ private and directly peer-shared files for potential copyright issues. What’s actually going on is a little more complicated than that, but it shows that sharing a file on Dropbox isn’t always the same as sharing that file directly from your hard drive over something like e-mail or instant messenger.
The whole kerfuffle started yesterday evening, when one Darrell Whitelaw tweeted a picture of an error he received when trying to share a link to a Dropbox file via IM. The Dropbox webpage warned him and his friend that "certain files in this folder can’t be shared due to a takedown request in accordance with the DMCA."
Whitelaw freely admits that the content he was sharing was a copyrighted video, but he still expressed surprise that Dropbox was apparently watching what he shared for copyright issues. "I treat [Dropbox] like my hard drive," he tweeted. "This shows it’s not private, nor mine, even though I pay for it."
In response to follow-up questions from Ars, Whitelaw said the link he sent to his friend via IM was technically a public link and theoretically could have been shared more widely than the simple IM between friends. That said, he noted that the DMCA notice appeared on the Dropbox webpage "immediately" after the link was generated, suggesting that Dropbox was automatically checking shared files somehow to see if they were copyrighted material rather than waiting for a specific DMCA takedown request.
Dropbox did confirm to Ars that it checks publicly shared file links against hashes of other files that have been previously subject to successful DMCA requests. "We sometimes receive DMCA notices to remove links on copyright grounds," the company said in a statement provided to Ars. "When we receive these, we process them according to the law and disable the identified link. We have an automated system that then prevents other users from sharing the identical material using another Dropbox link. This is done by comparing file hashes."
Dropbox added that this comparison happens when a public link to your file is created and that "we don’t look at the files in your private folders and are committed to keeping your stuff safe." The company wouldn’t comment publicly on whether the same content-matching algorithm was run on files shared directly with other Dropbox users via the service’s account-to-account sharing functions, but the wording of the statement suggests that this system only applies to publicly shared links.
We should be clear here that Dropbox hasn’t removed the file from Whitelaw’s account; they just closed off the option for him to share that file with others. In a tweeted response to Whitelaw, Dropbox Support said that "content removed under DMCA only affects share-links." Dropbox explains its copyright policy on a Help Center page that lays out the boilerplate: "you do not have the right to share files unless you own the copyright in them or have been given permission by the copyright owner to share them." The Help Center then directs users to its DMCA policy page.
Dropbox has also been making use of file hashing algorithms for a while now as a means of de-duplicating identical files stored across different users’ accounts. That means that if I try to upload an identical copy of a 20GB movie file that has already been stored in someone else’s Dropbox account, the service will simply give my account access to a version of that same file rather than allowing me to upload an identical version. This not only saves bandwidth on the user’s end but significant storage space on Dropbox’s end as well.
Some researchers have warned of security and privacy concerns based on these de-duplication efforts in the past, but the open source Dropship project attempted to bend the feature to users’ advantage. By making use of the file hashing system, Dropship effectively tried to trick Dropbox into granting access to files on Dropbox’s servers that the user didn’t actually have access to. Dropbox has taken pains to stop this kind of "fake" file sharing through its service.
In any case, it seems a similar hashing effort is in place to make it easier for Dropbox to proactively check files shared through its servers for similarity to content previously blocked by a DMCA request. In this it’s not too different from services like YouTube, which uses a robust ContentID system to automatically identify copyrighted material as soon as it’s uploaded.
In this, both Dropbox and YouTube are simply responding to the legal environment they find themselves in. The DMCA requires companies that run sharing services to take reasonable measures to make sure that re-posting of copyrighted content doesn’t occur after a legitimate DMCA notice has been issued. Whitelaw himself doesn’t blame the service for taking these proactive steps, in fact. "This isn’t a Dropbox problem," he told Ars via tweet. "They’re just following the laws laid out for them. Was just surprised to see it."
The report noted that some within MIT believe “there has been a change in the institutional climate over recent years, where decisions have become driven more by a concern for minimizing risk than by strong affirmation of MIT values.”
The Computer Fraud and Abuse Act has been widely condemned as extreme in both its sweeping scope and its grave punishments. Sentencing guidelines suggest Swartz faced up to seven years in prison.
To his supporters, MIT bears some responsibility for that fact. MIT officials privately told the prosecutor that the university had no interest in jail time, but refused to oppose his prosecution publicly or privately, despite repeated entreaties from Swartz’s father, his lawyers, and a couple of faculty members, who argued MIT had the institutional heft to influence the US attorney’s office.
As Turkey prepares for elections on Sunday, Turkish Prime Minister Recep Tayyip Erdoğan continues to double down on Internet censorship. A week after Turkish ISPs blocked Twitter Turkey’s telecommunications authority has blocked YouTube. The block began to be rolled out hours after a leaked recording published anonymously on YouTube purported to show a conversation in which Turkey’s foreign minister, spy chief, and a top general appear to discuss scenarios that could lead to a Turkish attack against militants in Syria.
The fallout from the Erdoğan government’s censorship spree has not been limited to platforms that host embarrassing political content. When Turkish Internet users handily circumvented the original Twitter block by using Google’s DNS servers, Google’s DNS was itself blocked. Now it appears that just as Turkey’s ISPs are rolling out a block on YouTube, they are also blocking access to the Tor Project’s website, where users can download the Tor Browser Bundle. The Tor browser is a powerful tool in the censorship circumvention toolbox because it is exceptionally difficult to filter Tor traffic.
March 27th, 2014| music, Scrapbook | Comments:Kommentek: 0
there’s never been an album quite like what Wu-Tang Clan is cooking up. In addition to releasing a 20th anniversary album this summer called A Better Tomorrow, the hip-hop collective also recorded a double album in secret over the last two years — and is only releasing one single copy of it.
Recording industry earns more from fan videos than from official music videosYouTube generates more money for record labels through fan-made videos than official music videos, a global recording industry report says.
Their new album Sleepify consists of 10 songs of absolute silence, each clocking in at either 31 or 32 seconds long (tracks need to be listened to for 30 seconds to register as having been played). All they ask is that their fans stream it overnight on repeat while they sleep, in order to produce enough royalties for the band to go on tour.
A second important type of evidence to which the antitrust authorities look in order to gain insight into how the merger will affect future conduct in the sector is to examine past behavior, particularly “industry participants’ behavior in tracking and responding to price changed by some or all rivals”DOJ/FTC, 2010:11. Here the record is particularly troubling. The leading firms in the sector have engaged in a repeated pattern of anti-consumer and anticompetitive behavior. In the mid-1990s, the major record labels engaged in two practices that imposed severe harm on consumers and competition. They eliminated the sale of singles, even though the CD was well-suited for the sale of singles. They adopted a price fixing scheme to keep album prices high, even though the new compact disc CD format dramatically lowered their costs and discounters had lowered prices. In short, they restricted output and raised prices, forcing consumers to unnecessarily purchase hundreds of millions of overpriced CDs to get the music that they wanted. An antitrust consent decree ended price fixing FTC: 2000 and digital distribution made the sale of singles a compelling alternative. Nestor, 2012 1.
As a result, a steady stream of new movies is constantly nudging incumbents to make way at theatres. That makes the first week the biggest contributor to box-office collections. With the box office skewed thus, movies reach television as early as four weeks of hitting theatres. In other words, producers have obliterated the business model of their once formidable enemies.
In May of this year, ClarityRay reported that the overall rate of ad blocking by users was 9.26% in the U.S. and Europe. The rate ranged from 6.11% for business and finance sites to 15.58% for news sites and 17.79% for tech sites. For some sites, ad blocking reached 50%. Ad blocking is highest in Europe, where Austria is tops with a 22.5% ad blocking rate. The U.S. is slightly below average at 8.72%. With 1% or less are Iran, Guyana, Kuwait, Myanmar and Qatar.
The Government of Antigua is planning to launch a website selling movies, music and software, without paying U.S. copyright holders. The Caribbean island is taking the unprecedented step because the United States refuses to lift a trade “blockade” preventing the island from offering Internet gambling services, despite several WTO decisions in Antigua’s favor. The country now hopes to recoup some of the lost income through a WTO approved “warez” site.
Antigua and Barbuda is a small country in the Caribbean that for years had a flourishing gambling industry.
A few years ago 5% of all Antiguans worked at gambling related companies. However, when the U.S. prevented the island from accessing their market the industry collapsed.
“What was once a multi-billion dollar industry in our country, employing almost 5% of our population has now shrunk to virtually nothing,” Antigua’s High Commissioner to London, Carl Roberts, said previously.
Hoping to rebuild the gambling business Antigua filed a dispute at the World Trade Organization (WTO), which they won.
In 2005 the WTO ruled that the US refusal to let Antiguan gambling companies access their market violated free-trade, as domestic companies were allowed to operate freely. In 2007 the WTO went a step further and granted Antigua the right to suspend U.S. copyrights up to $21 million annually.
TorrentFreak is informed by a source close to Antigua’s Government that the country now plans to capitalize on this option. The authorities want to launch a website selling U.S. media to customers worldwide, without compensating the makers.
The plan has been in the works for several months already and Antigua is ready to proceed once they have informed the WTO about their plan. Initially the island put the topic on the WTO meeting last month, but the U.S. blocked it from being discussed by arguing that the request was “untimely.”
This month Antigua will try again, and if they succeed their media hub is expected to launch soon after.
Antigua’s attorney Mark Mendel told TorrentFreak that he can’t reveal any details on the plans. However, he emphasized that the term “piracy” doesn’t apply here as the WTO has granted Antigua the right to suspend U.S. copyrights.
“There is no body in the world that can stop us from doing this, as we already have approval from the international governing body WTO,” Mendel told us.
TorrentFreak is in the process of obtaining details of the content to be offered and the prices to be charged. One option would be to ask users for $5 a month in return for unlimited access to U.S. media.
As predicted, the suggestion to suspend U.S. copyrights is already meeting resistance from United States authorities.
“If Antigua actually proceeds with a plan for its government to authorize the theft of intellectual property, it would only serve to hurt Antigua’s own interests,” the U.S warned in a letter to the WTO last month.
According to the letter Antigua will ruin their chances of getting a settlement should they approve a site that sels U.S. copyrighted goods without compensating the makers.
“Government-authorized piracy would undermine chances for a settlement that would provide real benefits to Antigua. It also would serve as a major impediment to foreign investment in the Antiguan economy, particularly in high-tech industries,” the U.S. added.
Antigua doesn’t appear to be impressed much by these threats and is continuing with its plan.
If the Antiguan media portal indeed launches, it will make headlines all across the world, which may result in the site becoming one of the larger authorized suppliers of U.S. media on the Internet.
The Financial Times editor, Lionel Barber, has announced plans to move the title to a digital-first strategy in a move he described as a "big cultural shift" for the business daily, and cut 35 jobs.
Barber said the FT will make a net headcount reduction of 25 – after hiring 10 journalists for digital roles – in an effort to save £1.6m this year as part of the strategy, outlined to staff in a memo on Monday, seen by MediaGuardian. He added that the FT needed to be "reshaped for the digital age".
highlights:
About one in five people who download from illegal sources had in the past year bought a CD or LP that they had previously downloaded from an illegal source. The same was found for DVDs, Blurays and for printed books. The opposite – downloading a book from an illegal source that had been previously purchased in print – is also very common. This shows that for a substantial group of
consumers printed books and e-books are complementary.
People who download from an illegal source are more frequently also consumers from legal sources, and they are more likely go to concerts and the cinema and to purchase derived products Respondents who had downloaded music, films, series, games and books from illegal sources in the past year were more likely to use legal channels as well. Only in the case of music purchased on CDs or LPs, however, no difference is observed between those who had on occasion downloaded from an illegal source in the past year and people who had never done so. The differences are particularly marked in the case of paid-for downloading and streaming from a legal source: respondents who have never downloaded from an illegal source are also little inclined to pay for online content. The survey also showed that people who had, on occasion, downloaded from an illegal source in the past year bought more music and film merchandise and went to concerts or the cinema more often.
The survey shows that roughly one third to half of the respondents would not be interested in the latest download from an illegal source if it would not be available for free. The rest have an average maximum willingness to pay that is close to the normal selling price. Similarly, about one third of all book readers are interested in and willing to pay to borrow e-books from a library or bookshop, there being a slight preference for libraries and for a flat rate per year rather than a price per title borrowed.
highlights:
About one in five people who download from illegal sources had in the past year bought a CD or LP that they had previously downloaded from an illegal source. The same was found for DVDs, Blurays and for printed books. The opposite – downloading a book from an illegal source that had been previously purchased in print – is also very common. This shows that for a substantial group of
consumers printed books and e-books are complementary.
People who download from an illegal source are more frequently also consumers from legal sources, and they are more likely go to concerts and the cinema and to purchase derived products Respondents who had downloaded music, films, series, games and books from illegal sources in the past year were more likely to use legal channels as well. Only in the case of music purchased on CDs or LPs, however, no difference is observed between those who had on occasion downloaded from an illegal source in the past year and people who had never done so. The differences are particularly marked in the case of paid-for downloading and streaming from a legal source: respondents who have never downloaded from an illegal source are also little inclined to pay for online content. The survey also showed that people who had, on occasion, downloaded from an illegal source in the past year bought more music and film merchandise and went to concerts or the cinema more often.
The survey shows that roughly one third to half of the respondents would not be interested in the latest download from an illegal source if it would not be available for free. The rest have an average maximum willingness to pay that is close to the normal selling price. Similarly, about one third of all book readers are interested in and willing to pay to borrow e-books from a library or bookshop, there being a slight preference for libraries and for a flat rate per year rather than a price per title borrowed.
“As for my incarceration. Was it worth it? NO.”“Nothing is worth losing your freedom, would I do it again … hmmm I don’t know. I learned so much from it. Without it I wouldn’t have learned HTML and PHP. Both of which I use on the website I made for the Robotics teams I used to Mentor. They probably won’t want a felon to Mentor the kids.”
January 15th, 2013| music, Scrapbook | Comments:Kommentek: 0
Average revenue streams
For the major record labels the above pie chart would look quite different, as they mostly rely on revenue from music sales. This also explains their strong views against unauthorized file-sharing.
For the major record labels the above pie chart would look quite different, as they mostly rely on revenue from music sales. This also explains their strong views against unauthorized file-sharing.
January 10th, 2013| books, Scrapbook | Comments:Kommentek: 0
Why Winning A $7,000 Piracy Lawsuit Could Be The Worst News Ever For Book Publishers
John Paul Titlow posted 10 hours ago
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Earlier this week, the book publishing industry hit a milestone. For the first time ever, a publisher successfully sued consumers for pirating books via BitTorrent. As a result of the lawsuit, a pair of New York residents will pay $7,000 in damages to John Wiley and Sons, the company that puts out the “For Dummies” series of instructional books.
Sound familiar? With this litigation, Wiley borrowed a page from the playbook of the music industry, which became notorious a few years back for suing people for illegally sharing songs. The Recording Industry Association of America (RIAA) eventually backed down from some of its most aggressive litigation after it became clear the strategy was doing little more than angering the most avid, dedicated music fans. Despite the epic failure of the RIAA’s approach, worried book publishers are now beginning to think lawsuits can help them slow the bleeding of a business that is – like the music industry before it – being radically upended by digital technology. Let’s hope this small victory for book publishers doesn’t send the industry on the same disastrous path taken by the music labels.
Earlier this week, the book publishing industry hit a milestone. For the first time ever, a publisher successfully sued consumers for pirating books via BitTorrent. As a result of the lawsuit, a pair of New York residents will pay $7,000 in damages to John Wiley and Sons, the company that puts out the “For Dummies” series of instructional books.
Sound familiar? With this litigation, Wiley borrowed a page from the playbook of the music industry, which became notorious a few years back for suing people for illegally sharing songs. The Recording Industry Association of America (RIAA) eventually backed down from some of its most aggressive litigation after it became clear the strategy was doing little more than angering the most avid, dedicated music fans. Despite the epic failure of the RIAA’s approach, worried book publishers are now beginning to think lawsuits can help them slow the bleeding of a business that is – like the music industry before it – being radically upended by digital technology. Let’s hope this small victory for book publishers doesn’t send the industry on the same disastrous path taken by the music labels.
For another 10 years, Universal Pictures content will not be seen on Netflix.
Universal inked a deal with HBO on Monday that gives HBO exclusive rights to all Universal films for another decade. This is an extension of a previous exclusive agreement and means, essentially, that rival services like Starz and Netflix won’t be getting ahold of Universal’s movies anytime soon.
The extension is likely a reaction to Netflix’s agreement with Walt Disney pictures for exclusive access to Disney animated features and films until 2016. But HBO may not be able to compete on the same level as Netflix. HBO was called “the closest thing Netflix has to a direct competitor” by a Forbes contributor on Monday, but close to Netflix it is not.
Universal inked a deal with HBO on Monday that gives HBO exclusive rights to all Universal films for another decade. This is an extension of a previous exclusive agreement and means, essentially, that rival services like Starz and Netflix won’t be getting ahold of Universal’s movies anytime soon.
The extension is likely a reaction to Netflix’s agreement with Walt Disney pictures for exclusive access to Disney animated features and films until 2016. But HBO may not be able to compete on the same level as Netflix. HBO was called “the closest thing Netflix has to a direct competitor” by a Forbes contributor on Monday, but close to Netflix it is not.
The beauty of P2P and BitTorrent is that it’s a distributed system. Indeed, as far as sites are concerned bandwidth between users (and of course content) are both available for free and running in basic mode requires only a few dollars a month on top to pay for a server. Trading in the big gas guzzler for a something a little more frugal should be a survival option.
Of course, in many cases this could potentially mean file-sharing backing up in sophistication to 2004, to what may as well be the stone age to many of today’s younger enthusiasts. That said, ask anyone who was around at the time if it was so bad. Yes, at times Suprnova required 30 refreshes until a page actually loaded and yes, initial seeders uploaded at a snail’s pace, but the scene was buzzing and people were having fun. And if it’s not about having fun anymore, something has gone wrong along the way.
Maybe a fresh start and a resurgence of some old fashioned non-monetary gain values is what is needed. The money can’t be targeted if there isn’t any.
via Bombing BitTorrent and File-Sharing Websites Back to the Stone Age | TorrentFreak.The beauty of P2P and BitTorrent is that it’s a distributed system. Indeed, as far as sites are concerned bandwidth between users (and of course content) are both available for free and running in basic mode requires only a few dollars a month on top to pay for a server. Trading in the big gas guzzler for a something a little more frugal should be a survival option.
Of course, in many cases this could potentially mean file-sharing backing up in sophistication to 2004, to what may as well be the stone age to many of today’s younger enthusiasts. That said, ask anyone who was around at the time if it was so bad. Yes, at times Suprnova required 30 refreshes until a page actually loaded and yes, initial seeders uploaded at a snail’s pace, but the scene was buzzing and people were having fun. And if it’s not about having fun anymore, something has gone wrong along the way.
Maybe a fresh start and a resurgence of some old fashioned non-monetary gain values is what is needed. The money can’t be targeted if there isn’t any.
A group of publishers (Oxford and Cambridge University Press and Francis & Taylor) have sued Delhi University & its agent, Rameshwari Photocopy Service for compiling short extracts from different textbooks into a digest for students to use as part of their study (commonly referred to as “course packs”).
via Merry Copyright to you – A jingle for the Oxford v. Rameshwari Case « Kafila.A group of publishers (Oxford and Cambridge University Press and Francis & Taylor) have sued Delhi University & its agent, Rameshwari Photocopy Service for compiling short extracts from different textbooks into a digest for students to use as part of their study (commonly referred to as “course packs”).
January 6th, 2013| Scrapbook | Comments:Kommentek: 0
Star architect Zaha Hadid is currently building several projects across China. One of them, however, is being constructed twice. Pirates are the process of copying one of her provocative designs, and the race is on to see who can finish first.
Taunts aside, Tankafetast’s operators appear to be trying to raise the profile of the site. They have launched a clothing range, consisting mainly of t-shirts carrying a range of pro-filesharing slogans such as Keep Calm and Download and Support Your Local Uploader, plus a few with defiant messages on Tankafetast’s return.In addition, on Saturday the site’s operators announced that in celebration of the site’s return they would be hiring three cinemas in Malmö, Gothenburg and Stockholm and giving away tickets to fans of the site. The first viewing has been announced as taking place this Thursday for the premiere of the new Bond movie, Skyfall.What is interesting to observe here is that when it comes to file-sharing the Swedes are very defiant indeed, even in the face of adversaries such as the government and police. Whether the site will be able to back up its defiance with long-term uptime remains to be seen, but even that seems to be more likely than their aim this week of giving away at least hundred of their cinema tickets to girls.
via Raided PRQ Torrent Site is Back and Hiring Cinemas To Celebrate | TorrentFreak.Taunts aside, Tankafetast’s operators appear to be trying to raise the profile of the site. They have launched a clothing range, consisting mainly of t-shirts carrying a range of pro-filesharing slogans such as Keep Calm and Download and Support Your Local Uploader, plus a few with defiant messages on Tankafetast’s return.In addition, on Saturday the site’s operators announced that in celebration of the site’s return they would be hiring three cinemas in Malmö, Gothenburg and Stockholm and giving away tickets to fans of the site. The first viewing has been announced as taking place this Thursday for the premiere of the new Bond movie, Skyfall.What is interesting to observe here is that when it comes to file-sharing the Swedes are very defiant indeed, even in the face of adversaries such as the government and police. Whether the site will be able to back up its defiance with long-term uptime remains to be seen, but even that seems to be more likely than their aim this week of giving away at least hundred of their cinema tickets to girls.
In case you don’t already know, we’re the folks not only behind this site andWPMU DEV, but also Edublogs… the oldest and second largest WordPress Multisite setup on the web, with, as of right now 1,451,943 teacher and student blogs hosted.
And today, our hosting company, ServerBeach, to whom we pay $6,954.37 every month to host Edublogs, turned off our webservers, without notice, less than 12 hours after issuing us with a DMCA email.
Putting aside for a moment the fact that Pearson somehow feels that a 38-year-old questionnaire is worth $120, and the fact that the targeted post was originally published in 2007, there’s still the troubling question as to why ServerBeach felt compelled to take down 1.5 million blogs over a single DMCA notice. There’s nothing in the DMCA process that demands an entire “ecosystem” be killed off to eliminate a single “bad apple.” This sort of egregious overcompliance gives certain copyright holders all the encouragement they need to continue to abuse the DMCA takedown system. Textbook Publisher Pearson Takes Down 1.5 Million Teacher And Student Blogs With A Single DMCA Notice | Techdirt.
The Congressional International Anti-Piracy Caucus has just released its 2012 International Piracy Watch List. In addition to countries such as China, Russia and Ukraine, this year Italy and Switzerland make fresh appearances in the list. Both countries are accused of not doing enough to combat online infringement with the latter allegedly proving itself as a “magnet for rogue sites.”
via New Anti-Piracy Watchlist Zooms In On File-Sharing Tolerant Countries | TorrentFreak.The Congressional International Anti-Piracy Caucus has just released its 2012 International Piracy Watch List. In addition to countries such as China, Russia and Ukraine, this year Italy and Switzerland make fresh appearances in the list. Both countries are accused of not doing enough to combat online infringement with the latter allegedly proving itself as a “magnet for rogue sites.”
September 20th, 2012| music, Scrapbook | Comments:Kommentek: 0
Though his recent statements are unlikely to shock the many young music fans who grew up downloading albums and songs illegally, many were surprised when Neil Young said he didnt really mind piracy.”It doesnt affect me because I look at the internet as the new radio,” Young said in January. “I look at the radio as gone … Piracy is the new radio. Thats how music gets around … Thats the radio. If you really want to hear it, lets make it available, let them hear it, let them hear the 95 percent of it.”
via Neil Young: Piracy Is The New Radio, Way To Get Your Music Heard.Though his recent statements are unlikely to shock the many young music fans who grew up downloading albums and songs illegally, many were surprised when Neil Young said he didnt really mind piracy.”It doesnt affect me because I look at the internet as the new radio,” Young said in January. “I look at the radio as gone … Piracy is the new radio. Thats how music gets around … Thats the radio. If you really want to hear it, lets make it available, let them hear it, let them hear the 95 percent of it.”
A leaked presentation from the RIAA shows that online file-sharing isn’t the biggest source of illegal music acquisition in the U.S. The confidential data reveals that 65% of all music files are “unpaid” but the vast majority of these are obtained through offline swapping. The report further shows that cyberlockers such as Megaupload are only a marginal source of pirated music.
In April, one of the RIAA’s key employees informed a group of music industry insiders about the upcoming six-strikes anti-piracy scheme in the U.S. TorrentFreak received a copy of the presentation sheets which include a rather interesting chart on where people get their music files from.
The data presented by the RIAA comes from NPD’s Digital Music Study but has never been published in public in its current form. While NPD’s press release mentioned a decline in music acquisition through P2P file-sharing and hard drive trading, these numbers were not placed in a larger context.
A strange decision, because the chart below is of critical importance for the debate on music piracy.
As it turns out, two thirds of all music acquired in the U.S. is unpaid. However, offline trading is a much bigger source of unpaid music than online piracy. Of all “unpaid” music less than 30 percent comes from P2P file-sharing or cyberlockers.
Music sources
In total, 15 percent of all acquired music (paid + unpaid) comes from P2P file-sharing and just 4 percent from cyberlockers. Offline swapping in the form of hard drive trading and burning/ripping from others is much more prevalent with 19 and 27 percent respectively.
This leads to the, for us, surprising conclusion that more than 70% of all unpaid music comes from offline swapping.
The chart is marked “confidential” which suggests that the RIAA doesn’t want this data to be out in the open. This is perhaps understandable since the figures don’t really help their crusade against online piracy.
The RIAA is lobbying hard for legislation and voluntary agreements to deal with the online piracy problem, an issue that might seem less severe in the chart above.
While not insignificant, the fact that less than one in five music acquisitions can be traced back to online file-sharing isn’t really that convincing – especially when one takes into account that only a tiny fraction represent a lost sale.
Even if all online music piracy disappeared tomorrow, more than half of all music acquisitions would be unpaid.
But maybe the RIAA will go after these offline swappers next. The TSA could perform piracy scans of travelers’ computer equipment, for example. Or perhaps schools could search MP3 players, phones and computers of their students for unpaid music?
Just a thought.
More revealing findings from the RIAA will be published soon.
via RIAA: Online Music Piracy Pales In Comparison to Offline Swapping | TorrentFreak.A leaked presentation from the RIAA shows that online file-sharing isn’t the biggest source of illegal music acquisition in the U.S. The confidential data reveals that 65% of all music files are “unpaid” but the vast majority of these are obtained through offline swapping. The report further shows that cyberlockers such as Megaupload are only a marginal source of pirated music.
In April, one of the RIAA’s key employees informed a group of music industry insiders about the upcoming six-strikes anti-piracy scheme in the U.S. TorrentFreak received a copy of the presentation sheets which include a rather interesting chart on where people get their music files from.
The data presented by the RIAA comes from NPD’s Digital Music Study but has never been published in public in its current form. While NPD’s press release mentioned a decline in music acquisition through P2P file-sharing and hard drive trading, these numbers were not placed in a larger context.
A strange decision, because the chart below is of critical importance for the debate on music piracy.
As it turns out, two thirds of all music acquired in the U.S. is unpaid. However, offline trading is a much bigger source of unpaid music than online piracy. Of all “unpaid” music less than 30 percent comes from P2P file-sharing or cyberlockers.
Music sources
In total, 15 percent of all acquired music (paid + unpaid) comes from P2P file-sharing and just 4 percent from cyberlockers. Offline swapping in the form of hard drive trading and burning/ripping from others is much more prevalent with 19 and 27 percent respectively.
This leads to the, for us, surprising conclusion that more than 70% of all unpaid music comes from offline swapping.
The chart is marked “confidential” which suggests that the RIAA doesn’t want this data to be out in the open. This is perhaps understandable since the figures don’t really help their crusade against online piracy.
The RIAA is lobbying hard for legislation and voluntary agreements to deal with the online piracy problem, an issue that might seem less severe in the chart above.
While not insignificant, the fact that less than one in five music acquisitions can be traced back to online file-sharing isn’t really that convincing – especially when one takes into account that only a tiny fraction represent a lost sale.
Even if all online music piracy disappeared tomorrow, more than half of all music acquisitions would be unpaid.
But maybe the RIAA will go after these offline swappers next. The TSA could perform piracy scans of travelers’ computer equipment, for example. Or perhaps schools could search MP3 players, phones and computers of their students for unpaid music?
Just a thought.
More revealing findings from the RIAA will be published soon.
Last night, robots shut down the live broadcast of one of science fictions most prestigious award ceremonies. No, youre not reading a science fiction story. In the middle of the annual Hugo Awards event at Worldcon, which thousands of people tuned into via video streaming service UStream, the feed cut off — just as Neil Gaiman was giving an acceptance speech for his Doctor Who script, “The Doctors Wife.” Where Gaimans face had been were the words, “Worldcon banned due to copyright infringement.” What the hell?Jumping onto Twitter, people who had been watching the livestream began asking what was going on. How could an award ceremony have anything to do with copyright infringement?Bestselling science fiction author Tobias Buckell tweeted: tobiasbuckell@tobiasbuckell Oh, FFS. Ustream just shut down live worldcon feed for copyright infringement.2 Sep 12 ReplyRetweetFavoriteAnd then it began to dawn on people what happened. Gaiman had just gotten an award for his Doctor Who script. Before he took the stage, the Hugo Awards showed clips from his winning episode, along with clips from some other Doctor Who episodes that had been nominated, as well as a Community episode.Wrote Macworld editorial director Jason Snell: Jason Snell@jsnell Ustream just shut down the #Hugos live stream because they showed clips of the TV nominees. Automated copyright patrols ruin more things.2 Sep 12 ReplyRetweetFavoriteThis was, of course, absurd. First of all, the clips had been provided by the studios to be shown during the award ceremony. The Hugo Awards had explicit permission to broadcast them. But even if they hadnt, it is absolutely fair use to broadcast clips of copyrighted material during an award ceremony. Unfortunately, the digital restriction management DRM robots on UStream had not been programmed with these basic contours of copyright law.
via How copyright enforcement robots killed the Hugo Awards.Last night, robots shut down the live broadcast of one of science fictions most prestigious award ceremonies. No, youre not reading a science fiction story. In the middle of the annual Hugo Awards event at Worldcon, which thousands of people tuned into via video streaming service UStream, the feed cut off — just as Neil Gaiman was giving an acceptance speech for his Doctor Who script, “The Doctors Wife.” Where Gaimans face had been were the words, “Worldcon banned due to copyright infringement.” What the hell?Jumping onto Twitter, people who had been watching the livestream began asking what was going on. How could an award ceremony have anything to do with copyright infringement?Bestselling science fiction author Tobias Buckell tweeted: tobiasbuckell@tobiasbuckell Oh, FFS. Ustream just shut down live worldcon feed for copyright infringement.2 Sep 12 ReplyRetweetFavoriteAnd then it began to dawn on people what happened. Gaiman had just gotten an award for his Doctor Who script. Before he took the stage, the Hugo Awards showed clips from his winning episode, along with clips from some other Doctor Who episodes that had been nominated, as well as a Community episode.Wrote Macworld editorial director Jason Snell: Jason Snell@jsnell Ustream just shut down the #Hugos live stream because they showed clips of the TV nominees. Automated copyright patrols ruin more things.2 Sep 12 ReplyRetweetFavoriteThis was, of course, absurd. First of all, the clips had been provided by the studios to be shown during the award ceremony. The Hugo Awards had explicit permission to broadcast them. But even if they hadnt, it is absolutely fair use to broadcast clips of copyrighted material during an award ceremony. Unfortunately, the digital restriction management DRM robots on UStream had not been programmed with these basic contours of copyright law.
Today we are beginning to see the first signs of Google’s announced punishment of “pirate” websites. The changes are resulting in lower search rankings for many file-sharing sites, but that doesn’t seem to bother The Pirate Bay. They are, however, disappointed that Google is giving in to the demands of the entertainment industries. The owner of fellow BitTorrent site isoHunt has gone a step further with a call for protest against antitrust bullying and censorship.
via Pirate Bay and isoHunt Respond to Google Search Result Punishment | TorrentFreak.Today we are beginning to see the first signs of Google’s announced punishment of “pirate” websites. The changes are resulting in lower search rankings for many file-sharing sites, but that doesn’t seem to bother The Pirate Bay. They are, however, disappointed that Google is giving in to the demands of the entertainment industries. The owner of fellow BitTorrent site isoHunt has gone a step further with a call for protest against antitrust bullying and censorship.
We’ve collected seven responses below, complete with links to the comments thread. Publishers, authors and readers should all pay attention to these rationalizations–they will play an important role in the future of publishing.
“IFPI has inadvertently made available its own confidential internal report, penned by none other than IFPIs chief anti-piracy officer, which details its strategy against online piracy for major recording labels across the globe. The document, 30-pages long, talks about file sharing sites, torrents, cyberlockers, phishing attacks, expectations from Internet service providers, mp3 sites and a lot more. The document is a global view representation of IFPIs problems, current and future threats, and the industrys responses to them.”A few tactics: shutting down music services, requiring file lockers filter uploads or be shut down interesting, since the DMCAs one good provision is the safe harbor, and proactive filtering could mean losing that protection, lobbying for DNS blocking legislation, pressuring ISPs into extra-legally enforcing their will, disrupting payment processing for pirate sites through blacklists, and providing “training built around real world experiences and challenges rather than focusing on theory” on copyright law to judges and legal bodies.
via Leaked IFPI Report Details Anti-Piracy Strategy – Slashdot.“IFPI has inadvertently made available its own confidential internal report, penned by none other than IFPIs chief anti-piracy officer, which details its strategy against online piracy for major recording labels across the globe. The document, 30-pages long, talks about file sharing sites, torrents, cyberlockers, phishing attacks, expectations from Internet service providers, mp3 sites and a lot more. The document is a global view representation of IFPIs problems, current and future threats, and the industrys responses to them.”A few tactics: shutting down music services, requiring file lockers filter uploads or be shut down interesting, since the DMCAs one good provision is the safe harbor, and proactive filtering could mean losing that protection, lobbying for DNS blocking legislation, pressuring ISPs into extra-legally enforcing their will, disrupting payment processing for pirate sites through blacklists, and providing “training built around real world experiences and challenges rather than focusing on theory” on copyright law to judges and legal bodies.
“The Skynet copyright act has been in effect for six months in New Zealand and rights holders reckon it halved the number of infringements in the first month. Even so, theyre not happy and say over forty per cent of Kiwis continue to infringe on line. The fix? Rights holders want the current NZ$25 infringement notice processing fee payable to ISPs to be dropped to just a few dollars or even pennies, so that they can send out thousands of notices a month. ISPs want the fee to increase four times instead, to cover their costs. Unfortunately, the submissions for the review of the infringement notice fees are kept secret by the government.”
via Three-Strikes Copyright Law In NZ Halves Infringement – Slashdot.“The Skynet copyright act has been in effect for six months in New Zealand and rights holders reckon it halved the number of infringements in the first month. Even so, theyre not happy and say over forty per cent of Kiwis continue to infringe on line. The fix? Rights holders want the current NZ$25 infringement notice processing fee payable to ISPs to be dropped to just a few dollars or even pennies, so that they can send out thousands of notices a month. ISPs want the fee to increase four times instead, to cover their costs. Unfortunately, the submissions for the review of the infringement notice fees are kept secret by the government.”
People who obtain movies and TV shows from the Internet through unauthorized and often illegal channels would actually prefer not to do if they were given the chance. That’s one of the findings of a new survey into consumer habits which reveals that although lower cost is often cited as a tool for reducing piracy, three other issues are driving people to break the law – convenience, choice and availability.
via Pirates Want To Go Legal But Convenience, Choice & Availability Come First | TorrentFreak.People who obtain movies and TV shows from the Internet through unauthorized and often illegal channels would actually prefer not to do if they were given the chance. That’s one of the findings of a new survey into consumer habits which reveals that although lower cost is often cited as a tool for reducing piracy, three other issues are driving people to break the law – convenience, choice and availability.
Buffett is concentrating on small and medium papers in defensible markets, while steering clear of metro markets, where costs are high and competition is fierce. But he says he has no transformational ideas in mind.
“I do not have any secret sauce,” Buffett told the New York Times. “There are still 1,400 daily papers in the United States. The nice thing about it is that somebody can think about the best answer and we can copy him. Two or three years from now, you’ll see a much better-defined pattern of operations online and in print by papers.”
via Reflections of a Newsosaur: What’s next for newspapers?.Buffett is concentrating on small and medium papers in defensible markets, while steering clear of metro markets, where costs are high and competition is fierce. But he says he has no transformational ideas in mind.
“I do not have any secret sauce,” Buffett told the New York Times. “There are still 1,400 daily papers in the United States. The nice thing about it is that somebody can think about the best answer and we can copy him. Two or three years from now, you’ll see a much better-defined pattern of operations online and in print by papers.”
Cord cutting will kill Hollywood. Cord cutting doesn’t exist. Cord cutting is the future. Cord cutting is only done by poor kids who will change their ways when they get a real job: These days, it seems like everyone is talking about cord cutting, the trend of people ditching their pay TV subscription for online alternatives.
I’ve written many stories about the subject over the years as well, and I’ve been making how-to videos for people interested in cutting the cord.
But lately, all that rhetoric about cord cutting has been sounding awfully familiar, and I started to wonder: Where had I heard that before? And then it hit me: Cord cutting is the new file-sharing.
Of course, I don’t mean to say that all cord cutters are pirates. Sure, a subset of them are definitely getting their TV show fix from BitTorrent sites and cyberlockers after ditching cable, especially in countries where no legal alternatives exist. But in the U.S., many people instead turn to Hulu, Netflix and even free over-the-air TV once they cut the cable cord.
Still, cord cutting and file-sharing have a lot in common. On the surface, both are about paying less for movies and TV shows. But take a closer look, and you’ll realize that money is only part of the equation. What really unites cord cutters and file-sharers is that they want to take their media consumption into their own hands.
Cord cutting will kill Hollywood. Cord cutting doesn’t exist. Cord cutting is the future. Cord cutting is only done by poor kids who will change their ways when they get a real job: These days, it seems like everyone is talking about cord cutting, the trend of people ditching their pay TV subscription for online alternatives.
I’ve written many stories about the subject over the years as well, and I’ve been making how-to videos for people interested in cutting the cord.
But lately, all that rhetoric about cord cutting has been sounding awfully familiar, and I started to wonder: Where had I heard that before? And then it hit me: Cord cutting is the new file-sharing.
Of course, I don’t mean to say that all cord cutters are pirates. Sure, a subset of them are definitely getting their TV show fix from BitTorrent sites and cyberlockers after ditching cable, especially in countries where no legal alternatives exist. But in the U.S., many people instead turn to Hulu, Netflix and even free over-the-air TV once they cut the cable cord.
Still, cord cutting and file-sharing have a lot in common. On the surface, both are about paying less for movies and TV shows. But take a closer look, and you’ll realize that money is only part of the equation. What really unites cord cutters and file-sharers is that they want to take their media consumption into their own hands.
July 15th, 2012| Scrapbook | Comments:Kommentek: 0
Copying and sharing recordings was not a mistake, let alone wrong, because sharing is good. Its good to share musical recordings with friends and family; its good for a radio station to share recordings with the staff, and its good when strangers share through peer-to-peer networks. The wrong is in the repressive laws that try to block or punish sharing. Sharing ought to be legalized; in the mean time, please do not act ashamed of having shared — that would validate those repressive laws that claim that it is wrong.You did make a mistake when you chose Kazaa as the method of sharing.
via Response To Emily.Copying and sharing recordings was not a mistake, let alone wrong, because sharing is good. Its good to share musical recordings with friends and family; its good for a radio station to share recordings with the staff, and its good when strangers share through peer-to-peer networks. The wrong is in the repressive laws that try to block or punish sharing. Sharing ought to be legalized; in the mean time, please do not act ashamed of having shared — that would validate those repressive laws that claim that it is wrong.You did make a mistake when you chose Kazaa as the method of sharing.
According to the Federal Court, RapidShare has to take all “technically and economically reasonable precautions” without compromising its business model to ensure that its users do not upload Atari’s game. The Court also noted that by not installing a word filter RapidShare may have already breached the “reasonable” threshold.One of the additional steps that the Court said RapidShare must take is to monitor a “manageable number” of third-party sites that offer “link collections” of content available on RapidShare. Should it find them indexing a copy of Atari’s game available on RapidShare it should then delete it from its servers.
via Supreme Court: RapidShare Liable For Copyright Infringement – Sometimes | TorrentFreak.According to the Federal Court, RapidShare has to take all “technically and economically reasonable precautions” without compromising its business model to ensure that its users do not upload Atari’s game. The Court also noted that by not installing a word filter RapidShare may have already breached the “reasonable” threshold.One of the additional steps that the Court said RapidShare must take is to monitor a “manageable number” of third-party sites that offer “link collections” of content available on RapidShare. Should it find them indexing a copy of Atari’s game available on RapidShare it should then delete it from its servers.
A jövő szabadsága arról fog szólni, hogy képesek vagyunk-e felügyelni az eszközeinket. Képesek leszünk-e értelmes működési szabályokat felállítani, megvizsgálni és leállítani azokat a programokat, amik futnak rajtuk, hogy az akaratunk őszinte és igaz szolgálói legyenek, ne kémek és árulók, akik bűnözőknek, gengsztereknek és kontrollmániásoknak dolgoznak. Ez a csatát még nem vesztettük el, de meg kell nyernünk a szerzői jogi háborút, hogy az internet és a PC szabad és nyitott maradhasson. – Cory Doctorow 28. CCC konferencián elhangzott előpadásának magyar fordítása
A jövő szabadsága arról fog szólni, hogy képesek vagyunk-e felügyelni az eszközeinket. Képesek leszünk-e értelmes működési szabályokat felállítani, megvizsgálni és leállítani azokat a programokat, amik futnak rajtuk, hogy az akaratunk őszinte és igaz szolgálói legyenek, ne kémek és árulók, akik bűnözőknek, gengsztereknek és kontrollmániásoknak dolgoznak. Ez a csatát még nem vesztettük el, de meg kell nyernünk a szerzői jogi háborút, hogy az internet és a PC szabad és nyitott maradhasson. – Cory Doctorow 28. CCC konferencián elhangzott előpadásának magyar fordítása
June 22nd, 2012| music, Scrapbook | Comments:Kommentek: 0
I never went through the transition from physical to digital. Im almost 21, and since I first began to love music Ive been spoiled by the Internet.I am an avid music listener, concertgoer, and college radio DJ. My world is music-centric. Ive only bought 15 CDs in my lifetime. Yet, my entire iTunes library exceeds 11,000 songs.I wish I could say I miss album packaging and liner notes and rue the decline in album sales the digital world has caused. But the truth is, Ive never supported physical music as a consumer. As monumental a role as musicians and albums have played in my life, Ive never invested money in them aside from concert tickets and T-shirts.
via I Never Owned Any Music To Begin With : All Songs Considered Blog : NPR.I never went through the transition from physical to digital. Im almost 21, and since I first began to love music Ive been spoiled by the Internet.I am an avid music listener, concertgoer, and college radio DJ. My world is music-centric. Ive only bought 15 CDs in my lifetime. Yet, my entire iTunes library exceeds 11,000 songs.I wish I could say I miss album packaging and liner notes and rue the decline in album sales the digital world has caused. But the truth is, Ive never supported physical music as a consumer. As monumental a role as musicians and albums have played in my life, Ive never invested money in them aside from concert tickets and T-shirts.
June 12th, 2012| Scrapbook | Comments:Kommentek: 0
Most people think of Amazon as little more than an online bookstore, but it could be one of the defining forces of 21st–century life—an algorithmically managed infrastructure company that has single–handedly rewritten the publishing industrys rulebook.
via From books to infrastructure – Design – Domus.Most people think of Amazon as little more than an online bookstore, but it could be one of the defining forces of 21st–century life—an algorithmically managed infrastructure company that has single–handedly rewritten the publishing industrys rulebook.
June 7th, 2012| isps, Scrapbook | Comments:Kommentek: 1
Hollywood had the brainwave that the regional strategy to tackle copyright issues in Australia was to introduce harsher legislation, to criminalise Internet users who seek alternative means of accessing content in their preferred format, at a time that is convenient for them.
Hollywood have ignored this consumer demand for so many years now that multiple alternatives for the acquisition of content have not only been designed, built, adopted and thoroughly commoditised, they have become totally mainstream, with less tech savvy users readily using them.
Hollywood have ignored this consumer demand for so many years now that multiple alternatives for the acquisition of content have not only been designed, built, adopted and thoroughly commoditised, they have become totally mainstream, with less tech savvy users readily using them.
Speaking at a University of Melbourne seminar last evening, AFACT boss Neil Gane conceded that TV and movie fans might be driven to piracy by delays, but when the same question was framed slightly differently, it proved problematic.
Linking to TorrentFreak’s statistics, ITNews reports that they asked Gane if piracy rates were lower on shows that were fast-tracked to Australia. He was unable to answer.
AFACT’s members have spent huge sums of money suing local ISP iiNet, yet appear to have a problem answering a fundamental question such as this. The answer, of course, (particularly given Gane’s earlier concession over delays) is that they do recognize that bringing shows more quickly to market in areas such as Australia will reduce piracy, but internal politics restrict them from doing so.
But instead, Gane told the seminar that members of AFACT believe that fans of Game of Thrones are behaving unreasonably when they don’t want to wait an additional week to see the show.
Linking to TorrentFreak’s statistics, ITNews reports that they asked Gane if piracy rates were lower on shows that were fast-tracked to Australia. He was unable to answer.
AFACT’s members have spent huge sums of money suing local ISP iiNet, yet appear to have a problem answering a fundamental question such as this. The answer, of course, (particularly given Gane’s earlier concession over delays) is that they do recognize that bringing shows more quickly to market in areas such as Australia will reduce piracy, but internal politics restrict them from doing so.
But instead, Gane told the seminar that members of AFACT believe that fans of Game of Thrones are behaving unreasonably when they don’t want to wait an additional week to see the show.
Sites such as isoHunt, KickAssTorrents and Extratorrent are often characterized as lawless piracy havens that disregard the rights of content creators. But is this really the case? Not according to the site owners who say they are no different from Google. All the BitTorrent sites contacted by TorrentFreak say they remove content when they’re notified, with the number of requests processed ranging from just a handful to 1,680 per day.
Entertainment industry groups including the RIAA and MPAA view BitTorrent sites as a major threat.
The owners of BitTorrent sites, however, believe they do nothing wrong. In fact, to the surprise of many copyright holders they are very responsive when they are asked to remove infringing links.
While it’s common knowledge that The Pirate Baydoes not remove any copyright infringing links from its site, all of the other major BitTorrent sites do honor DMCA-style takedown requests. In this regard they are no different from other major search engines such as Bing and Google.
TorrentFreak asked several of the most popular BitTorrent sites (and top DMCA targets on Google) about their takedown policies. Although they differ quite a bit in terms of the number of requests they receive per day, they all remove copyright infringing links on a daily basis.
With 1,680 takedown requests per day, BitSnoop is the most-targeted site. Since December last year they complied with 363,956 requests. The top DMCA sender is Nate Glass from takedownpiracy.com.
ExtraTorrent receives between 20 and 30 requests per day and approximately 3,000 links are removed every month. The response time to process DMCA requests varies from a few hours to three days according to ExtraTorrent’s administrator.
KickAssTorrents also deleted thousands of torrents every month, and this number is rising rapidly. In May KAT removed 19,005 torrent files, up from 7,604 in January.
Inspired by Google, the site is currently working on a detailed web-interface where the public can view takedown statistics.
“We are very serious about removing copyrighted content following DMCA requests. We have staff who review and process all incoming requests. On working days the processing time of these requests never takes longer than several hours,” KickAssTorrents’ owners told TorrentFreak.
isoHunt receive relatively few DMCA notices considering the size of the site. The site’s founder, Gary Fung, told TorrentFreak that they receive about eight requests per day. Since the site started, isoHunt has responded to 18,000 individual notices emailed by copyright holders.
Fung notes that the volume of takedown requests has increased over the years but that they always respond within five working days. This responsiveness is often met with surprise by the senders.
“With the hundreds if not thousands of copyright holders we’ve talked to, some have even come back to say thanks and commented that we aren’t what they expected, in terms of answering with their wishes and speed of our takedowns,” Fung told us.
“While the DMCA is by no means perfect nor is it a law of my country, I do stand by it as the closest thing we have to an amicable process between copyright holders and internet intermediaries that is international by nature. It’s unfortunate some choose to ignore it and sue instead, for reasons purely political.”
isoHunt’s founder further emphasizes that they are no different from Google when it comes to respecting the DMCA. Google previously distanced itself from isoHunt and other torrent search engines, but Fung disagrees.
“Since we index any and all BitTorrent sites on the Internet, for links to files on BitTorrent swarms, I would like to call Google bullshit on how their search engine is any different from ours, in nature as an Internet intermediary or intention to comply and work with copyright holders.”
Many other BitTorrent site operators share Fung’s opinion on this matter.
While BitTorrent sites may link to relatively more copyrighted content than Google, they comply with the same takedown requests. In this regard it’s ineffective for copyright holders to ask Google to censor isoHunt, BitSnoop, KickAssTorrents and Extratorrent links.
Fox Broadcasting Co. has sued Dish Network, becoming the first television network to fire a legal salvo over the satellite company’s controversial new ad-skipping device called AutoHop.
Dish, meanwhile, filed its own lawsuit, which asks a federal judge to declare that AutoHop violates no copyright laws. Dish sued not only Fox, but also CBS, Walt Disney-owned ABC, and Comcast Corp.controlled-NBC.
The television industry is grappling with new technologies that threaten to undercut the billions of dollars a year that the networks collect from advertisers to run 30- to 60-second television commercials. That advertising revenue underwrites the high cost of producing television shows.
Fox filed its copyright violation and breach-of-contract suit against Dish on Thursday in U.S. District Court in Los Angeles. Dish filed its suit in U.S. District Court in New York.
“The suit asks for a declaratory judgment that the AutoHop feature does not infringe any copyrights that could be claimed by the major networks, and that Dish, while providing the AutoHop feature, remains in compliance with its agreements with the networks,” the Englewood, Colo., company said in a statement.
While consumers with digital video recorders can fast-forward through commercials of recorded shows, Dish’s AutoHop takes it a step further. The screen goes black when a commercial break appears. A few seconds later, the program returns. The service can’t be used on live programming, such as a sporting event, even after it has been recorded.
With more than 14 million subscribers, Dish Network Corp.’s new technology may threaten the networks’ ability to continue to charge premiums for their commercial time.
Dish Network’s new feature, launched earlier this month, comes at a particularly awkward time for broadcasters as they are beginning negotiations with advertisers over the sale of their commercial time for the 2012-2013 television season.
“We were given no choice but to file suit against one of our largest distributors, Dish Network, because of their surprising move to market a product with the clear goal of violating copyrights and destroying the fundamental underpinnings of the broadcast television ecosystem,” Fox said in a statement. “Their wrongheaded decision requires us to take swift action in order to aggressively defend the future of free, over-the-air television.”
Dish, for its part, said the new technology was simply making it easier for consumers to avoid commercials.
“Viewers have been skipping commercials since the advent of the remote control; we are giving them a feature they want and that gives them more control.” David Shull, Dish senior vice president of programming, said in a statement. “We don’t believe AutoHop will substantially change established consumer behavior, but we do believe it makes the viewing experience better.”
In the U.S., BitTorrent’s share of total Internet traffic is falling sharply and the aggregate share of all P2P sharing applications is now at an all-time low of 12.7 percent. In other parts of the world, however, this trend is noticeably absent. In Europe and the Asia-Pacific region BitTorrent continues to surge. In part this difference can be explained by the lack of legal alternatives.
Over the years we have been following various reports on Internet traffic changes, specifically in relation to BitTorrent. One of the emerging trends is BitTorrent and P2P traffic as a whole losing its share of total Internet traffic, in the U.S. at least.
This downward spiral is confirmed by a recent Sandvine report which reveals that BitTorrent traffic is now responsible for 11.3% of all U.S. Internet traffic during peak hours, compared to 17.3% last year. Although these numbers don’t take into account that absolute traffic has increased, it’s clear that there’s little to no growth in BitTorrent use.
However, this decline appears to be unique to the U.S. When we look at other regions a different pattern can be observed.
In Europe for example, BitTorrent traffic still accounts for 20.32% of all Internet traffic during peak hours, while eDonkey adds another 9.39% to the P2P total. During the last 18 months the share of P2P traffic nearly quadrupled, and this increase is even larger in absolute traffic.
According to Sandvine, the absence of legal alternatives is one of the reasons for these high P2P traffic shares.
“We see higher levels of P2P filesharing than in many other regions, at least partially due to geographical licensing challenges that restrict the availability of legitimate Real-Time Entertainment services.”
Europe: Internet traffic during peak hours
A similar trend is visible in the Asia-Pacific region where BitTorrent now accounts for nearly half of all upstream traffic and 27.19% of the aggregate Internet traffic during peak hours. The P2P streaming service PPStream and the Chinese file-sharing client Thunder add another 6.36% and 4.62% to the P2P total.
Asia-Pacific: Internet traffic during peak hours
So, while BitTorrent traffic is stabilizing in the U.S. as its share of Internet traffic drops, the P2P protocol is still hugely popular in other parts of the world.
Sandvine’s suggestion that a lack of legal alternatives is one of the explanations for this seems plausible. As we reported earlier this week, the latest episodes of series such as Game of Thrones are widely pirated on BitTorrent in countries such as Australia and the Netherlands due to airing delays.
In the U.S. on the other hand, the availability of legal content has flourished in recent years. To illustrate this, Sandvine reports that one-third (32.9%) of all downstream traffic during peak hours is now generated by Netflix subscribers. In addition, Hulu has doubled its share in the last year to 1.8%.
The above seems to suggest that due to these alternatives, people are less inclined to pirate.
The MPAA is slowly starting to realize that consumers are not all out to steal content, they simply want to consume.
“I believe it’s critical to find solutions to the challenges facing both these consumers and the people who create the content. Because at the end of the day, this discussion is about consumers and by consumers who love TV shows and movies. They want to be able to access them quickly and safely online,” the MPAA’s Marc Miller wrote yesterday.
True words, but Miller continues with a classic misunderstanding. “No business in the world can compete with ‘free’,” he notes.
As it turns out, the entertainment industry can definitely compete with free, up to a certain point. The crucial part is to remove all the artificial barriers. Release delays for TV and movies drive people towards BitTorrent piracy, just as DRM is an incentive to pirate rather than a deterrent.
The challenge for the entertainment industry in the years to come is not to invent ways to stop piracy but to make it less attractive, by ensuring that consumers get timely access to the content they want independent of their location, and on demand.
May 23rd, 2012| books, Scrapbook | Comments:Kommentek: 0
That Book Place also has shelves and shelves carrying a mixture of new and used books, with price stickers giving the customer a variety of options. You can have a brand-new copy shipped to you the next day, or buy it used, or rent it, or get it as an e-book. If you take out a membership in the store, you can borrow a book for free, or get a copy without the Digital Rights Management DRM scheme that limits it to use on a specific kind of device.
via A model for the new bookstore essay | Inside Higher Ed.That Book Place also has shelves and shelves carrying a mixture of new and used books, with price stickers giving the customer a variety of options. You can have a brand-new copy shipped to you the next day, or buy it used, or rent it, or get it as an e-book. If you take out a membership in the store, you can borrow a book for free, or get a copy without the Digital Rights Management DRM scheme that limits it to use on a specific kind of device.
To a certain degree one could claim that HBO is to blame for Game of Throne’s success on BitTorrent. They want to keep access to the show “exclusive” and even Netflix wasn’t able to buy the rights no matter what they offered.Whether this is the best decision in terms of revenue is hard to tell, but it’s clear that HBO prefers more exclusiveness over less piracy. And who knows, maybe they even sell HBO subscriptions to BitTorrent downloaders in the long run.
via Who’s Pirating Game of Thrones, And Why? | TorrentFreak.To a certain degree one could claim that HBO is to blame for Game of Throne’s success on BitTorrent. They want to keep access to the show “exclusive” and even Netflix wasn’t able to buy the rights no matter what they offered.Whether this is the best decision in terms of revenue is hard to tell, but it’s clear that HBO prefers more exclusiveness over less piracy. And who knows, maybe they even sell HBO subscriptions to BitTorrent downloaders in the long run.
We recently posted an interesting study talking about how greater file sharing of leaked albums had a specific (if small) causal impact that resulted in higher sales. I thought it was an interesting area of research, though one where a lot more work needs to be done. Following that, however, there was an interesting exchange on Twitter, mainly by former Warner Music exec Ethan Kaplan, who didn’t seem to think the concept was controversial at all — and instead that it was obvious.
via Former Record Label Exec Ethan Kaplan: Duh, Of Course More File Sharing Leads To More Sales | Techdirt.We recently posted an interesting study talking about how greater file sharing of leaked albums had a specific (if small) causal impact that resulted in higher sales. I thought it was an interesting area of research, though one where a lot more work needs to be done. Following that, however, there was an interesting exchange on Twitter, mainly by former Warner Music exec Ethan Kaplan, who didn’t seem to think the concept was controversial at all — and instead that it was obvious.
Its a dynamic thats been particularly pointed for Dodd, given his efforts to move forward on legislation preventing theft of intellectual property. The Protect I.P. Act and its counterpart in the House, the Stop Online Piracy Act, had broad bipartisan backing last year when Dodd was in his first months with the movie biz and was joined by the recording industry, book publishiers and the U.S. Chamber of Commerce in the effort.”Were in a transformative period with an explosion of technology thats going to need content,” he said.But Internet companies such as Google, Facebook and Twitter campaigned effectively against the legislation, mobilizing users on grounds that the new rules would impede the free flow of information on the Internet.”Google chose wisely by making Hollywood the enemy,” Dodd said ruefully.He said Saturday that the industry will need to take a far more nuanced approach to promoting future antipiracy legislation.”Were going to have to be more subtle and consumer-oriented,” he added. “Were on the wrong track if we describe this as thievery.”
via Dodd touts outreach on IP, bizs humanitarian efforts – Entertainment News, Film News, Media – Variety.Its a dynamic thats been particularly pointed for Dodd, given his efforts to move forward on legislation preventing theft of intellectual property. The Protect I.P. Act and its counterpart in the House, the Stop Online Piracy Act, had broad bipartisan backing last year when Dodd was in his first months with the movie biz and was joined by the recording industry, book publishiers and the U.S. Chamber of Commerce in the effort.”Were in a transformative period with an explosion of technology thats going to need content,” he said.But Internet companies such as Google, Facebook and Twitter campaigned effectively against the legislation, mobilizing users on grounds that the new rules would impede the free flow of information on the Internet.”Google chose wisely by making Hollywood the enemy,” Dodd said ruefully.He said Saturday that the industry will need to take a far more nuanced approach to promoting future antipiracy legislation.”Were going to have to be more subtle and consumer-oriented,” he added. “Were on the wrong track if we describe this as thievery.”
This article examines what appears to be the most important factor shaping file sharing: the failure of traditional cultural markets to efficiently supply the demand in the online environment. Its findings are based on tracking the traffic of movies on three Hungarian P2P networks. This dataset is then matched with cinematic distribution data of the films tracked in P2P transactions. Central to our analysis is the assessment of two piracy paradigms: substitution and shortage, that is, whether pirated content is available through legal or only illegal channels. Shortage-driven downloaders are found to outnumber those downloading only current theater releases. Nonetheless, the supply of films available for downloading is more affected by parameters of cinematic distribution than it is by box office success. Therefore, part of the sales effort directly contributes to propping up piracy. Read the rest of this entry »
Allowing students access to unpaid, small excerpts of copyrighted works promotes the spread of knowledge because it reduces the cost of education, the judge said. On the other hand, decreased income for publishers could reduce their ability to produce academic textbooks and scholarly works, thereby diminishing the spread of knowledge.Evans said that “decidedly small” excerpts could be copied by Georgia State. In most circumstances, she determined, it is permissible for universities and colleges to copy 10 percent of a book or one chapter of a book with 10 or more chapters.Brandon Butler, director of public policy initiatives for the Association of Research Libraries, said the publishers lawsuit had had a chilling effect on university libraries. “There was a feeling of being under siege,” he said. “They took us to court saying we were shameless pirates.”
via Judge rules largely for Georgia State in copyright case | ajc.com.Allowing students access to unpaid, small excerpts of copyrighted works promotes the spread of knowledge because it reduces the cost of education, the judge said. On the other hand, decreased income for publishers could reduce their ability to produce academic textbooks and scholarly works, thereby diminishing the spread of knowledge.Evans said that “decidedly small” excerpts could be copied by Georgia State. In most circumstances, she determined, it is permissible for universities and colleges to copy 10 percent of a book or one chapter of a book with 10 or more chapters.Brandon Butler, director of public policy initiatives for the Association of Research Libraries, said the publishers lawsuit had had a chilling effect on university libraries. “There was a feeling of being under siege,” he said. “They took us to court saying we were shameless pirates.”
The Russian based “Pirate Pay” startup is promising the entertainment industry a pirate-free future. With help from Microsoft, the developers have built a system that claims to track and shut down the distribution of copyrighted works on BitTorrent. Their first project, carried out in collaboration with Walt Disney Studios and Sony Pictures, successfully stopped tens of thousands of downloads.
via Microsoft Funded Startup Aims to Kill BitTorrent Traffic | TorrentFreak.The Russian based “Pirate Pay” startup is promising the entertainment industry a pirate-free future. With help from Microsoft, the developers have built a system that claims to track and shut down the distribution of copyrighted works on BitTorrent. Their first project, carried out in collaboration with Walt Disney Studios and Sony Pictures, successfully stopped tens of thousands of downloads.
In this video they talk about the importance of giving honest information on drugs in school education, because noone listens to info which contradicts everyday experiences. I thing the same argument applies to IP education as well. (see the wonderful introduction of Lewis Hyde’s new book Common as air for an example).
Douglas County Libraries, in Colorado, is trying something new: buying eBooks directly from publishers and hosting them on its own platform. That platform is based on the purchase of content at discount; owning—not leasing—a copy of the file; the application of industry-standard DRM on the library’s files; multiple purchases based on demand; and a “click to buy” feature.Its new DCL Digital Branch is one outcome of this strategy. As of this writing, more than 800 publishers have signed up, and their works are seamlessly integrated into and delivered from the library catalog, rather than from third-party sites.After integrating the ebooks it owns into its catalog, Douglas County Libraries began installing digital branch hardware and software in six of its Colorado locations in February.In a physical library, the digital branch features interactive touch-screen technology that allows library patrons to browse digital content from multiple platforms, including eBooks hosted by DCL, Overdrive, 3M and Freegal music. It integrates seamlessly with DCL’s library catalog, patron database, and its mobile app, DCL to Go. This same experience is also available online.The digital branch allows patrons to view and explore digital content using their hands and eyes the same way they might explore a traditional collection, with added functionality like immediate access to staff recommendations, most popular titles, and new content. Digital branch technology and features will change and improve as Douglas County Libraries’ eContent collection grows and patron use of digital content evolves.Douglas County Libraries’ model for purchasing eBooks directly from publishers is gaining interest from more and larger publishers, with five more joining just in the last week. DCL’s revolutionary distribution model is attracting not just publishers, but libraries across the nation. Marmot Library Consortium on Colorado’s western slope and Anythink Libraries in Adams County will soon provide eContent hosted by DCL. Other library systems have shown interest as well, from regions including California, New England, New York and New Jersey, and the Colorado State Library has created eVoke, an internet portal for libraries wishing to replicate DCL’s eBook model.
via Libraries set out to own their ebooks – Boing Boing.Douglas County Libraries, in Colorado, is trying something new: buying eBooks directly from publishers and hosting them on its own platform. That platform is based on the purchase of content at discount; owning—not leasing—a copy of the file; the application of industry-standard DRM on the library’s files; multiple purchases based on demand; and a “click to buy” feature.Its new DCL Digital Branch is one outcome of this strategy. As of this writing, more than 800 publishers have signed up, and their works are seamlessly integrated into and delivered from the library catalog, rather than from third-party sites.After integrating the ebooks it owns into its catalog, Douglas County Libraries began installing digital branch hardware and software in six of its Colorado locations in February.In a physical library, the digital branch features interactive touch-screen technology that allows library patrons to browse digital content from multiple platforms, including eBooks hosted by DCL, Overdrive, 3M and Freegal music. It integrates seamlessly with DCL’s library catalog, patron database, and its mobile app, DCL to Go. This same experience is also available online.The digital branch allows patrons to view and explore digital content using their hands and eyes the same way they might explore a traditional collection, with added functionality like immediate access to staff recommendations, most popular titles, and new content. Digital branch technology and features will change and improve as Douglas County Libraries’ eContent collection grows and patron use of digital content evolves.Douglas County Libraries’ model for purchasing eBooks directly from publishers is gaining interest from more and larger publishers, with five more joining just in the last week. DCL’s revolutionary distribution model is attracting not just publishers, but libraries across the nation. Marmot Library Consortium on Colorado’s western slope and Anythink Libraries in Adams County will soon provide eContent hosted by DCL. Other library systems have shown interest as well, from regions including California, New England, New York and New Jersey, and the Colorado State Library has created eVoke, an internet portal for libraries wishing to replicate DCL’s eBook model.
At the end of April, Tor Books, the world’s largest science fiction publisher, and its UK sister company, Tor UK, announced that they would be eliminating digital rights management (DRM) from all of their ebooksby the summer. It was a seismic event in the history of the publishing industry. It’s the beginning of the end for DRM, which are used by hardware manufacturers and publishers to limit the use of digital content after sale. That’s good news, whether you’re a publisher, a writer, a dedicated reader, or someone who picks up a book every year or two.
The first thing you need to know about ebook DRM is that it can’t work.
Like all DRM systems, ebook DRM presumes that you can distribute a program that only opens up ebooks under approved circumstances, and that none of the people you send this program to will figure out how to fix it so that it opens ebooks no matter what the circumstances. Once one user manages that, the game is up, because that clever person can either distribute ebooks that have had their DRM removed, or programs to remove DRM (or both). And since there’s no legitimate market for DRM – no readers are actively shopping for books that only open under special approved circumstances – and since the pirated ebooks are more convenient and flexible than the ones that people pay for, the DRM-free pirate editions drive out the DRM-locked commercial editions.
What’s more, books are eminently re-digitisable. That is, it’s very easy to retype a DRM-locked ebook, or scan a physical book, or take screenshots of a DRM-locked ebook, and convert the resulting image files to text. Google has scanned some 16 million books in the last few years.
It’s a solved problem.
Bad for business
If all DRM did was drive legit customers to pirate downloads, that would be bad enough for publishers. But that’s just the most obvious way that DRM is bad for business. Most developed countries have signed up to the WIPO Copyright Treaty of 1996, and have implemented it in laws that make it illegal for anyone except a DRM vendor to remove DRM. If Tor sells you one of my books for the Kindle locked with Amazon’s DRM, neither I, nor Tor, can authorise you to remove that DRM. If Amazon demands a deeper discount (something Amazon has been doing with many publishers as their initial ebook distribution deals come up for renegotiation) and Tor wants to shift its preferred ebook retail to a competitor like Waterstone’s, it will have to bank on its readers being willing to buy their books all over again.
Because only Amazon can authorise you to take the DRM off your Kindle books, and because doing so would mean giving a commercial advantage to Amazon’s direct competitors, it’s not likely that they would cooperate with Tor on this. It’s a rare business that volunteers to cut its own throat.
Back when ebook sales began to kick off, most major publishers were still DRM believers — or at least, not overly skeptical of the claims of DRM vendors. They viewed the use of DRM as “better than nothing”.
When queried on the competitive implications of giving control over their business relationships to DRM vendors, they were sanguine (if not utterly dismissive). They perceived “converting ebooks” as a technical challenge beyond the average book buyer. For the absence of DRM to make any kind of difference in the marketplace, they believed that book buyers would have to download and install a special program to let them convert Kindle books to display on a Nook (or vice-versa), and they perceived this to be very unlikely.
But it’s only the widespread presence of DRM that makes “converting ebooks” into a technical challenge. Your browser “converts” all sorts of graphic formats — GIF, JPEG, PNG, etc — without ever calling your attention to it. You need to take some rather extraordinary steps to find out which format of the graphics on your screen right now are using. Unless you’re a web developer, you probably don’t even know what the different formats are, nor what their technical differences are. And you don’t need to.
A troubled history of formats
Publishers have had some very bad experiences with formats, which may explain their misperception of the difficulty of “converting” ebooks.
Many publishers began their conversion to digital typesetting with QuarkXPress, which was an extraordinarily clunky product, especially in its early days. Quark files were difficult to import into any
program, including other versions of Quark. When publishers began to shift their typesetting to Adobe InDesign, they spent millions on the conversion, and technical problems with this changeover haunt them to this day. But that’s an exception, not the rule. In most cases, application developers handle the existence of new formats without breaking a sweat. Your word processor, browser, spreadsheet program, video player, music player and photo editor can handle a titanic variety of formats.
But when the only DRM-free ebooks are those from independent authors, small and medium publishers, and the occasional stiff-necked author like me, who convinces a major publisher to release his books without DRM, there’s not really much point in making programs that read “all the ebooks”. Readers will still have to maintain multiple readers, one for each of the DRM formats they consume, and one for everything else. There are a few apps that do a good job of converting between formats, especially the donation-based program Calibre. But there haven’t been any big venture capital investments in splashy, jack-of-all-trades ebook readers, because there’s no market for them for so long as DRM is the norm.
Reading the market
Most people don’t really read books. A typical book buyer can be expected to buy a single book every year or so. On the other hand, a small minority are avid readers, the sort who’ll buy 100-150 books a year. This market is one that publishers are eager to protect, and it’s likely that anyone who spends $100 or more on an ebook reading device is an avid book reader already. That’s why publishers spent so much time worrying about whether Amazon was discounting new ebook releases too deeply. Kindle owners overlap with avid readers, and avid readers are the target market for new, full-price hardcovers.
Discounting ebooks when the hardcover is just out is likely to cannibalise one of the critical profit-centres for the industry.
However, these readers are also the ones most likely to run up against the limits of DRM. They’re the customers who amass large libraries from lots of suppliers, and who value their books as long-term assets that they expect to access until they die. They may have the chance to change their ebook reading platform every year or two (the most common platform being a mobile phone, and many people get a new phone with each contract renewal). They want to be sure that their books travel with them. When their books don’t, they’ll be alienated, frustrated and will likely seek out unauthorised ways to get books in future. No one wants to be punished for their honesty.
There’s the other population of readers – the very occasional reader, someone who’ll grab a book on the way to a beach holiday or a weekend away and then toss it out afterwards. Avid readers start off as occasional readers, and there are a lot of occasional readers in aggregate, so it’s not a market that publishers can afford to alienate.
These readers are also poorly served by DRM, since they aren’t likely to know much about ebooks and ebook readers, and are thus prone to buying books that aren’t compatible with their reading devices and vice-versa.
Absent DRM, these customers will also have tools that effortlessly read any vendor’s ebooks.
In mature gadget markets – like DVD players and MP3 players – formats stop mattering altogether. Especially at the low end of the market, these devices support every format their makers can discover. The cheap-and-cheerful manufacturers at the low end don’t have a secondary market they’re trying to protect, no app store or crucial vendor relationship with a big distributor or publisher. They just want a product that ticks the box for every possible customer. Since multiformat support is just a matter of getting the software right, what tends to happen is that a standard, commodity firmware emerges for these devices that just works for just about everything, and the formats vanish into the background.
Now that Tor has dropped DRM – and acquired a valuable halo of virtue among committed ebook readers, who’ll celebrate their bravery – it’s inevitable that the competition will follow. It seems we have reached the beginning of the end of the ebook format wars, which is good news for readers, writers and publishers.
Because of the strange distortions of copyright protection, there are twice as many newly published books available on Amazon from 1850 as there are from 1950.
Paul Heald
The above chart shows a distribution of 2500 newly printed fiction books selected at random from Amazon’s warehouses. What’s so crazy is that there are just as many from the last decade as from the decade between 1910 and 1920. Why? Because beginning in 1923, most titles are copyrighted. Books from before 1923 tend to be in the public domain, and the result is that Amazon carries them — lots of them. The chart comes from University of Illinois law professor Paul Heald. In a talk at the University of Canterbury in March 16, he explained how he made it and what it shows. He said:
This is super exciting, interesting preliminary data, I think. I had one of my students write a computer program that would crawl through Amazon.com and pull 2,500 fiction titles at random. … The findings are absolutely fascinating.
We broke these out by decade. … You would expect that if you can crawl through Amazon looking at only new books and only books sold by Amazon — so these are not used books, these are not sold by Amazon associates, this is what’s in Amazon’s warehouses — of course, the biggest number of books is from the decade 2000-2010. That’s what you’d expect; they’re more recent, more popular. Drops off really quickly for books in the 1990s, 1980s, 1970s, ’60, 1950, 1940, 1930 — here’s the point in time where books start falling in the public domain. Suddenly it goes up and up and up. There’s as many books [that] Amazon is selling brand new right now from the 1900s to 1910 as from the 2000s to 2010. You go all the way back to 1850 — there’s twice as many books from the 1850s being sold on Amazon right now as the 1950s. So this sort of confirms the notion that there’s some sort of positive public-domain effect …
Heald says that the numbers would be even more dramatic if you controlled for the number of books published in those years, because there are likely far more books published in 1950 than in 1850.
You can watch Heald’s whole talk, “Do Bad Things Happen When Works Fall Into the Public Domain?” below. His comments on this chart start at about 12:40. Thanks to Yoni Appelbaum for the pointer.
The Missing 20th Century: How Copyright Protection Makes Books VanishMAR 30 2012, 12:51 PM ET 71Because of the strange distortions of copyright protection, there are twice as many newly published books available on Amazon from 1850 as there are from 1950.Paul HealdThe above chart shows a distribution of 2500 newly printed fiction books selected at random from Amazons warehouses. Whats so crazy is that there are just as many from the last decade as from the decade between 1910 and 1920. Why? Because beginning in 1923, most titles are copyrighted. Books from before 1923 tend to be in the public domain, and the result is that Amazon carries them — lots of them. The chart comes from University of Illinois law professor Paul Heald. In a talk at the University of Canterbury in March 16, he explained how he made it and what it shows. He said:
MASSAPEQUA, N.Y. — One of the world’s most prolific bootleggers of Hollywood DVDs loves his morning farina. He has spent eight years churning out hundreds of thousands of copies of “The Hangover,” “Gran Torino” and other first-run movies from his small Long Island apartment to ship overseas.
“Big Hy” — his handle among many loyal customers — would almost certainly be cast as Hollywood Enemy No. 1 but for a few details. He is actually Hyman Strachman, a 92-year-old, 5-foot-5 World War II veteran trying to stay busy after the death of his wife. And he has sent every one of his copied DVDs, almost 4,000 boxes of them to date, free to American soldiers in Iraq and Afghanistan.
With the United States military presence in those regions dwindling, Big Hy Strachman will live on in many soldiers’ hearts as one of the war’s more shadowy heroes.
“It’s not the right thing to do, but I did it,” Mr. Strachman said, acknowledging that his actions violated copyright law.
“If I were younger,” he added, “maybe I’d be spending time in the hoosegow.”
Capt. Bryan Curran, who recently returned from Afghanistan, estimated that from 2008 to 2010, Mr. Strachman sent more than 2,000 DVDs to his outfits there.
“You’re shocked because your initial image is of some back-alley Eastern European bootlegger — not an old Jewish guy on Long Island,” Captain Curran said. “He would time them with the movie’s release — whenever a new movie was just in theaters, we knew Big Hy would be sending us some. I saw ‘The Transformers’ before it hit the States.”
Jenna Gordon, a specialist in the Army Reserve, said she had handed out even more of Mr. Strachman’s DVDs last year as a medic with the 883rd Medical Company east of Kandahar City, where soldiers would gather for movie nights around personal computers, with mortar blasting in the background. Some knew only that the discs came from some dude named Big Hy; others knew not even that.
“It was pretty big stuff — it’s reconnecting you to everything you miss,” she said. “We’d tell people to take a bunch and pass them on.”
White-haired, slightly hunched and speaking in his Depression-era Brooklyn brogue (think Casey Stengel after six years of Hebrew school), Mr. Strachman explained in a recent interview that his 60-hour-a-week venture was winding down. “It’s all over anyways — they’re all coming home in the near future,” he said of the troops.
As he spoke, he was busy preparing some packages, filled with 84 discs of “The Artist,” “Moneyball” and other popular films, many of them barely out of theaters, to a platoon in Afghanistan.
As for his brazen violation of domestic copyright laws, Mr. Strachman nodded guiltily but pointed to his walls, which are strewed with seven huge American flags, dozens of appreciative letters, and snapshots of soldiers holding up their beloved DVDs.
“Every time I got back an emotional e-mail or letter, I sent them another box,” he said, adding that he had never accepted any money for the movies or been told by any authorities to stop.
“I thought maybe because I’m an old-timer,” he said.
In February, Mr. Strachman duplicated and shipped 1,100 movies. (“A slow month,” he said.) He has not kept an official count but estimates that he topped 80,000 discs a year during his heyday in 2007 and 2008, making his total more than 300,000 since he began in 2004. Postage of about $11 a box, and the blank discs themselves, would suggest a personal outlay of over $30,000.
Born in Brooklyn in 1920 to immigrants from Poland, Mr. Strachman left high school during the Depression to work for his family’s window and shade store in Manhattan. He became a stockbroker on Wall Street — “When there were no computers, you had to use your noodle” — before retiring in the early 1990s.
After Mr. Strachman’s wife of more than half a century, Harriet, died in 2003, he discovered a Web site that collected soldiers’ requests for care packages. He noted a consistent plea for movie DVDs and wound up passing his sleepless nights replicating not only the films, but also a feeling of military comradeship that he had not experienced since his own service in the Pacific during World War II.
“I wouldn’t say it kept him alive, but it definitely brought back his joie de vivre,” said Mr. Strachman’s son, Arthur, a tax accountant in New York.
Mr. Strachman has never ripped a movie from a store-bought DVD and does not even know how; rather, he bought bootlegged discs for $5 in Penn Station before finding a dealer closer to home, at his local barbershop. Those discs were either recordings made illegally in theaters or studio cuts that had been leaked.
Originally, Mr. Strachman would use his desktop computer to copy the movies one tedious disc at a time. (“It was moyda,” he groaned.) So he got his hands on a $400 professional duplicator that made seven copies at once, grew his fingernails long to better separate the blank discs, and began copying hundreds a day.
Last month, in black grandpa shoes and blue suspenders that hoisted his trousers up to his sternum, Mr. Strachman and his spindly hands steered a master copy of “The Artist” into the machine, fed the seven other bays with blanks, and pressed “Record.” Six minutes later, in went “The King’s Speech.” Then “Moneyball.”
He eventually stuffed the maximum of 84 discs (12 titles, 7 each) into a United States Postal Service fixed-rate box, secured it with several yards of packing tape and scrawled out a packing slip for the Massapequa Park post office. The contraband, which he said could take up to three months to arrive, was addressed to an Army chaplain.
“Chaplains don’t sell them, and they fan out,” Mr. Strachman said. “The distribution is great.”
The movie studios are less enthusiastic. Although the most costly piracy now takes place online through file-sharing Web sites, the illegal duplication of copyright DVDs — usually by organized crime in Eastern Europe and China, not by retirees in their 90s in the American suburbs — still siphons billions of dollars out of the industry every year. And while Mr. Strachman’s movies were given to soldiers as a form of charity, studios do send military bases reel-to-reel films, which are much harder to copy, and projectors for the troops overseas.
Howard Gantman, a spokesman for the Motion Picture Association of America, said he did not believe its member studios were aware of Mr. Strachman’s operation. His sole comment dripped with the difficulty of going after a 92-year-old widower supporting the troops.
“We are grateful that the entertainment we produce can bring some enjoyment to them while they are away from home,” Mr. Gantman said.
Careful to minimize his malfeasance, Mr. Strachman said he had kept no copies for himself and had destroyed every master disc soon after the new releases came in.
Before long, the sole evidence of his operation will be on his walls and on a little bookshelf, next to his cholesterol-control pills and a few envelopes of farina, where seven three-ring binders overflow with letters and pictures, most addressed to “Big Hy,” from appreciative soldiers.
“Our downtime is spent watching movies as we clean our weapons,” one handwritten note said.
Another accompanied a flag from a combat mission over Afghanistan: “I can think of no one more deserving than you, and no one who understands what this flag stands for and means to our veterans.”
The fun will stop soon, Mr. Strachman said. “I’m not sure who’s going to be left over there anymore,” he said, happier for the soldiers’ return than for his need to find another hobby.
And with that the duplicator beeped, spitting out seven more copies of “The Artist.”
Mr. Strachman scooped them out of their trays, put a rubber band around them and inserted the stack into a box, perhaps his very last.
“While the movie and music industries would have you think that torrents are a threat to their business, thousands of independent artists heartily disagree. Thats why more than 5,000 musicians, actors, writers, filmmakers and artists have signed up to be promoted by The Pirate Bay, the worlds largest torrent site. Earlier this year, following the seizures of many popular file-sharing domains like MegaUpload, The Pirate Bay introduced a new promotion platform for artists called The Promo Bay, which let independent artists reach tens of millions of people by offering favorable advertising spots on the The Pirate Bays homepage. The response to The Pirate Bays promotion platform has been overwhelming: the company announced on Thursday that it has already received more than 5,000 applications, and has managed to be a quality platform for driving significant interest to independent artists.”
via Pirate Bay Promotion Attracts Over 5000 Artists – Slashdot.“While the movie and music industries would have you think that torrents are a threat to their business, thousands of independent artists heartily disagree. Thats why more than 5,000 musicians, actors, writers, filmmakers and artists have signed up to be promoted by The Pirate Bay, the worlds largest torrent site. Earlier this year, following the seizures of many popular file-sharing domains like MegaUpload, The Pirate Bay introduced a new promotion platform for artists called The Promo Bay, which let independent artists reach tens of millions of people by offering favorable advertising spots on the The Pirate Bays homepage. The response to The Pirate Bays promotion platform has been overwhelming: the company announced on Thursday that it has already received more than 5,000 applications, and has managed to be a quality platform for driving significant interest to independent artists.”
April 3rd, 2012| books, Scrapbook | Comments:Kommentek: 0
Copyright stagnationPaul Heald demonstrated the effect of the stagnant US copyright wall in seminar at Canterbury last week.Recall that books published through 1922 are in the public domain in the US; those published since then are covered by copyright.Heald dug through some Amazon stats to see what happens to books as they come out of copyright. Heres the rather stunning graph.So any arguments about underexploitation of unprotected works seem untenable.If this were a moving wall, maybe it wouldnt be so bad: eventually, books would come out of copyright and be released in new editions. But Disney does keep going back and insisting that nothing can ever be returned to the Commons from which they so liberally drew, and Congress loves Disney; we might reasonably expect another copyright term extension act to keep the wall fairly rigid.So while I can get Pride and Prejudice in remix with either vampires or zombies, Im not betting on being able to read a version of Good-bye, Mr. Chips in which he protects his students from the werewolf menace as well as offering them solace through the Great War. The werewolf version practically writes itself – the Germans infect some injured British soldiers with lycanthropy just after a full moon, knowing theyll be back in Britain by the next full moon….Heres Pauls SSRN page. The chart above isnt in any of his released papers, but is an update to some of the matters he covered here. His talk for the department is embedded below; the audio isnt fantastic, but all the slides are there. Pride and Prejudice is unreadable except in remix.Update: Paul Heald clarifies the chart source data:Hi, I just wanted to note that Amazon does not know when a book it sells was first published. It only knows the date of publication of the volume that it is selling, e.g. Treasure Island could have a date of 2002, if that’s the edition Amazon is selling. I had to check each of the 2500 books at the Library of Congress to determine the actual initial publication date. This is why stats taken from an Amazon “year of publication” stats don’t match up. Cheers, Paul Heald
via Offsetting Behaviour: Copyright stagnation.Copyright stagnationPaul Heald demonstrated the effect of the stagnant US copyright wall in seminar at Canterbury last week.Recall that books published through 1922 are in the public domain in the US; those published since then are covered by copyright.Heald dug through some Amazon stats to see what happens to books as they come out of copyright. Heres the rather stunning graph.So any arguments about underexploitation of unprotected works seem untenable.If this were a moving wall, maybe it wouldnt be so bad: eventually, books would come out of copyright and be released in new editions. But Disney does keep going back and insisting that nothing can ever be returned to the Commons from which they so liberally drew, and Congress loves Disney; we might reasonably expect another copyright term extension act to keep the wall fairly rigid.So while I can get Pride and Prejudice in remix with either vampires or zombies, Im not betting on being able to read a version of Good-bye, Mr. Chips in which he protects his students from the werewolf menace as well as offering them solace through the Great War. The werewolf version practically writes itself – the Germans infect some injured British soldiers with lycanthropy just after a full moon, knowing theyll be back in Britain by the next full moon….Heres Pauls SSRN page. The chart above isnt in any of his released papers, but is an update to some of the matters he covered here. His talk for the department is embedded below; the audio isnt fantastic, but all the slides are there. Pride and Prejudice is unreadable except in remix.Update: Paul Heald clarifies the chart source data:Hi, I just wanted to note that Amazon does not know when a book it sells was first published. It only knows the date of publication of the volume that it is selling, e.g. Treasure Island could have a date of 2002, if that’s the edition Amazon is selling. I had to check each of the 2500 books at the Library of Congress to determine the actual initial publication date. This is why stats taken from an Amazon “year of publication” stats don’t match up. Cheers, Paul Heald
March 31st, 2012| Scrapbook | Comments:Kommentek: 0
Rapidshare emphasised that the court explicitly recognised the legality of Rapidshares business model and gave it legal legitimacy. Gema welcomed the courts ruling that Rapidshare is still prohibited from making public the works of musicians represented by the organisation, but didnt get its way on the measures the court ordered Rapidshare to take to prevent copyright infringement.The copyright organisation had asked the court to order Rapidshare to scan files during the upload process, but the court took another approach, ruling that Rapidshare must actively monitor incoming links from external sites to the files it hosts and take down any illegal files thus identified.This is exactly what Rapidshare has been doing for years, the company said. Rapidshare has an anti-abuse team that identifies illegal files that will be immediately blocked when spotted.
via Rapidshare is legal, finds German court – Techworld.com.Rapidshare emphasised that the court explicitly recognised the legality of Rapidshares business model and gave it legal legitimacy. Gema welcomed the courts ruling that Rapidshare is still prohibited from making public the works of musicians represented by the organisation, but didnt get its way on the measures the court ordered Rapidshare to take to prevent copyright infringement.The copyright organisation had asked the court to order Rapidshare to scan files during the upload process, but the court took another approach, ruling that Rapidshare must actively monitor incoming links from external sites to the files it hosts and take down any illegal files thus identified.This is exactly what Rapidshare has been doing for years, the company said. Rapidshare has an anti-abuse team that identifies illegal files that will be immediately blocked when spotted.
March 9th, 2012| books, Scrapbook | Comments:Kommentek: 1
The Justice Department has warned Apple Inc. and five of the biggest U.S. publishers that it plans to sue them for allegedly colluding to raise the price of electronic books, according to people familiar with the matter.Enlarge ImageGetty ImagesApple CEO Tim Cook speaks during Wednesdays iPad product launch.Several of the parties have held talks to settle the antitrust case and head off a potentially damaging court battle, these people said. If successful, such a settlement could have wide-ranging repercussions for the industry, potentially leading to cheaper e-books for consumers. However, not every publisher is in settlement discussions. AllThingsDs Ina Fried takes a first look at Apples new tablet, which was announced today at the Yerba Buena Center for the Arts in San Francisco.The five publishers facing a potential suit are CBS Corp.s Simon & Schuster Inc.; Lagardere SCA s Hachette Book Group; Pearson PLC s Penguin Group USA; Macmillan, a unit of Verlagsgruppe Georg von Holtzbrinck GmbH; and HarperCollins Publishers Inc., a unit of News Corp. , which also owns The Wall Street Journal.
via U.S. Warns Apple, Publishers on E-Book Pricing – WSJ.com.The Justice Department has warned Apple Inc. and five of the biggest U.S. publishers that it plans to sue them for allegedly colluding to raise the price of electronic books, according to people familiar with the matter.Enlarge ImageGetty ImagesApple CEO Tim Cook speaks during Wednesdays iPad product launch.Several of the parties have held talks to settle the antitrust case and head off a potentially damaging court battle, these people said. If successful, such a settlement could have wide-ranging repercussions for the industry, potentially leading to cheaper e-books for consumers. However, not every publisher is in settlement discussions. AllThingsDs Ina Fried takes a first look at Apples new tablet, which was announced today at the Yerba Buena Center for the Arts in San Francisco.The five publishers facing a potential suit are CBS Corp.s Simon & Schuster Inc.; Lagardere SCA s Hachette Book Group; Pearson PLC s Penguin Group USA; Macmillan, a unit of Verlagsgruppe Georg von Holtzbrinck GmbH; and HarperCollins Publishers Inc., a unit of News Corp. , which also owns The Wall Street Journal.
March 6th, 2012| books, Scrapbook | Comments:Kommentek: 0
Los Angeles, CA – Last week a website called “library.nu” disappeared. A coalition of international scholarly publishers accused the site of piracy and convinced a judge in Munich to shut it down. Library.nu formerly Gigapedia had offered, if the reports are to be believed, between 400,000 and a million digital books for free. And not just any books – not romance novels or the latest best-sellers – but scholarly books: textbooks, secondary treatises, obscure monographs, biographical analyses, technical manuals, collections of cutting-edge research in engineering, mathematics, biology, social science and humanities.The texts ranged from so-called “orphan works” out-of-print, but still copyrighted to recent issues; from poorly scanned to expertly ripped; from English to German to French to Spanish to Russian, with the occasional Japanese or Chinese text. It was a remarkable effort of collective connoisseurship. Even the pornography was scholarly: guidebooks and scholarly books about the pornography industry. For a criminal underground site to be mercifully free of pornography must alone count as a triumph of civilisation.To the publishing industry, this event was a victory in the campaign to bring the unruly internet under some much-needed discipline. To many other people – namely the users of the site – it was met with anger, sadness and fatalism. But who were these sad criminals, these barbarians at the gates ready to bring our information economy to its knees? They are students and scholars, from every corner of the planet.Pirating to learn”The world, it should not come as a surprise, is filled with people who want desperately to learn.”The world, it should not come as a surprise, is filled with people who want desperately to learn. This is what our world should be filled with. This is what scholars work hard to create: a world of reading, learning, thinking and scholarship. The users of library.nu were would-be scholars: those in the outer atmosphere of learning who wanted to know, argue, dispute, experiment and write just as those in the universities do.Maybe they were students once, but went on to find jobs and found families. We made them in some cases – we gave them a four-year taste of the life of the mind before sending them on their way with unsupportable loans. In other cases, they made themselves, by hook or by crook.So what does the shutdown of library.nu mean? The publishers think it is a great success in the war on piracy; that it will lead to more revenue and more control over who buys what, if not who reads what. The pirates – the people who create and run such sites – think that shutting down library.nu will only lead to a thousand more sites, stronger and better than before.But both are missing the point: the global demand for learning and scholarship is not being met by the contemporary publishing industry. It cannot be, not with the current business models and the prices. The users of library.nu – these barbarians at the gate of the publishing industry and the university – are legion.
via The disappearing virtual library – Opinion – Al Jazeera English.Los Angeles, CA – Last week a website called “library.nu” disappeared. A coalition of international scholarly publishers accused the site of piracy and convinced a judge in Munich to shut it down. Library.nu formerly Gigapedia had offered, if the reports are to be believed, between 400,000 and a million digital books for free. And not just any books – not romance novels or the latest best-sellers – but scholarly books: textbooks, secondary treatises, obscure monographs, biographical analyses, technical manuals, collections of cutting-edge research in engineering, mathematics, biology, social science and humanities.The texts ranged from so-called “orphan works” out-of-print, but still copyrighted to recent issues; from poorly scanned to expertly ripped; from English to German to French to Spanish to Russian, with the occasional Japanese or Chinese text. It was a remarkable effort of collective connoisseurship. Even the pornography was scholarly: guidebooks and scholarly books about the pornography industry. For a criminal underground site to be mercifully free of pornography must alone count as a triumph of civilisation.To the publishing industry, this event was a victory in the campaign to bring the unruly internet under some much-needed discipline. To many other people – namely the users of the site – it was met with anger, sadness and fatalism. But who were these sad criminals, these barbarians at the gates ready to bring our information economy to its knees? They are students and scholars, from every corner of the planet.Pirating to learn”The world, it should not come as a surprise, is filled with people who want desperately to learn.”The world, it should not come as a surprise, is filled with people who want desperately to learn. This is what our world should be filled with. This is what scholars work hard to create: a world of reading, learning, thinking and scholarship. The users of library.nu were would-be scholars: those in the outer atmosphere of learning who wanted to know, argue, dispute, experiment and write just as those in the universities do.Maybe they were students once, but went on to find jobs and found families. We made them in some cases – we gave them a four-year taste of the life of the mind before sending them on their way with unsupportable loans. In other cases, they made themselves, by hook or by crook.So what does the shutdown of library.nu mean? The publishers think it is a great success in the war on piracy; that it will lead to more revenue and more control over who buys what, if not who reads what. The pirates – the people who create and run such sites – think that shutting down library.nu will only lead to a thousand more sites, stronger and better than before.But both are missing the point: the global demand for learning and scholarship is not being met by the contemporary publishing industry. It cannot be, not with the current business models and the prices. The users of library.nu – these barbarians at the gate of the publishing industry and the university – are legion.
A nagy forgalmazók megveszik a politikusokat, hogy rendőrt uszíthassanak családokra, csak mert azok Garfield-et néznek a monitoron.
Az internet többek közt arra való, hogy kulturális tartalomhoz juthassunk, a napi hírömlenytől az elmélkedősebb anyagokon át a tudásbázisokig és tovább. Aki pedig azt állítja, hogy mindez ingyenes, és hogy a torrentezés bűn, az vagy téved, vagy hazudik. A hazugság, az tényleg bűn. Persze, a lopás is bűn, de ha valamiért fizettünk, akkor annak magunkhoz vétele nem lopás.
Az internet többek közt arra való, hogy kulturális tartalomhoz juthassunk, a napi hírömlenytől az elmélkedősebb anyagokon át a tudásbázisokig és tovább. Aki pedig azt állítja, hogy mindez ingyenes, és hogy a torrentezés bűn, az vagy téved, vagy hazudik. A hazugság, az tényleg bűn. Persze, a lopás is bűn, de ha valamiért fizettünk, akkor annak magunkhoz vétele nem lopás.
“Just 30 minutes after Whitney Houston died, Sony Music raised the price of Houston’s greatest hits album, ‘Ultimate Collection,’ on iTunes and Amazon. Many technologists, including chairman of the NY Tech Meetup Andrew Rasiej, suggests that Sony should be boycotted for the move. In a tweet, Rasiej wrote, ‘Geez Sony raised price on Whitney Houston’s music 30 min after death was announced. #FAIL…We should boycott Sony.'”
via Sony Raises Price of Whitney Houston’s Music 30 Minutes After Death – Slashdot.“Just 30 minutes after Whitney Houston died, Sony Music raised the price of Houston’s greatest hits album, ‘Ultimate Collection,’ on iTunes and Amazon. Many technologists, including chairman of the NY Tech Meetup Andrew Rasiej, suggests that Sony should be boycotted for the move. In a tweet, Rasiej wrote, ‘Geez Sony raised price on Whitney Houston’s music 30 min after death was announced. #FAIL…We should boycott Sony.'”
February 16th, 2012| books, Scrapbook | Comments:Kommentek: 1
A large coalition of publishing firms and related trade organizations has taken legal action against what the Association of American Publishers in Washington, D.C., described on Wednesday as “one of the largest pirate web-based businesses in the world.”
At the request of 17 publishing companies in the United States, the United Kingdom and Germany, including HarperCollins, Oxford University Press and Macmillan, a Munich judge on Monday granted injunctions against illegal posting or sharing of online book files by two websites. Library.nu is alleged to have posted links to hundreds of thousands of illegal PDF copies of books since December 2010, Ed McCoyd, an attorney for the Association of American Publishers, told The Huffington Post. The majority of these uploads allegedly went through the website iFile.it, he said.
via Library.nu, Book Downloading Site, Targeted In Injunctions Requested By 17 Publishers.A large coalition of publishing firms and related trade organizations has taken legal action against what the Association of American Publishers in Washington, D.C., described on Wednesday as “one of the largest pirate web-based businesses in the world.”
At the request of 17 publishing companies in the United States, the United Kingdom and Germany, including HarperCollins, Oxford University Press and Macmillan, a Munich judge on Monday granted injunctions against illegal posting or sharing of online book files by two websites. Library.nu is alleged to have posted links to hundreds of thousands of illegal PDF copies of books since December 2010, Ed McCoyd, an attorney for the Association of American Publishers, told The Huffington Post. The majority of these uploads allegedly went through the website iFile.it, he said.
February 16th, 2012| books, Scrapbook | Comments:Kommentek: 0
Ralph Spoilsport writes “A coalition of 17 publishing companies has shut down library.nu and ifile.it, charging them with pirating ebooks. This comes less than a month after megaupload was shut down, and SOPA was stopped. If the busting of cyberlockers continues at this pace and online library sharing dismantled, this under-reported story may well be the tip of a very big iceberg — one quite beyond the P&L sheets of publishers and striking at basic human rights as outlined in the contradictions of the UN Charter. Is this a big deal — a grim coalition of corporate power? Or just mopping up some scurvy old pirates? Or somewhere in between?” Adds new submitter roaryk, “According to the complaint, the sites offered users access to 400,000 e-books and made more than $11 million in revenue in the process. The admins, Fidel Nunez and Irina Ivanova, have been tracked down using their PayPal donation account, which was not anonymous. Despite the claims of the industry the site admins say they were barely able to cover the server costs with the revenue.”
via Library.nu and Ifile.it Shut Down – Slashdot.Ralph Spoilsport writes “A coalition of 17 publishing companies has shut down library.nu and ifile.it, charging them with pirating ebooks. This comes less than a month after megaupload was shut down, and SOPA was stopped. If the busting of cyberlockers continues at this pace and online library sharing dismantled, this under-reported story may well be the tip of a very big iceberg — one quite beyond the P&L sheets of publishers and striking at basic human rights as outlined in the contradictions of the UN Charter. Is this a big deal — a grim coalition of corporate power? Or just mopping up some scurvy old pirates? Or somewhere in between?” Adds new submitter roaryk, “According to the complaint, the sites offered users access to 400,000 e-books and made more than $11 million in revenue in the process. The admins, Fidel Nunez and Irina Ivanova, have been tracked down using their PayPal donation account, which was not anonymous. Despite the claims of the industry the site admins say they were barely able to cover the server costs with the revenue.”
An international alliance of publishers, including Cambridge University Press, Elsevier and Pearson Education Ltd, has served successful cease-and-desist orders on a piracy operation with an estimated turnover of £7m.The two platforms, sharehoster service www.ifile.it and link library www.library.nu, had together created an “internet library” making more than 400,000 e-books available as free illegal downloads. The operators generated an estimated turnover of €8m £6.7m through advertising, donations and sales of premium-level accounts, according to a report by German law firm Lausen which helped co-ordinate the alliance.The other publishers involved also comprised Georg Thieme; HarperCollins; Hogrefe; Macmillan Publishers Ltd; Cengage Learning; John Wiley & Sons;the McGraw-Hill Companies; Pearson Education Inc; Oxford University Press; Springer; Taylor & Francis; C H Beck; and Walter De Gruyter. The alliance was also co-ordinated by the German Publishers and Booksellers Association Börsenverein and the International Publishers Association IPA,Jens Bammel, secretary general of the IPA, said: “Today, the international book industry has shown that it continues to stand up against organised copyright crime.”We will not tolerate freeloaders who make unjustified profits by depriving authors and publishers of their due reward. This is an important step towards a more transparent, honest and fair trade of digital content on the Internet,” he said.Alexander Skipis, Börsenverein c.e.o., added: “This case demonstrates, in particular in the context of current debates, that systematic copyright infringement has developed into a highly criminal and lucrative business.”
via International publisher alliance shuts down piracy site | The Bookseller.An international alliance of publishers, including Cambridge University Press, Elsevier and Pearson Education Ltd, has served successful cease-and-desist orders on a piracy operation with an estimated turnover of £7m.The two platforms, sharehoster service www.ifile.it and link library www.library.nu, had together created an “internet library” making more than 400,000 e-books available as free illegal downloads. The operators generated an estimated turnover of €8m £6.7m through advertising, donations and sales of premium-level accounts, according to a report by German law firm Lausen which helped co-ordinate the alliance.The other publishers involved also comprised Georg Thieme; HarperCollins; Hogrefe; Macmillan Publishers Ltd; Cengage Learning; John Wiley & Sons;the McGraw-Hill Companies; Pearson Education Inc; Oxford University Press; Springer; Taylor & Francis; C H Beck; and Walter De Gruyter. The alliance was also co-ordinated by the German Publishers and Booksellers Association Börsenverein and the International Publishers Association IPA,Jens Bammel, secretary general of the IPA, said: “Today, the international book industry has shown that it continues to stand up against organised copyright crime.”We will not tolerate freeloaders who make unjustified profits by depriving authors and publishers of their due reward. This is an important step towards a more transparent, honest and fair trade of digital content on the Internet,” he said.Alexander Skipis, Börsenverein c.e.o., added: “This case demonstrates, in particular in the context of current debates, that systematic copyright infringement has developed into a highly criminal and lucrative business.”
In fact, though there are hundreds of file sharing sites, an extremely small number of colo-location providers (six of them) provide infrastructure to these sites that generate more than 80% of all Internet file sharing traffic. Like other niche industries, file sharing has evolved with a specialized ecosystem / cyber supply chain.
via DeepField Networks.In fact, though there are hundreds of file sharing sites, an extremely small number of colo-location providers (six of them) provide infrastructure to these sites that generate more than 80% of all Internet file sharing traffic. Like other niche industries, file sharing has evolved with a specialized ecosystem / cyber supply chain.
Apple alone — even though iPhones account for just 9 percent of mobile phones sold — reaps about 75 percent of the mobile phone industry’s profits, and that number continues to grow. (Apple’s segment of U.S. sales is much higher, as is its share of smartphone sales.)
Should this economic trend continue, Apple will be the Microsoft of mobile platforms, the SAP of mobile apps, and the Oracle of mobile services. If you’re an Apple fanboy, that’s great news and would suggest a world very much like that of the Macintosh or iPod/iTunes: integrated, fun, innovative, and functional.
via The dark side of Apple’s dominance | Mobile Technology – InfoWorld.Apple alone — even though iPhones account for just 9 percent of mobile phones sold — reaps about 75 percent of the mobile phone industry’s profits, and that number continues to grow. (Apple’s segment of U.S. sales is much higher, as is its share of smartphone sales.)
Should this economic trend continue, Apple will be the Microsoft of mobile platforms, the SAP of mobile apps, and the Oracle of mobile services. If you’re an Apple fanboy, that’s great news and would suggest a world very much like that of the Macintosh or iPod/iTunes: integrated, fun, innovative, and functional.
We’ve pointed it out numerous times in the past. Despite the rampant piracy, Hollywood and other entertainment industries continue to break revenue and sales records year after year.
In an excellent report commissioned by the CCIA, Techdirt’s Mike Masnick has has made an excellent overview of how well things go in the various entertainment industry sectors.
The report titled “The Sky is Rising” was presented at the MIDEM music business conference earlier today.
A summary of some of the key findings:
* According to MPAA, box office revenues grew 25 percent from 2006 to 2010 from $25.5 billion to $31.8 billion.
* Data from PricewaterhouseCoopers and iDATE show that from 1998-2010 the value of the worldwide entertainment industry grew from $449 billion to $745 billion.
* From 1999 to 2009 music concert sales in the US tripled from $1.5 billion to $4.6 billion
* Consumers’ choices growing as more movies are produced jumping from 5,635 films produced globally in 2005 to 7,193 in 2009.
* BLS data also show entertainment sector employment also grew 20 percent during that last decade and 43 percent for those identified as independent artists.
In addition to statistics, the report also lists many of the case studies that we’ve covered here at TorrentFreak, from Paulo Coelho to Louis CK.
In large part, the report is meant to counter the entertainment industry claims that their businesses have been ruined by piracy, and that the Internet has to be monitored and censored.
In an excellent report commissioned by the CCIA, Techdirt’s Mike Masnick has has made an excellent overview of how well things go in the various entertainment industry sectors.
The report titled “The Sky is Rising” was presented at the MIDEM music business conference earlier today.
A summary of some of the key findings:
* According to MPAA, box office revenues grew 25 percent from 2006 to 2010 from $25.5 billion to $31.8 billion.
* Data from PricewaterhouseCoopers and iDATE show that from 1998-2010 the value of the worldwide entertainment industry grew from $449 billion to $745 billion.
* From 1999 to 2009 music concert sales in the US tripled from $1.5 billion to $4.6 billion
* Consumers’ choices growing as more movies are produced jumping from 5,635 films produced globally in 2005 to 7,193 in 2009.
* BLS data also show entertainment sector employment also grew 20 percent during that last decade and 43 percent for those identified as independent artists.
In addition to statistics, the report also lists many of the case studies that we’ve covered here at TorrentFreak, from Paulo Coelho to Louis CK.
In large part, the report is meant to counter the entertainment industry claims that their businesses have been ruined by piracy, and that the Internet has to be monitored and censored.
The delays and queue restrictions are part of an overall effort by Warner Brothers to boost its ailing DVD sales. The company thinks that by lengthening the time it takes for a movie to reach other platforms, it will increase demand for the DVD, and in turn make more money. Once a move reaches rental services and streaming video platforms, Warner Brothers stands to make far less revenue.Not allowing Netflix users to conveniently wait out the delayed availability of new DVDs fits within Warner Brothers new strategy. The company clearly wants consumers to feel the inconvenience and discomfort of not being able to watch these newly released movies immediately because it makes the option of buying the DVD much more attractive.
via Warner Bros. now adding restrictions to your Netflix DVD queue | VentureBeat.The delays and queue restrictions are part of an overall effort by Warner Brothers to boost its ailing DVD sales. The company thinks that by lengthening the time it takes for a movie to reach other platforms, it will increase demand for the DVD, and in turn make more money. Once a move reaches rental services and streaming video platforms, Warner Brothers stands to make far less revenue.Not allowing Netflix users to conveniently wait out the delayed availability of new DVDs fits within Warner Brothers new strategy. The company clearly wants consumers to feel the inconvenience and discomfort of not being able to watch these newly released movies immediately because it makes the option of buying the DVD much more attractive.
January 24th, 2012| Scrapbook, theory | Comments:Kommentek: 0
The idea of alternatives to copyright should not sound strange. There already is a vast amount of work supported through universities, private foundations and different levels of government. While the existing channels of funding are not sufficient to replace copyright-supported work, they can be expanded to fill the gap.One route would be to allow individuals a modest refundable tax credit — an artistic freedom voucher AFV — that would allow them to give $75-$100 a year to support creative work. This money could either go directly to the worker or to an intermediary that supports specific types of creative work e.g. an intermediary may finance action films, jazz music, or mystery novels.
via Dean Baker: The Surefire Way to End Online Piracy: End Copyright.The idea of alternatives to copyright should not sound strange. There already is a vast amount of work supported through universities, private foundations and different levels of government. While the existing channels of funding are not sufficient to replace copyright-supported work, they can be expanded to fill the gap.One route would be to allow individuals a modest refundable tax credit — an artistic freedom voucher AFV — that would allow them to give $75-$100 a year to support creative work. This money could either go directly to the worker or to an intermediary that supports specific types of creative work e.g. an intermediary may finance action films, jazz music, or mystery novels.
Mostanra a hazai lakosság körében is megkezdődött a digitális televíziós videótár térhódítása, és a trend folytatódásával 2012-ben széles körűvé válhat az otthonról távkapcsolóval megrendelhető videótartalmak fogyasztása. Ez állapítható meg a UPC és az ITHAKA Információs Társadalom- és Hálózatkutató Központ online kutatásának eredményeiből, illetve a UPC saját VOD-statisztikáinak összevetéséből.
via 2012.01.19. – Feljövőben a digitális videótárak.Mostanra a hazai lakosság körében is megkezdődött a digitális televíziós videótár térhódítása, és a trend folytatódásával 2012-ben széles körűvé válhat az otthonról távkapcsolóval megrendelhető videótartalmak fogyasztása. Ez állapítható meg a UPC és az ITHAKA Információs Társadalom- és Hálózatkutató Központ online kutatásának eredményeiből, illetve a UPC saját VOD-statisztikáinak összevetéséből.
January 3rd, 2012| movies, Scrapbook | Comments:Kommentek: 1
The new “Mission: Impossible” film has made ten times more money than smaller films like “Young Adult.” If greater demand is supposed to move prices, why does a ticket to each movie cost the same?
The exhibition entitled “Metropolitan archeology” by Tamás Budha, András Tábori and Miklós Rácz was on show at the Holdudvar gallery from mid June to mid July 2010. We met with Miklós Rácz, the archeologist team member to talk about the project. The interview features photos from the exhibition.
Two artists and an archeologist decide to document the city… what does an archeologist do in contemporary culture? Read the rest of this entry »
December 22nd, 2011| Scrapbook, theory | Comments:Kommentek: 1
As I noted in my previous post with a reading list, I found it really hard to find good bibliographies when trying to figure out what was important to read. The best sources were obviously the notes sections of books and current articles, and it required a lot of compilation! I see no reason not to share the fruits of my labor; there’s no value to a list of books.
Below is my working bibliography for the dissertation. This is just the foundational stuff: almost all of them books, with a few articles thrown in that I’ve needed to cite in my proposal. If I missed anything, put it in the comments or email me!
December 22nd, 2011| Scrapbook, theory | Comments:Kommentek: 0
From the perspective of copyright holders, piracy represents lost revenue. In this article we argue that piracy nevertheless has important generative features. We consider the range of commercial opportunities that piracy opens up outside of the media industries, identifying four overlapping fields of legal anti-piracy enterprise: technological prevention, revenue capture, knowledge generation, and policing/enforcement. Our analysis notes the commercialization of these activities and their close relationship with the informal media economy. A case study of recent “speculative invoicing” lawsuits demonstrates the extent of this commercialization and its detachment from the mainstream content industries.
December 22nd, 2011| Scrapbook, theory | Comments:Kommentek: 0
Digital copyright has become a key site of debate and dissent as a generation of consumers accustomed to file-sharing of proprietary content seeks to assert its rights more aggressively. A vocal anti-copyright movement has emerged, rallying around a free-speech defence of piracy honed in opposition to the hardline approach to intellectual property (IP) enforcement pursued by the US entertainment lobbies. This article discusses recent attempts at collective legitimation within this movement, with a focus on the implicit critiques of copyright that underpin pro-piracy discourse. I conclude that if this kind of popular copyright critique is to be more than a pet cause for early adopters, it needs to begin with an inclusive philosophy of access that does not reify the creative consumer as the normative citizen of the information society.
Recently, Senator Ron Wyden asked CRS if it could explore the state of the movie industry today as compared to 1995 on a variety of different criteria. You can read the full report embedded below, but here are a few key points. First off, despite the industry’s regular attempt to play up its contribution to GDP and employment, the report found that the combined GDP contribution of both the “motion picture and sound recording” industries was a whopping 0.4% in 2009. Back in 1995… it was also 0.4%.
“Amazon’s released their list of 2011’s best-selling books, revealing that 40% of the best-selling ebooks didn’t even make it onto their list of the best-selling print books. The #1 and #2 best-selling ebooks of the year weren’t even available in print editions, while four of the top 10 best-selling print books didn’t make it into the top 100 best-selling ebooks. ‘It couldn’t be more clear that Kindle owners are choosing their material from an entirely different universe of books,’ notes one Kindle site, which points out that five of the best-selling ebooks came from two million-selling ebook authors — Amanda Hocking and John Locke — who are still awaiting the release of their books in print. And five of Amazon’s best-selling ebooks were Kindle-only ‘Singles,’ including a Stephen King short story which actually outsold another King novel that he’d released in both ebook and print formats. And Neal Stephenson’s ‘Reamde’ was Amazon’s #99 best-selling print book of 2011, though it didn’t even make it onto their list of the 100 best-selling ebooks of the year. ‘People who own Kindles are just reading different books than the people who buy printed books,’ reports the Kindle site, which adds ‘2011 may be remembered as the year that hundreds of new voices finally found their audiences.'”
WordPress is web software you can use to create a beautiful website or blog. We like to say that WordPress is both free and priceless at the same time.
Earlier today, Megaupload released a pop video featuring mainstream artists who endorse the cyberlocker service. News of the controversial Mega Song even trended on Twitter, but has now been removed from YouTube on copyright grounds by Universal Music. Kim Dotcom says that Megaupload owns everything in the video, and that the label has engaged in dirty tricks in an attempt to sabotage their successful viral campaign.
This morning we published an article on a new campaign by cyberlocker service Megaupload.
Site founder Kim Dotcom told TorrentFreak he had commissioned a song from producer Printz Board featuring huge recording artists including P Diddy, Will.i.am, Alicia Keys, Kanye West, Snoop Dogg, Chris Brown, The Game and Mary J Blige. These and others were shouting the praises of Megaupload.
By this afternoon #megaupload was trending on Twitter as news of the song spread. Little surprise interest was so high; Megaupload is described as a rogue site by the RIAA and here are some of their key labels’ artists promoting the service in the most powerful way possible – through a song.
And then, just a little while ago, the music stopped. Visitors to YouTube hoping to listen to the Mega Song were met with the following message.
Mega Song Blocked
TorrentFreak immediately contacted Kim to find out what was happening.
“Those UMG criminals. They are sending illegitimate takedown notices for content they don’t own,” he told us. “Dirty tricks in an effort to stop our massively successful viral campaign.”
So did Universal have any right at all to issue YouTube with a takedown notice? Uncleared samples, anything?
“Mega owns everything in this video. And we have signed agreements with every featured artist for this campaign,” Kim told TorrentFreak.
“UMG did something illegal and unfair by reporting Mega’s content to be infringing. They had no right to do that. We reserve our rights to take legal action. But we’d like to give them the opportunity to apologize.”
“UMG is such a rogue label,” Kim added, wholly appreciating the irony.
A few minutes after this exchange Kim contacted us with good news. After filing a YouTube copyright takedown dispute, the video was reinstated. But alas, just seconds later, it was taken down again.
“We filed a dispute, the video came back online and now it’s blocked again by UMG and the automated YouTube system has threatened to block our account for repeat infringement,” Kim explained.
TorrentFreak spoke with Corynne McSherry, Intellectual Property Director at EFF, who says this type of copyright abuse is nothing new.
“This appears to be yet another example of the kind of takedown abuse we’ve seen under existing law — and another reason why Congress should soundly reject the broad new powers contemplated in the Internet Blacklist Bills, aka SOPA/PIPA.
“If IP rightholders can’t be trusted to use the tools already at their disposal — and they can’t — we shouldn’t be giving them new ways to stifle online speech and creativity,” McSherry concludes.
Sherwin Siy, Deputy Legal Director at Public Knowledge, worries that this type of sweeping power would only be augmented with the arrival of the SOPA anti-piracy bill in the US.
“If UMG took down a video it has no rights to, then what we have here is exactly the sort of abuse that careless, overzealous, or malicious copyright holders can create by abusing a takedown law,” he told us.
“What makes this even worse is that UMG, among others, is pushing to expand its power to shut people down by fiat–SOPA lets rightsholders de-fund entire websites with the same sort of non-reviewed demand that removed this video,” he concludes.
Megaupload’s Kim Dotcom informs us that he has now submitted an international counter notification to YouTube, informing them that UMG has no rights to anything in the video and that the label abused the YouTube takedown system to sabotage the company’s business.
“It’s ridiculous how UMG is abusing their intervention powers in YouTube’s system to stop our legitimate campaign. They are willfully sabotaging this viral campaign. They own no rights to this content,” Kim insists.
“What UMG is doing is illegal. And those are the people who are calling Mega rogue? Insanity!”
Streisand Effect, here we come again.
Update: “The fact that this expression could be silenced by a major label — without any apparent infringement — should be seriously troubling to anyone who cares about artists’ speech rights,” says Casey Rae-Hunter, Deputy Director, Future of Music Coalition. “If this can happen to Snoop Dogg and others, it can happen to anyone.”
Movies and TV are one of America’s biggest exports and biggest employers, with over 2 million Americans working in the entertainment community. But today, this American success story is facing a threat like never before – content theft. Content theft costs U.S. workers $5.5 billion annually in lost earnings. The real victims aren’t stars or studios or networks; they’re middle class people in all 50 states who make their living in film and television.This Creative America documentary explores this important issue and what you can do about it. Visit creativeamerica.org to learn more.
One in three people in Switzerland download unauthorized music, movies and games from the Internet and since last year the government has been wondering what to do about it. This week their response was published and it was crystal clear. Not only will downloading for personal use stay completely legal, but the copyright holders won’t suffer because of it, since people eventually spend the money saved on entertainment products.
swissIn Switzerland, just as in dozens of other countries, the entertainment industries have been complaining about dramatic losses in revenue due to online piracy.
In a response, the Swiss government has been conducting a study into the impact downloading has on society, and this week their findings were presented.
The overall conclusion of the study is that the current copyright law, under which downloading copyrighted material for personal use is permitted, doesn’t have to change.
Their report begins with noting that when it comes to copying files, the Internet has proven a game-changer. While the photocopier, audio cassette tape and VCR allowed users to make good quality copies of various media, these devices lacked a in-built distribution method. The world-wide web changed all that.
Distribution method or not, the entertainment industries have opposed all these technological inventions out of fear that their businesses would be crushed. This is not the right response according to the Swiss government, which favors the option of putting technology to good use instead of taking the repressive approach.
“Every time a new media technology has been made available, it has always been ‘abused’. This is the price we pay for progress. Winners will be those who are able to use the new technology to their advantages and losers those who missed this development and continue to follow old business models,” the report notes.
The government report further concludes that even in the current situation where piracy is rampant, the entertainment industries are not necessarily losing money. To reach this conclusion, the researchers extrapolated the findings of a study conducted by the Dutch government last year, since the countries are considered to be similar in many aspects.
The report states that around a third of Swiss citizens over 15 years old download pirated music, movies and games from the Internet. However, these people don’t spend less money as a result because the budgets they reserve for entertainment are fairly constant. This means that downloading is mostly complementary.
The other side of piracy, based on the Dutch study, is that downloaders are reported to be more frequent visitors to concerts, and game downloaders actually bought more games than those who didn’t. And in the music industry, lesser-know bands profit most from the sampling effect of file-sharing.
The Swiss report then goes on to review several of the repressive anti-piracy laws and regulations that have been implemented in other countries recently, such as the three-strikes Hadopi law in France. According to the report 12 million was spent on Hadopi in France this year, a figure the Swiss deem too high.
The report further states that it is questionable whether a three-strikes law would be legal in the first place, as the UN’s Human Rights Council labeled Internet access a human right. The Council specifically argued that Hadopi is a disproportionate law that should be repealed.
Other measures such as filtering or blocking content and websites are also rejected, because these would hurt freedom of speech and violate privacy protection laws. The report notes that even if these measures were implemented, there would be several ways to circumvent them.
The overall suggestion the Swiss government communicates to the entertainment industries is that they should adapt to the change in consumer behavior, or die. They see absolutely no need to change the law because downloading has no proven negative impact on the production of national culture.
Aside from downloading, it is also practically impossible for companies in Switzerland to go after casual uploaders. In 2010 the Supreme Court ruled that tracking companies are not allowed to log IP-addresses of file-sharers, making it impossible for rightsholders to gather evidence.
What would it mean in terms of revenue if ALL BitTorrent traffic moved to Netflix?If we assume that BitTorrent and Netflix users consume roughly the same amount of content again an assumption favoring the movie studios, then this is an easy calculation. Netflix would generate a third more revenue. Based on the shareholders report of the last quarter of 2010 where most of the torrent stats in this article are based on this translates into $198 million additional revenue for Netflix.Based on more recent stats contained in Netflix’s third quarter filing of this year, the increase in revenue would be $266 million for that quarter.
What should we call this ad hoc association of Silicon Valley businesses, venture capitalists, law professors, civil libertarians, and avid Internet users? Julian Sanchez of the Cato Institute told me he’d brand it a “populist technocratic coalition,” which is somehow both oxymoronic and apt. Leslie Harris, president of the Center for Democracy & Technology, says it calls to mind the old buzzword Netizens. My preferred term: the geek lobby.
An analysis prepared for Energiaklub Climate Policy Institute on the media reception of the Fukushima disaster. We analyzed how the mainstream Hungarian online press discussed the events of the Fukushima nuclear accident. We were asked to focus on the Hungarian contexts and analyze the ways atomic energy; the Paks Nuclear Power Plant and the Hungarian energy policy were mentioned and discussed in the context of the Japanese events. Read the rest of this entry »
ReDigi bills itself as “The World’s First Online Marketplace For Used Digital Music,” but the RIAA is not impressed. Categorically rejecting the “first sale” doctrine as a safe harbor, the Recording Industry Association of America has sent the ReDigi digital music resale site a letter (PDF, hat tip: Cnet) that effectively demands that the company abandon its business and open its sales records to RIAA’s lawyers. Cease and desist your “infringing activities,” the missive warns. But that’s the least of it.
A major new survey of American attitudes to online copyright infringement has found that 70 percent of all 18 to 29-year-olds have pirated music, TV shows, or movies. But almost no Americans are hardcore grog-swillers, and two-thirds of those who do acquire copyrighted material without permission also acquire content legally.The new research comes courtesy of a forthcoming report called Copy Culture in the US and Germany, and it was done by some of the same researchers who worked on the groundbreaking Media Piracy in Emerging Economies report earlier this year. Data comes from a Princeton Survey Research Associates telephone poll of 2,303 American adults during the month of August; a Google grant funded some of the research.The poll found that 46 percent of all Americans have engaged in piracy, but that young people skew the numbers significantly. And while it found that piracy is common, it also found that most is relatively casual. Only 2 percent of Americans are “heavy music pirates” with more than 1,000 tracks of infringing music; only 1 percent of Americans are heavy TV/movie pirates with more than 100 infringing shows or films.For most people, downloading music and video goes hand-in-hand with acquiring it legally; less than one-third of admitted pirates copped to owning an entire collection of illicit material. And large numbers of pirates have already altered their behavior in response to more attractive legal services for acquiring content. When it comes to music, 46 percent of American pirates said that they grab unauthorized music less than they used to thanks to legal streaming services and the survey was done before Spotify launched in the US. For video, 40 percent of pirates have already curtailed their activity thanks to legal alternatives like Netflix.As for video game pirates, they’re negligible. Only 3 percent of homes with game consoles have machines modified to accept pirated discs.The takeaway: Americans pirate, but few are engaged in some kind of principled War Against Copyright. Most just want easy access to legal material and are willing to pay reasonable fees to get it see the success of iTunes, Netflix, and the Kindle for examples of this in action. Indeed, only 16 percent of Americans believe that it’s acceptable to upload pirated content to sites where anyone can download it, only 8 percent say posting pirated content to Facebook would be acceptable, and only 6 percent think selling copies of pirated content is okay.Oh—and piracy isn’t gendered. The survey found that “men outpolled women by 2 percent or less” when it came to piratical behavior.
Analysis: Did the content industry lose the legal battle?
Do you remember back in 2001 when Napster shut down its servers? US courts found Napster Inc was likely to be liable for the copyright infringements of its users. Many of Napster’s successors were also shut down.
Aimster and its controversial CEO were forced into bankruptcy, the highest court in the US strongly suggested that those behind Grokster and Morpheus ought to be held liable for “inducing” their users to infringe, and Kazaa’s owners were held liable for authorisation by our own Federal Court. Countless others fled the market in the wake of these decisions with some, like the formerly defiant owners of Bearshare and eDonkey, paying big settlements on the way out.
By most measures, this sounds like an emphatic victory for content owners. But a funny thing happened in the wake of all of these injunctions, shutdowns and settlements: the number of P2P file sharing apps available in the market exploded.
By 2007, two years after the US Supreme Court decided Grokster, there were more individual P2P applications available than there had ever been before. The average number of users sharing files on file sharing networks at any one time was nudging ten million and it was estimated that P2P traffic had grown to comprise up to 90 percent of global internet traffic. At that point content owners tacitly admitted defeat, largely abandoning their long-time strategy of suing key P2P software providers and diverting enforcement resources to alternatives like graduated response or “three strikes” laws.
Why is it that, despite being ultimately successful in holding individual P2P software providers liable for their users’ infringement, content owners’ litigation strategy has failed to bring about any meaningful reduction in the amount of P2P development and infringement?
Physical vs digital
I would argue pre-P2P era law was based on a number of “physical world” assumptions. That makes sense, since it evolved almost exclusively with reference to physical world scenarios and technologies. However, as it turns out, there is often a gap between those assumptions and the realities of P2P software development.
Four such physical world assumptions are particularly notable in explaining this phenomenon.
The first is that everybody is bound by physical world rules. Assuming this rule had universal application, various secondary liability principles evolved to make knowledge and control pre-requisites to liability. But software has no such constraint. Programmers can write software that will do things that are simply not possible or feasible in the physical world. So once the Napster litigation made P2P programmers aware of the rules about knowledge and control, they simply coded Napster’s successors to eliminate them – something no provider of a physical world distribution technology ever managed to do.
In response, the US Supreme Court in Grokster created a brand new legal doctrine, called inducement, that did not rely on either knowledge or control. That rule was aimed at capturing “bad actors” – those P2P providers who aimed to profit from their users’ infringement and whose nefarious intent was demonstrated by “smoking guns” in their marketing and other communications. But the inducement law failed to appreciate some of the other differences that make the software world special and thus led directly to the explosion in the number of P2P technologies. In understanding why, three other physical world assumptions come into play.
One is that it is expensive to create distribution technologies that are capable of vast amounts of infringement. Of course in the physical world, the creation of such technologies, like printing presses, photocopiers, and VCRs required large investment. Research and development, mass-manufacturing, marketing and delivery all require massive amounts of cash. Thus, the law came to assume that the creation of such technologies was expensive.
That led directly to the next assumption – that distribution technologies are developed for profit. After all, nobody would be investing those massive sums without some prospect of a return.
Finally comes the fourth assumption: that rational developers of distribution technologies won’t share their secrets with consumers or competitors. Since they needed to recoup those massive investments, they had no interest at all in giving them away.
All of these assumptions certainly can hold up in the software development context. For example, those behind Kazaa spent a lot on its development, squeezed out the maximum possible profit and kept its source code a closely guarded secret. By creating a law that focused on profits, business models and marketing, the Supreme Court succeeded in shaking out Kazaa and its ilk from the market.
But the Court failed to appreciate that none of these things are actually necessary to the creation of P2P file sharing software. It can be so inexpensive to develop that some university programming courses actually require students to make an app as part of an assignment. When the software provider puts in such a small investment, there’s much less need to realise a profit. This, combined with widespread norms within the software development community encouraging sharing and collaboration, also leads to some individuals making the source code of their software publicly available for others to adapt and copy.
When the US Supreme Court created its new law holding P2P providers liable where they “fostered” third party infringement, as evidenced by such things as business models, marketing and internal communications, the result was an enormous number of programmers choosing to create new applications without any of those liability attracting elements. In the absence of any evidence that they had set out to foster infringement, they could not be liable for inducement, and having coded out of knowledge and control they could not be held liable under the pre-P2P law either.
The end result? The mismatch between the law’s physical world assumptions and the realities of the software world meant that the law created to respond to the challenges of P2P file sharing led to the opposite of the desired result: a massive increase in the availability of P2P file sharing software. The failure of the law to recognise the unique characteristics of software and software development meant the abandonment of the litigation campaign against P2P providers was only a matter of time.
Dr Rebecca Giblin is a member of Monash University’s law faculty in Melbourne. Her new book Code Wars tells the story of the decade-long struggle between content owners and P2P software providers, tracing the development of the fledgling technologies, the attempts to crush them through litigation and legislation, and the remarkable ways in which they evolved as their programmers sought ever more ingenious means to remain one step ahead of the law. The book explains why the litigation strategy against P2P providers was ultimately unsuccessful in bringing about any meaningful reduction in the amount of P2P development of infringement.
Visit codewarsbook.com where you can read the first chapter in full. Physical copies can be ordered online from stores like Amazon and Book Depository, and electronic copies are available via Google books at a heavily discounted price.
November 7th, 2011| DRM, Scrapbook | Comments:Kommentek: 0
Unfortunately, the side effect in this less-than-successful attempt to fight piracy is the hours it takes users to retrieve, rip, and back up their music when a services shuts down, is sold, or simply decides DRM wasn’t the right way to go sometimes in as little as five months. The following is a brief history of the rise and fall of DRM in music services.
Today’s digital, global, on-demand media landscape has had only minimal effects on Hollywood’s “windowing” addiction—pushing out films in stages to theaters, then pay-TV, then satellite, then physical rental. Studios are continuing to push their “buyers only” window during which a film could be purchased at stores like Wal-Mart, but would not yet be available for rental.Blockbuster won’t go along with the request to delay new release rentals for 28 days after they first go on sale. In retaliation, Warner Bros. has refused to sell films directly to the chain, forcing Blockbuster to source those movies elsewhere. It’s the same tactic used by the studios on RedBox, which doesn’t get DVDs for rental until they have been on the retail market for four weeks.“The question is: how do we make ownership more valuable and attractive?” Warner Bros. Home Entertainment President Kevin Tsujihara told the Financial Times. “We have started the process of creating a window in bricks-and-mortar DVD and Blu-ray rental.”Blockbuster can work around the studios’ wishes because DVDs and Blu-ray discs are physical objects and thus subject to the “first sale doctrine” in the US; after purchase, the seller can’t continue to exert control over the objects. That’s not true of online streaming and downloads, giving the studios much greater power to control the windows of services like Netflix.
Valve co-founder and managing director Gabe Newell has spoken out once again on the issue of piracy.Newell reiterates what he’s said on previous occasions. DRM doesn’t work and pirates are not per se after free stuff.“One thing that we have learned is that piracy is not a pricing issue. It’s a service issue,” he says.“The easiest way to stop piracy is not by putting antipiracy technology to work. It’s by giving those people a service that’s better than what they’re receiving from the pirates.”“For example, Russia. You say, oh, we’re going to enter Russia, people say, you’re doomed, they’ll pirate everything in Russia. Russia now outside of Germany is our largest continental European market.”Newell argues that instead of hurting legitimate customers with DRM, you have to give them something that’s superior to the pirated counterpart.‘It doesn’t take much in terms of providing a better service to make pirates a non-issue,” Newell says.
This is strange on so many levels. Police and customs claim that they have seized a big time criminal gang operating an illegal warez service making thousands of copyrighted materials available for a fee.
In the same time the images they have taken show a pretty run down flat, definitely not the big time lair of the evil criminals we get used to in james bond movies despite of the few million hufs (few thousand euros) on the table.
On the other hand they boast about catching CINEDUB, a release group, which has little to do with selling warez for change.
add to this the masked squad, the wwII rifle and the coke+credit card on the mirror (from where did they get THAT?) and we land in a very-very unreal universe.
and the reason for this? hollywood put hungary on a blacklist for early CAM releases. apparently this is the operation that sent hollywood on its knees. 🙂
Miramax CEO Mike Lang and Netflix chief content officer Ted Sarandos gave a keynote talk at the MIPCOM conference. The two discussed the challenges they face in the continuously changing digital world. Both agreed that piracy is not much of an issue as long as you give consumers what they want. Digital monopolies, such as Apple’s dominance in the music industry, are a far bigger threat.
pirateIf we believe the words of the MPAA and RIAA, piracy is the root of all evil resulting in billions of dollars in losses every year.
However, not all of the big players in the entertainment business subscribe to this theory. During the MIPCOM conference where movie and TV moguls gather, Miramax CEO Mike Lang and Netflix chief content officer Ted Sarandos touched on the subject of piracy. Both appeared to have a rather positive stance towards the issue.
Lang, whose company today debuts the Blu-Ray version of the cult classic Pulp Fiction, emphasized that people don’t necessarily want to pirate, as long as they get what they want. “Innovate or die,” should be the motive of entertainment industry companies, where it’s key to listen to customers.
“Piracy has not been the bigger issue for our company,” Lang noted. “I think all consumers at some point in their life , whatever market of the world, don’t want to pirate. They really don’t.”
A court has overturned a 2010 ruling which said that blocking The Pirate Bay at the ISP level was “disproportionate”. The Antwerp Court of Appeal sided with the Belgian Anti-Piracy Federation in their quest to force two ISPs to block subscriber access to the world’s most famous torrent site. Belgacom and Telenet must now implement a DNS blockade of the site within 14 days or face fines.
September 25th, 2011| books, Scrapbook | Comments:Kommentek: 0
Amazon has finally announced its long-anticipated Kindle lending library, allowing Kindle and Kindle app users to borrow Amazon’s e-books from thousands of libraries across the US. Users will be able to find the Kindle books on their participating public library’s website and check them out through Amazon, which will send the book directly to users’ devices over Whispersync.”Libraries are a critical part of our communities and we’re excited to be making Kindle books available at more than 11,000 local libraries around the country,” Amazon’s Kindle director Jay Marine said in a statement. “We’re even doing a little extra here—normally, making margin notes in library books is a big no-no. But we’re fixing this by extending our Whispersync technology to library books, so your notes, highlights and bookmarks are always backed up and available the next time you check out the book or if you decide to buy the book.”The ability to make notes and highlights—and subsequently sync them back to the system for review later—is certainly a major plus. The downside, of course, is that the e-books have to be “returned” after a certain period of time, just like any other library book. Amazon doesn’t specify on its site how long the books are borrow-able for, but when asked, Amazon spokesperson Kinley Campbell said that the expiration time varies by library and by the book.”Generally [it will be] 7-14 days,” Campbell told Ars. “We recommend checking with local libraries on questions related to availability and specific books.”Seven to 14 days isn’t a lot of time to read an entire book for some people, but it’s hard to argue with free, borrowed books. Our only complaint with this announcement is that there seems to be no comprehensive list of the 11,000 participating libraries—even Amazon’s FAQ page about public library books remains vague on this question. The requirement is that the library offers e-books via third party service OverDrive, though, so it’s safe to assume that most major libraries will be participating to some degree or another. You Chicagoans out there get to be lazy, as I’ve already confirmed that Kindle books can be found via the CPL website.Edit: Removed links to Amazon due to technical CMS problems on our end. See comments for proper links for now.
September 25th, 2011| movies, Scrapbook | Comments:Kommentek: 0
10 things to remember about Netflix while scratching your head about Qwikster
Netflix DVD shipments “have likely peaked” and the company’s DVD subscriber base is declining. Already, 75% of Netflix’s new customers were signing up for streaming-only plans in the first couple of weeks after Netflix announced its price increases.
Netflix sees its strongest competition as “an improved MVPD service offering more Internet video on-demand.” MVPD stands for “multichannel video programming distributor,” and includes cable companies like Comcast, telcos like Verizon, and satellite companies like DirecTV. Don’t forget that DISH Network recently bought Blockbuster’s assets and is bidding on Hulu.
Netflix is expanding its streaming-only business internationally, but DVDs are only available to rent in the United States. Having a universal, worldwide definition of the Netflix brand — “streaming movies and TV shows for a monthly subscription fee” — is worth something.
Qwikster relies heavily on the U.S. Postal Service, which is in big trouble. Would you want to have to worry about that every day?
Netflix’s holy grail is to get each person, not each household, to have a separate streaming subscription, the way everyone also has a separate Facebook account. Separating a per-household service like DVD rentals-by-mail helps simplify that eventual transition.
Netflix was already physically separating the DVD business, with that team to be based in San Jose, whereas Netflix corporate HQ is in Los Gatos, Calif. Netflix also says that negotiating DVD and streaming deals is already largely a separate process, involving separate groups at the studios.
Eventually, Qwikster may decline enough or pivot into a different business to the point where Netflix may want to fully spin it off. Or sell it, or use it to buy other companies, or merge it with another company, ranging from Redbox to Best Buy to GameStop. Having a nondescript name that doesn’t suggest “mail” or “movies” is probably a good thing, given its unclear future.
Netflix was already planning some sort of next step for this shakeup. It teased on its last earnings call: “we’ve got a dedicated group, who actually have come up with some pretty neat ideas for how to improve the DVD service … and those improvements will roll out in Q4.” [PDF]
If Netflix finishes Q3 with 21.8 million streaming subscribers, as anticipated, it will still almost have as many video subscribers as Comcast, the largest U.S. cable company. Also: Most people who subscribe to digital TV services still aren’t Netflix subscribers, so they aren’t involved in the upheaval.
As before, Netflix’s biggest challenge is now to get more streaming content to make the service better, while preserving its value. Part of that means it needs to convince studios to stream more of their best content through Netflix. (Some of that content is still only available on a plastic disc.) That’s why Netflix is so adamant to separate itself from the DVD business and speed up streaming adoption for studios and consumers.
The deed is done. Copyright term extension for sound recordings from 50 to 70 years was adopted yesterday (12 September 2011) by qualified majority in the European Council. The remaining opposition came from Belgium, the Czech Republic, Luxembourg, the Netherlands, Romania, Slovakia, Slovenia and Sweden. Austria and Estonia abstained.
The chorus of approval has been led by aging artists, masking the fact that for more than a decade the lobby for copyright extension has been resourced by the multinational record industry. Labels do not want to lose the revenues of the classic recordings of the 1960s which are reaching the end of their current 50 year term. Rather than innovating, right holders find it much easier to exclude competition. Europe is in danger of locking away her music heritage just as digital technology is enabling the opening of the archives.
Rep. Zoe Lofgren (D-CA) has a rejoinder to those who argue copyright laws must be further strengthened: “I think if we were to do nothing on copyright law, we would be getting it just about right.”
Lofgren, who represents Silicon Valley, spoke this week at a meeting of the Intellectual Property Breakfast Club in Washington, DC. She offered her typically blunt assessments of digital copyright, arguing that “the focus on copyright has almost been an impediment for content owners to really embrace streaming and to really understand how to make money utilizing the Internet.” In her view, copyright was partially responsible for a mindset that focused too much on control just as the Internet was offering a different distribution model.
September 14th, 2011| books, Scrapbook | Comments:Kommentek: 0
The publishers allege that GSU’s hosting of over 6,700 works for 600 classes commits direct copyright infringement, due to the school officials directly uploading the material; contributory copyright infringement, due to inducing others to download, copy, and read the unlicensed material; and vicarious copyright infringement, due to profiting from the alleged illegal actions.The uploaded items range from 14 pages to a few hundred pages per course. In one instance, the publishers found an entire semester’s worth of readings—nearly 80 different uploads—for an Introduction to Anthropology class. Shortly after the complaint was filed, some of the online e-reserves required a GSU username and password; however, links to the e-reserves are still located on online syllabi and course websites.GSU rebutted the claims, saying it was protected by fair use and “sovereign state immunity,” a doctrine that generally protects states and their entities from being sued by citizens. Judge Orinda Evens agreed in part with the defense dismissing the direct and vicarious infringement claims. In the first instance, she concluded that none of the named defendants directly engaged in the infringement, while in the latter instance she found no evidence that GSU profited from the alleged uploading. Evens pointed to professors who claimed they only upload material if they believe students would not buy the text if it were assigned, and who say that professors would stop using the system if they had to pay licensing fees.
Olvasni?… Manapság?
Beszélgetés Bodó Balázzsal Avagy olvasásnak számít-e az újság? Irodalom-e a ponyvaregény? Tulajdonképpen mit értünk ma olvasás alatt, és olvasunk-e még egyáltalán, úgy igazából, mint régen? Bodó Balázzsal beszélgettem, a BME egyetemi adjunktusával.
Olvasunk még manapság?
Ha úgy definiáljuk az olvasást, hogy egy írott szöveg befogadása, és így belefér a fogalomba a Facebook és az SMS olvasás, akkor nagyon is. De ez persze keveset mond arról, hogy mennyi időt töltünk, és főként hogyan boldogulunk nehezebb szövegek forgatásával. Itt sejtenek nagy váltást azok, akik ezzel foglalkoznak. Úgy tűnik, hogy bár az internet nagy szolgálatot tett az olvasásnak a maga szöveg-alapúságával, az is biztos, hogy ez a fajta olvasás, nem ugyanaz az olvasás, mint amikor egy könyvbe mélyedve veszünk el a szöveg univerzumában.
Környezetünk, családunk, kultúránk előírhatja, hogy mit olvassunk?
Az biztos, hogy időnként megpróbálja, lásd az iskolai kötelező olvasmányok esetét. De épp a tantervben szereplő szövegek és az érettségi tételek kapcsán az is nyilvánvaló, milyen irgalmatlanul nehéz feladat összeállítani egy olyan irodalmi minimumot, ami nem csak „fontos”, nem csak „értékes”, nem csak „nemzeti”, – jelentsenek ezek a fogalmak bármit -, de adott esetben kortárs, releváns, olvasmányos, ne adj isten, szórakoztató is. Ha a külső elvárások mellé nem társul – épp többek között ez utóbbi szempontokból fakadó – belső motiváció az olvasásra, akkor az előírások épp az ellenkező hatást érik el, mint amire szántuk őket.
Akkor talán nem is fontos ebben a médiával behálózott világban, hogy olvassunk?
Dehogynem! De ugyanakkora veszteség lenne, ha nem fényképeznének vagy nem hallgatnának zenét vagy nem néznénk filmeket. Ezeken a médiumokon mind születtek csodák, kiemelkedő alkotások, és ezek ugyanúgy részei a közös műveltségünknek, mint az írott szó. Számomra az olvasás/ nem olvasás kérdésénél fontosabb az, hogy megmarad-e az gyerekeink kíváncsisága az iránt, hogy ezeket a csodákat – legyenek azok könyvbe vagy zeneműbe rejtve – felfedezzék. Ha ez a kíváncsiság megvan, akkor olvasni is fognak, ha nincs, akkor meg úgyis minden elveszett.
Mennyire fontos a mai fiatalokat, gyerekeket olvasásra nevelni?
Ugyanannyira, mint filmnézésre és zenehallgatásra vagy éppen a természet szeretetére nevelni. Engem, megvallom, kicsit zavarba hoz, ha az olvasást fetisizálni látom, mert rögtön felmerül bennem a gyanú, hogy ha ez ennyire fontos, akkor majd nyilván kényszeresen fogunk majd tenni akarni érte. Márpedig pont az olvasásra nem hiszem, hogy kényszeríteni lehetne (vagy kellene) bárkit is. Vicces is elképzelni azt a szituációt, ahol a szülők mondjuk maguktól nem olvasnának, de a gyereket erővel olvasásra nevelik. A három és fél éves gyerekemen azt látom, hogy az olvasás ragadós. Az ő életének természetes része a könyv, de nem azért, mert arra tudom kényszeríteni, hogy vegye a kezébe a könyvet. A minap egyszer csak azt vettük észre, hogy eltűnt. Elkezdtük keresni a lakásban, azt láttuk, hogy minket utánozva lefeküdt a kanapéra és egy könyvet lapozgatott. Nem tanítottuk rá, nem mondtuk neki, hogy feküdjön le és olvasson, csupán csak ezt látja mintaként és ez számára a természetes. De az olvasás csupán egy csatornája a világ felkutatásának, nem jobb és nem is rosszabb, mint a rádió, a film, vagy a tévé.
Örökség volna az olvasás?
Egy ideig örökség, de aztán választás és szokás, és persze néha kín, néha élvezet.
Ön minek alapján választ olvasmányt?
Az elolvasott könyvek kisebb része kerül tervezetten, programszerűen a kezembe, nagyobb részüket egy-egy engem ért aktuális inger, vagy véletlen nyomán kezdem olvasni. Amit most éppen befejeztem, az Vekerdinek a Családom történeteiből, mert a párom ezt olvasta. Őmiatta vettem elő újra Parti-Nagy A fagyott kutya lábát-ját, de annyira nyomasztott, hogy félretettem. Alexander R. Galloway és Eugene Thacker The Exploit-ja szakmai érdeklődésből került a kezembe, akárcsak Tim Wu The Master Switch-e. Tóth Kriszta, Rakovszky Zsuzsa könyvei be vannak tervezve, de még nem vettem meg őket. Letöltöttem viszont egy Charles Stross nevű általam nem ismert sci-fi szerző életművét, mert nagyon dicsérték, és gondoltam belenézek, mielőtt döntenék róla, hogy megveszem-e. Azt gondolom, hogy a mostani internetes beszélgetések arra bizonyosan jók, hogy az olvasók kedvet kaphassanak egy-egy könyvhöz. Ahhoz, hogy ez jól tudjon működni, arra is szükség van, hogy ezeket az impulzusokat minél könnyebben ki lehessen elégíteni, azaz minél könnyebben lehessen az érdeklődést vásárlássá fordítani. Ez a nyomtatott könyv világában minimum 2-3 napnyi várakozás, az online világban lehetne akár egy kattintás is…
“We’re a broken record on this,” Newell told me,. “This belief that you increase your monetization by making your game worth less through aggressive digital rights management is totally backwards . It’s a service issue, not a technology issue. Piracy is just not an issue for us.”And it’s not because Steam avoids regions of the world known for their software piracy, they actually embrace them.”When we entered Russia everyone said, ‘You can’t make money in there. Everyone pirates,'” Newell said.But when Valve looked into what was going on there they saw that the pirates were doing a better job of localizing games than the publishers were.”When people decide where to buy their games they look and they say, ‘Jesus, the pirates provide a better service for us,'” he said.So Valve invested in getting the games they sold there localized in Russian. Now Russia is their largest European market outside of the UK and Germany.”The best way to fight piracy is to create a service that people need,” he said. “I think publishers with strict DRM will sell less of their products and create more problems.
BitTorrent is no longer the dominant player when it comes to file-sharing on the Internet. The five largest English language websites dedicated to swapping files are all related to centralized file-hosting services, also known as cyberlockers. The Pirate Bay and Torrentz are the only BitTorrent sites that managed to secure a spot in the top 10.
It’s been a week since Fox stopped offering free access to its TV-shows the day after they air on television. The TV-studio took this drastic step in the hope of getting more people to watch their shows live and thus make more revenue. TV-viewers, however, are outraged by the decision and have massively turned to pirated sources to watch their favorite shows.
One of the main motivations for people to download and stream TV-shows from unauthorized sources is availability. If fans can’t get a show through legal channels they turn to pirated alternatives.
This is one of the reasons why Hulu drastically decreased TV-show piracy in the U.S. Viewers are happy with the legal streaming option it offers them, but not all studios see that as a success.
Starting last Monday, Fox began delaying the availability of new episodes on Hulu and Fox.com for 8 days. The decision goes directly against the wishes of the public but Fox will take this disappointment as collateral damage in the hope that the delay will result in more live viewers and better deals with cable and satellite distributors.
When the plan was first announced last month we predicted that it could lead to a significant boost in online piracy of Fox shows, and this does indeed turn out to be the case.
Over the last week TorrentFreak tracked two Fox shows on BitTorrent to see if there was an upturn in the number of downloads compared to the previous weeks, and the results are as expected. For both Gordon Ramsay’s Hell’s Kitchen and MasterChef the download numbers have surged.
During the first 5 days, the number of downloads from the U.S. for the latest episode of Hell’s Kitchen increased by 114% compared to the previous 3 episodes. For MasterChef the upturn was even higher with 189% more downloads from the U.S. For MasterChef; the extra high demand may in part have been facilitated by the fact that it was the season finale.
Aside from BitTorrent, there are of course many other options for people to catch up with a missed episode. YouTube for example, from where tens of thousands of people streamed the latest Hell’s Kitchen episode.
Instead of Hulu or Fox, the pirates get the praise. On YouTube and BitTorrent sites many users thank the uploaders for making the shows available.
“You so rock and allowed me to keep my promise to my son. I promised if he cleaned for one hour he could watch Hell’s Kitchen with me. He was excited and then disappointed that we couldn’t watch it on Hulu or Fox.com,” WithurShield writes.
“Thanks a lot for uploading these, Hulu used to be my go-to but alas, they have failed me,” minniemica adds.
On the other hand, several users who went to Hulu expecting to see a fresh episode left comments berating Fox (although most target Hulu) for their decision not to make the episodes available for free.
“I couldn’t believe what I was seeing when I went to Hell’s Kitchen and Master Chef. Right in the middle of the series idiot at Hulu decided to through in the pay services. At least have the decency to wait till the end [sic],” one commenter writes on Hulu.
“What I don’t like is up until now I have been able to watch the episode of Hell’s Kitchen the day after it airs and all of a sudden they now want me to pay for it?” another commenter adds.
There is no doubt that the Hulu delay is not in the best interests of TV-viewers. Although it might be a good business decision in the short term, one has to doubt whether driving people to ‘pirated’ content is a wise choice. To many viewers it is clearly a step backward.
Instead of artificial restrictions the public demands flexibility when it comes to entertainment. They want to decide when and where they want to watch something, and right now video streaming sites, BitTorrent and even the old VCR do a better job at this than Fox.
“I’m going to go buy a DVR or dust off my VCR and I will be recording my tv shows from now on,” a commenter writes on Hulu.
Yet piracy has not exactly swept the world. It is endemic in some countries but a niche activity in others. In some places the tide is flowing; in others it appears to be ebbing. In response, media firms are moving their resources from country to country, with potentially large consequences for the global flow of popular culture.
I am at the Global Congress on Intellectual Property and the Public Interest. I am in two panels and leading a third, so it will be a busy week ahead. Check out the program.
August 19th, 2011| isps, Scrapbook | Comments:Kommentek: 0
The report shows that BitTorrent traffic has very a different impact depending on the place an ISP has in the network. Higher tier companies mostly profit from BitTorrent downloads, while lower tier companies are charged for the downloading habits of their consumers. According to the researchers the Internet providers should be aware of the impact BitTorrent has on them, as it may greatly impact their business decisions.
The fact that ‘local’ BitTorrent traffic is preferable is not a new idea. Attempts to keep P2P transfers within the local network as much as possible are not new, and some ISPs have secretly tested the concept in the wild by seeding their own BitTorrent downloads.
As a closing remark we have to note that the study only looked at bandwidth, and not the various other costs BitTorrent traffic has on a network by making millions of connections every day. The takeaway message, however, is that in terms of revenue there are quite a few very large companies that profit directly from heavy BitTorrent users. That’s a conclusion we haven’t heard before.
August 18th, 2011| music, Scrapbook | Comments:Kommentek: 0
In 2011, art and culture exist as DIGITAL MEDIA, and it is naive to think it will not be leaked or downloaded or shared or “stolen” repeatedly. It is just a fact of life. People need to decide for themselves if they want to steal or not. And if they DO then they can decide if and how to follow up with support. If you download leaked music, and you enjoy it, why not go buy an official copy? It seems fair. You are not obligated to do this, it is just a choice. Do you enjoy the artist? IF YOU ENJOY, THEN SUPPORT. If not, then simply carry on. It takes a LOT of time and energy for artists to create their craft, and even more time and energy for them to prepare a release, and to distribute it. You can support what you love in many ways, and in a sense you vote with your dollar.
Joe Karaganis, from SSRC, points us to the news that there’s been yet another such study… and this one is from HADOPI, itself. Yes, the French agency put together to kick people off the internet for file sharing did a study on the nature of unauthorized file sharing, too. Not surprisingly and consistent with every other study we’ve seen on this topic, it found that those who spend a lot of money on content… were much, much, much more likely to also get content through unauthorized means.
IPR Infringements and Enforcement – Accounting for Socio-Economic, Technical and Dvelopment Variables
:
Atteintes aux droits de propriété intellectuelle et application des droits – la prise en consideration des variables socioéconomiques, techniques et en rapport avec le développement
:
Infracciones y observancia de los derechos de propiedad intelectual. La toma en consideración de las variables socioeconómicas, técnicas y de desarrollo
As was widely reported last week, several major internet access providers including, very likely, yours struck a deal last week with big content providers to help them police online infringement, educate allegedly infringing subscribers and, if subscribers resist such education, take various steps including restricting their internet access. We’ve now had a chance to peruse the lengthy “Memorandum of Understanding” MOU behind this deal. Turns out, as is often observed, the devil is in the details – and they are devilish indeed.
July 28th, 2011| Scrapbook, tv | Comments:Kommentek: 0
Starting in two weeks, Fox will no longer offer free access to its TV-shows the day after they air on television. For TV-fans the decision to limit the availability of these show is a step backward, and all the signs indicate that TV-show piracy will once again surge in the United States. But whether Fox will care much about this piracy increase remains to be seen.foxWhen Hulu first launched in 2008 there was an immediate effect on the piracy rates in the United States.Having a free, legal and on-demand option to catch up with missed TV-shows suddenly made BitTorrent a less urgent need.
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This archive contains 18,592 scientific publications totaling
33GiB, all from Philosophical Transactions of the Royal Society
and which should be available to everyone at no cost, but most
have previously only been made available at high prices through
paywall gatekeepers like JSTOR.
Limited access to the documents here is typically sold for $19
USD per article, though some of the older ones are available as
cheaply as $8. Purchasing access to this collection one article
at a time would cost hundreds of thousands of dollars.
Also included is the basic factual metadata allowing you to
locate works by title, author, or publication date, and a
checksum file to allow you to check for corruption.
ef8c02959e947d7f4e4699f399ade838431692d972661f145b782c2fa3ebcc6a sha256sum.txt
I've had these files for a long time, but I've been afraid that if I
published them I would be subject to unjust legal harassment by those who
profit from controlling access to these works.
I now feel that I've been making the wrong decision.
On July 19th 2011, Aaron Swartz was criminally charged by the US Attorney
General's office for, effectively, downloading too many academic papers
from JSTOR.
Academic publishing is an odd systemΓΓé¼ΓÇ¥the authors are not paid for their
writing, nor are the peer reviewers (they're just more unpaid academics),
and in some fields even the journal editors are unpaid. Sometimes the
authors must even pay the publishers.
And yet scientific publications are some of the most outrageously
expensive pieces of literature you can buy. In the past, the high access
fees supported the costly mechanical reproduction of niche paper journals,
but online distribution has mostly made this function obsolete.
As far as I can tell, the money paid for access today serves little
significant purpose except to perpetuate dead business models. The
"publish or perish" pressure in academia gives the authors an impossibly
weak negotiating position, and the existing system has enormous inertia.
Those with the most power to change the system--the long-tenured luminary
scholars whose works give legitimacy and prestige to the journals, rather
than the other way around--are the least impacted by its failures. They
are supported by institutions who invisibly provide access to all of the
resources they need. And as the journals depend on them, they may ask
for alterations to the standard contract without risking their career on
the loss of a publication offer. Many don't even realize the extent to
which academic work is inaccessible to the general public, nor do they
realize what sort of work is being done outside universities that would
benefit by it.
Large publishers are now able to purchase the political clout needed
to abuse the narrow commercial scope of copyright protection, extending
it to completely inapplicable areas: slavish reproductions of historic
documents and art, for example, and exploiting the labors of unpaid
scientists. They're even able to make the taxpayers pay for their
attacks on free society by pursuing criminal prosecution (copyright has
classically been a civil matter) and by burdening public institutions
with outrageous subscription fees.
Copyright is a legal fiction representing a narrow compromise: we give
up some of our natural right to exchange information in exchange for
creating an economic incentive to author, so that we may all enjoy more
works. When publishers abuse the system to prop up their existence,
when they misrepresent the extent of copyright coverage, when they use
threats of frivolous litigation to suppress the dissemination of publicly
owned works, they are stealing from everyone else.
Several years ago I came into possession, through rather boring and
lawful means, of a large collection of JSTOR documents.
These particular documents are the historic back archives of the
Philosophical Transactions of the Royal SocietyΓΓé¼ΓÇ¥a prestigious scientific
journal with a history extending back to the 1600s.
The portion of the collection included in this archive, ones published
prior to 1923 and therefore obviously in the public domain, total some
18,592 papers and 33 gigabytes of data.
The documents are part of the shared heritage of all mankind,
and are rightfully in the public domain, but they are not available
freely. Instead the articles are available at $19 each--for one month's
viewing, by one person, on one computer. It's a steal. From you.
When I received these documents I had grand plans of uploading them to
Wikipedia's sister site for reference works, WikisourceΓΓé¼ΓÇ¥ where they
could be tightly interlinked with Wikipedia, providing interesting
historical context to the encyclopedia articles. For example, Uranus
was discovered in 1781 by William Herschel; why not take a look at
the paper where he originally disclosed his discovery? (Or one of the
several follow on publications about its satellites, or the dozens of
other papers he authored?)
But I soon found the reality of the situation to be less than appealing:
publishing the documents freely was likely to bring frivolous litigation
from the publishers.
As in many other cases, I could expect them to claim that their slavish
reproductionΓΓé¼ΓÇ¥scanning the documentsΓΓé¼ΓÇ¥ created a new copyright
interest. Or that distributing the documents complete with the trivial
watermarks they added constituted unlawful copying of that mark. They
might even pursue strawman criminal charges claiming that whoever obtained
the files must have violated some kind of anti-hacking laws.
In my discreet inquiry, I was unable to find anyone willing to cover
the potentially unbounded legal costs I risked, even though the only
unlawful action here is the fraudulent misuse of copyright by JSTOR and
the Royal Society to withhold access from the public to that which is
legally and morally everyone's property.
In the meantime, and to great fanfare as part of their 350th anniversary,
the RSOL opened up "free" access to their historic archivesΓΓé¼ΓÇ¥but "free"
only meant "with many odious terms", and access was limited to about
100 articles.
All too often journals, galleries, and museums are becoming not
disseminators of knowledgeΓΓé¼ΓÇ¥as their lofty mission statements
suggestΓΓé¼ΓÇ¥but censors of knowledge, because censoring is the one thing
they do better than the Internet does. Stewardship and curation are
valuable functions, but their value is negative when there is only one
steward and one curator, whose judgment reigns supreme as the final word
on what everyone else sees and knows. If their recommendations have value
they can be heeded without the coercive abuse of copyright to silence
competition.
The liberal dissemination of knowledge is essential to scientific
inquiry. More than in any other area, the application of restrictive
copyright is inappropriate for academic works: there is no sticky question
of how to pay authors or reviewers, as the publishers are already not
paying them. And unlike 'mere' works of entertainment, liberal access
to scientific work impacts the well-being of all mankind. Our continued
survival may even depend on it.
If I can remove even one dollar of ill-gained income from a poisonous
industry which acts to suppress scientific and historic understanding,
then whatever personal cost I suffer will be justifiedΓΓé¼ΓÇ¥it will be one
less dollar spent in the war against knowledge. One less dollar spent
lobbying for laws that make downloading too many scientific papers
a crime.
I had considered releasing this collection anonymously, but others pointed
out that the obviously overzealous prosecutors of Aaron Swartz would
probably accuse him of it and add it to their growing list of ridiculous
charges. This didn't sit well with my conscience, and I generally believe
that anything worth doing is worth attaching your name to.
I'm interested in hearing about any enjoyable discoveries or even useful
applications which come of this archive.
- ----
Greg Maxwell - July 20th 2011
gmaxwell@gmail.com Bitcoin: 14csFEJHk3SYbkBmajyJ3ktpsd2TmwDEBb
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Discovering behaviors and attitudes related to pirating content
Today’s consumers can access an astonishing variety of movies, videos, and television shows — on multiple platforms — faster than ever before. With so much content at their fingertips, what compels some consumers to commit online piracy by downloading or streaming content illegally?
July 13th, 2011| books, Scrapbook | Comments:Kommentek: 0
The publisher says it tried everything it could to stamp out these unauthorized copies, but it was unable to stop the flood — and it’s a good thing it couldn’t, since the book rocketed to the No. 1 slot. It has since fallen to No. 2. Although it remains to be seen how many books get sold when the official version is available, there’s no question that the publisher and the author have effectively gotten millions of dollars worth of free marketing for their title. The publisher admits it has spent virtually nothing on marketing so far, but has already boosted the size of the print run.
July 12th, 2011| Scrapbook | Comments:Kommentek: 0
Today, Netflix announced that they are raising rates on monthly plans that allow customers to get unlimited streaming and one DVD out at a time. The plan which originally cost $9.99 a month will now cost $15.98 a month.
In addition, the company is now splitting out streaming only plans from DVD plans and consumers can get an unlimited streaming plan for $7.99 a month, or one DVD out at a time for $7.99 a month.
Essentially, Netflix is making people decide if they really want DVDs as part of their streaming subscription and if they do, requiring them to pay nearly $6 more for it per moth.
In November of last year, Netflix raised DVD plans between $1-$3 per month, depending on the plan you were in and now, only eight months later, they are raising rates again. This is a bad move on Netflix’s part, but one that’s not surprising as they look for ways to generate more revenue. With their licensing costs skyrocketing and the company aggressively pursuing more content deals for their expansion into Latin America, Netflix is feeling the pressure.
Now, they are forcing people like me who were paying $9.99 a month, to drop to a streaming only plan at $7.99 a month. That’s $24 in revenue they are missing out from one customer, per year, and they are going to be millions like me who make that decision. Typically, I only got one or two DVDs a month, so Netflix wasn’t losing money on me with the inclusion of DVDs in my plan. Now, when I want a DVD, I’ll simply go to Redbox and get it for $1 a night. Forcing customers to go somewhere else for DVD rentals, when even Netflix admits their is still a demand for then, really isn’t a smart move.
It was bad enough that Netflix gave in to the studios and agreed not to rent any new DVDs by mail for 28 days, just so the studios could force consumers to have to buy the DVDs instead. Now they are raising prices on DVD plans for the second time in 8 months and not increasing the selection and inventory of streaming only content fast enough or with content that’s a lot newer.
In January of 2008, Netflix confirmed it had about 12,000 titles available for streaming. In September of 2009, ads on their website put that number at 17,000. Today, it appears that Netflix has about 20,000 titles for streaming, although Netflix won’t confirm that number. If that number is accurate, it means that at any given time, Netflix has only added about 4,000 pieces of content a year for the past two years. That’s not a lot of content.
Netflix is going to have a real challenge continuing to grow their subscriber numbers each quarter when they continue to give customers less for their money each month and make their plans less valuable.
Added: When logging into my Netflix account, unless I click on “your account” and then select “change plan,” there is no notice that Netflix is going to raise my rate to $15.98 a month come September 1st. So unless you have heard of the news, imagine how many people are going to be surprised when they see their monthly fee change. Netflix should be highlighting this change to you immediately upon logging into their website.
Industries that rely on fair use exceptions to U.S. copyright law have weathered the recent slow economy better than other businesses, according to a new study released by a tech trade group.
The fair use industries, including consumer device makers, software developers, search engines and news organizations, had US $4.5 trillion in revenue in 2009, up from $3.4 trillion in 2002, according to the study, commissioned by the Computer and Communications Industry (CCIA) Association. Revenue peaked at $4.7 trillion in 2008 and 2009, said the study, by Capital Trade, an economic consulting firm.
Fair use industries in the U.S. employed 17 million people in 2009, about one out of every eight U.S. workers, according to the study, released Monday. The employment numbers were down from 17.7 million 2008.
“The fair use economy really held its own” during the recent recession, said Andrew Szamosszegi, co-author of the study.
Fair use businesses make up about 17 percent of the U.S. gross domestic product, according to the study.
The study shows the importance of fair use exceptions in copyright law, said Ed Black, CCIA’s president and CEO. While the entertainment industry and other groups push for tougher copyright laws, lawmakers should consider the impact of those laws on fair use and on its economic impact, he said.
At the D9 Conference this morning, Netflix CEO Reed Hastings credited his company with helping to beat piracy — at least in the U.S. Now, he says, the challenge is to outcompete copyright infringement in places like Korea, where it runs rampant.
“One of the things that we’re most proud of is we’re now finally beating BitTorrent,” Hastings told AllThingsD’s Kara Swisher. Thanks to services like Netflix, Hastings said most Internet video is now paid for in the U.S. The hard part for content providers, he said, was coming up with a service good enough that people were willing to pay for, rather than just searching for free content on the Internet. Netflix has been able to provide that service by making its streaming videos available across a vast number of devices, and giving subscribers access to a wide range of library content for a relatively low price.
Netflix has also enabled content owners to make money on shows they previously weren’t monetizing. Hastings offered up Joss Whedon’s Firefly as one example of a series that had a rabid fan base that couldn’t find it under legal means prior to appearing on Netflix. At the same time, he quelled any rumors that the company could bring Firefly back from the dead.
People don’t necessarily buy Blu-ray players for the discs, but to access Netflix instead. However, once they take the players home, they apparently decide to buy a few discs and see what all the fuss is about. Despite the massive growth of Netflix, Blu-ray users are beginning to buy more discs than they did in the two previous years, according to NPD. This means that Netflix may actually help Hollywood to sell Blu-ray discs by moving away from shipping discs itself.
American newspapers are in trouble, but in emerging markets the news industry is roaring ahead
Jul 7th 2011 | from the print edition
“WHO KILLED THE newspaper?” That was the question posed on the cover of The Economist in 2006. It was, perhaps, a little premature. But there is no doubt that newspapers in many parts of the world are having a hard time. In America, where they are in the deepest trouble, the person often blamed is Craig Newmark, the founder of Craigslist, a network of classified-advertising websites that is mostly free to use. Mr Newmark has been called a “newspaper killer” and “the exploder of journalism”, among other things. The popularity of Craigslist, the ninth most popular website in America, has contributed to a sharp decline in newspapers’ classified-advertising revenue (see chart 1)—a business where many newspapers have had comfortable local monopolies for decades. Sitting in a café in San Francisco, Mr Newmark looks an unlikely assassin. Did he kill newspapers? “That would be a considerable exaggeration,” he says with a smile.
The internet-driven fall in classified-ad revenue is only one of the reasons for the decline of newspapers in America, which started decades ago (see chart 2). The advent of television news, and then cable television, lured readers and advertisers away. Then the internet appeared in the 1990s. A new generation of readers grew up getting their news from television and the web, now the two leading news sources in America (the web overtook newspapers in 2010 and is already the most popular source among the under-30s).
These technological shifts hit American newspapers particularly hard because of their heavy reliance on advertising. According to the OECD, a club of developed countries, in 2008 America’s newspapers collectively relied on advertising for 87% of their total revenue, more than any other country surveyed. The 2008-09 recession made things worse. Between 2007 and 2009 newspaper revenues in France fell by 4%, in Germany by 10% and in Britain by 21%. In America they plummeted by 30%. On top of that, a series of mergers and acquisitions in the American newspaper business left many companies saddled with huge debts and pushed several into bankruptcy.
For American regional and metro-area newspapers, further job cuts, closures and consolidation now seem likely. In retrospect it is clear that the industry became too dependent on local advertising monopolies. “The real trouble that a lot of US news organisations have is that they are defined by geography—by how far trucks could go to deliver papers in the morning,” says Joshua Benton, head of the Nieman Journalism Lab at Harvard University. The internet has undermined that business model by providing alternatives for both advertisers and readers.
The health of newspapers is particularly important because they tend to set the agenda for other news media and employ the most journalists. In America, for example, the national television networks had around 500 journalists on their staff in 2009, compared with more than 40,000 for daily newspapers (down from 56,000 in 2001). But it would be wrong to conclude from the woes of American newspapers that newspapers and news are in crisis everywhere.
“The United States is the worst case that we see worldwide, and a lot of media news comes out of the US, so it is exceedingly negative. But the US experience is not being replicated elsewhere,” says Larry Kilman, deputy head of the World Association of Newspapers (WAN), an industry body. “There’s an assumption that there’s a single crisis affecting all news organisations, and that’s not the case,” says David Levy, director of the Reuters Institute for the Study of Journalism at Oxford University. “There are different kinds of crisis in different countries, and some countries in the developing world are experiencing expansion rather than decline.”
Newspapers in western Europe are having to manage long-term decline rather than short-term pain. In Germany, the biggest market, a 10% drop in revenue amid the worst recession in a generation “is not a terrible result”, says Rasmus Kleis Nielsen, a colleague of Mr Levy’s at the Reuters Institute and co-author with him of a recent book, “The Changing Business of Journalism and its Implications for Democracy”. That does not mean the German industry is immune to long-term changes. “But broadly speaking, the German industry has a large and loyal audience, strong brands and editorial resources to manage that transition,” says Mr Nielsen. Many European newspapers are family-owned, which helps to protect them in difficult times.
In Japan, home to the world’s three biggest-selling daily newspapers (the Yomiuri Shimbun alone has a circulation of more than 10m), circulation has held up well, in part because over 94% of newspapers are sold by subscription. But there is trouble on the horizon. Young Japanese do not share their elders’ enthusiasm for newsprint, and advertising revenues are dropping as the population ages.
The number of newspaper titles in Russia increased by 9% in 2009, but it might be no bad thing if a few newspapers died, particularly those “useless” titles that are merely mouthpieces for the local authorities that fund them, says Elena Vartanova, dean of the journalism school at Moscow State University. The Kremlin controls 60% of Russia’s newspapers and owns stakes in all six national television stations. In a country where newspapers were traditionally used as propaganda tools, online news sites offer an opportunity to break with the past. But there is a clear divide between the internet-savvy youth, who get their news online, and the old and rural populations, who depend on state-run television.
Hungry for news
There is certainly no sign of a news crisis in India, now the world’s fastest-growing newspaper market. Between 2005 and 2009 the number of paid-for daily newspapers in the country increased by 44% to 2,700 and the total number of newspapers rose by 23% to more than 74,000, according to the WAN. In 2008 India overtook China to become the leader in paid-for daily circulation, with 110m copies sold each day. Newspaper and magazine advertising expenditure increased by 32% in the year to June 2010, according to Nielsen India, a market-research firm.
Television news is also booming: of more than 500 satellite channels that have been launched in India in the past 20 years, 81 are news channels. The field is dominated by private firms with interests in both news and entertainment media, so the emphasis is on sensationalist, “Bollywoodised” coverage of celebrities, says Daya Thussu at the University of Westminster in London. Most news outlets are openly partisan. Thanks to India’s vast population, there is scope for growth in print media for years to come. “Indian publishers come to newspaper conferences and complain that it’s too focused on digital, not enough on print,” says Mr Kilman. But Mr Levy wonders whether the greater interest in news in fast-growing India and Brazil will prove to be a short-term phenomenon that will be undermined by the spread of internet access.
China is another market where news media are growing rapidly, but the strict controls on them have intensified in recent months. A private media industry was allowed to develop only in the 1990s. The combination of social change, increasingly savvy readers, a booming advertising market and the need to reconcile credibility among readers with state controls has created a very confusing environment, says David Bandurski at the University of Hong Kong. Media firms must dance skilfully “between the party line and the bottom line”, in the memorable phrase of Zhao Yuezhi, an analyst of the Chinese media scene.
Officially the state permits watchdog journalism, known as “supervision by public opinion”, but in practice news outlets are wary of offending local party officials. One way around this used to be for reporters to expose wrongdoing in other provinces, but a ban on “cross-regional” reporting put an end to that. Journalists must identify areas where muckraking will be permitted by officials, or ensure that their own political connections will provide them with sufficient cover.
A new tactic, which became particularly popular in China during 2010, is the use of microblogging services to release information anonymously in small chunks, notes Ying Chan, dean of the journalism school at Shantou University in China. Twitter is banned in China, so this is done using local clones of the service. Microblogging works well in China because it can be done on mobile phones, which are widespread, and Chinese characters allow an entire paragraph to be packed into a short message. Moreover, microblog posts are difficult to censor because they may not make sense unless they are all read in order.
Ms Chan describes the future for Chinese journalists as “both promising and perilous”. Journalists elsewhere would agree, though for different reasons. Like Tolstoy’s unhappy families, all unhappy in their own way, the news business faces different problems in different countries. To survive, news organisations will have to make the internet part of the solution.
The internet has turned the news industry upside down, making it more participatory, social, diverse and partisan—as it used to be before the arrival of the mass media, says Tom Standage
EVEN IF YOU are not a news junkie, you will have noticed that your daily news has undergone a transformation. Television newscasts now include amateur videos, taken from video-sharing websites such as YouTube, covering events like the Arab spring or the Japanese tsunami. Such videos, with their shaky cameras and people’s unguarded reactions, have much greater immediacy than professional footage. Messages posted on Twitter, the microblogging service, have been woven into coverage of these events and many others. “You have these really intimate man-in-the-street accounts, and you can craft a narrative around them,” says Jack Dorsey, co-founder of Twitter. A computer consultant in Pakistan unwittingly described the raid on Osama bin Laden’s compound in a series of tweets. The terrorist attacks in Mumbai in 2008, too, were reported on Twitter in real time by people who were there.
The past year has also seen the rise to fame of WikiLeaks, an organisation that publishes leaked documents supplied to it anonymously. WikiLeaks and its media partners have published detailed records of the Afghan and Iraq wars, hundreds of classified American diplomatic cables and records from the Guantánamo Bay detention centre. “We believe that true information does good,” says Julian Assange, WikiLeaks’ founder. “Our goal is not just to have people reading documents, but to achieve political reforms through the release of information.”
In January this year Al Jazeera, a news organisation based in Qatar, published its own cache of leaked documents, known as the Palestine Papers, which lifted the lid on more than a decade of Israeli-Palestinian negotiations. And by broadcasting amateur videos of the Tunisian uprising to its millions of satellite viewers across the Arab world, the channel played an active role in spreading the protests across the region. Among television news organisations it has led the way in integrating social media (such as tweets, Facebook posts and amateur online video) into its operations in order to engage with its increasingly wired audience. “The way we operate has changed because the landscape has changed dramatically,” says Moeed Ahmad, the firm’s head of new media.
Clearly something dramatic has happened to the news business. That something is, of course, the internet, which has disrupted this industry just as it has disrupted so many others. By undermining advertising revenue, making news reports a commodity and blurring the boundaries between previously distinct news organisations, the internet has upended newspapers’ traditional business model. But as well as demolishing old ways of doing things, it has also made new ones possible. As patterns of news consumption shift, much experimentation is under way. The internet may have hurt some newspapers financially, but it has stimulated innovation in journalism.
Reporters all
For consumers, the internet has made the news a far more participatory and social experience. Non-journalists are acting as sources for a growing number of news organisations, either by volunteering information directly or by posting comments, pictures or video that can be picked up and republished. Journalists initially saw this as a threat but are coming to appreciate its benefits, though not without much heart-searching. Some organisations have enlisted volunteers to gather or sift data, creating new kinds of “crowdsourced” journalism. Readers can also share stories with their friends, and the most popular stories cause a flood of traffic as recommendations ripple across social networks. Referrals from social networks are now the fastest-growing source of traffic for many news websites. Readers are being woven into the increasingly complex news ecosystem as sources, participants and distributors. “They don’t just consume news, they share it, develop it, add to it—it’s a very dynamic relationship with news,” says Arianna Huffington, co-founder of the Huffington Post, a news website in the vanguard of integrating news with social media.
As well as making Twitter, Facebook and Google part of the news ecosystem, the internet has also made possible entirely new kinds of specialist news organisations. It has allowed WikiLeaks, for example, to accept documents anonymously and publish them to a global audience, while floating in cyberspace above national jurisdictions, operated by a small, nomadic team. Other newcomers include a host of not-for-profit news organisations that rely on philanthropic funding and specialise in particular kinds of journalism. Many of these new outfits collaborate with traditional news organisations, taking advantage of their broad reach and trusted, established brands.
All these new inhabitants of the news ecosystem have brought an unprecedented breadth and diversity of news and opinion to the business. This has cast new light on a long-running debate about the politics of journalism: when there are so many sources, does political objectivity become less important?
This special report will consider all these trends in turn, starting with a look at the state of the industry and the new business models that are emerging. It will argue that as news becomes more social, participatory, diverse and partisan, it is in many ways returning to the more chaotic, freewheeling and politically charged environment of the era before the emergence of mass media in the 19th century. And although the internet has proved hugely disruptive to journalists, for consumers—who now have a wider choice than ever of news sources and ways of accessing them—it has proved an almost unqualified blessing.
According to Spanish newspaper El País, the investigation is focused on José Luis Rodríguez Neri, the head of an SGAE subsidiary called the Digital Society of Spanish Authors (SDAE). Neri faces charges of “fraud, misappropriation of funds and disloyal administration.” On Monday, a High Court judge grilled him for more than four hours over the charges.
Investigators say Neri made payments for non-existent services to a contractor that then paid kickbacks to Neri and his associates. The contractor’s books show that it received 5 million euros from SDAE, but only reported 3.7 million euros of those funds to tax authorities.
Although Neri is the focus of the investigation, investigators suspect he did not act alone. A total of nine people associated with SGAE, including its chairman Teddy Bautista, were detained on Friday and Saturday. They were released on Sunday without bail, but their passports have been taken and they are barred from leaving Spain.
The number of illegally downloaded films in the UK has gone up nearly 30% in five years, new figures suggest.
That research, from internet consultancy firm Envisional, indicates that the top five box office movies were illegally downloaded in the UK a total of 1.4 million times last year.
Film industry bosses say it is costing £170m every year and putting thousands of jobs at risk.
The research also shows a big rise in TV shows being pirated online.
Dr David Price led the the team which conducted the research and said there are four main reasons for the increase.
“We’ve seen increases in technology like faster broadband,” he said.
“The methods of piracy have become easier, with quicker downloads and easier to find content.
“We have a generation online now who aren’t really bothered about downloading things illegally.
“Finally it’s an issue of availability – there’s a lot of American content which a lot of people are desperate to download that they can’t get hold of legitimately.”
American Internet users, get ready for three strikes “six strikes.” Major US Internet providers—including AT&T, Verizon, Comcast, Cablevision, and Time Warner Cable—have just signed on to a voluntary agreement with the movie and music businesses to crack down on online copyright infringers. But they will protect subscriber privacy and they won’t filter or monitor their own networks for infringement. And after the sixth “strike,” you won’t necessarily be “out.”Much of the scheme mirrors what ISPs do now. Copyright holders will scan the ‘Net for infringement, grabbing suspect IP addresses from peer-to-peer file-sharing networks. If they see your IP address participating in a swarm for, say, Transformers, they will look up that IP address to see which ISP controls it, then fire off a message.ISPs have committed to forward such notices to subscribers—though, crucially, they won’t turn over actual subscriber names or addresses without a court order. This is a one-way notification process.
2011 márciusának végén bezárt a Songo.hu, Magyarország utolsó olyan internetes zeneáruháza, mely nemcsak magyar, de nemzetközi kiadók anyagait is árusította. Ezzel beállt abba a sorba, mint a korábban már bezárt, Magyar Telekom által üzemeltetett Track.hu, illetve a CLS kiadó Mp3music.hu zeneáruháza. Ma már csak egyetlen, letöltéses modellen alapuló zeneáruház, a Dalok.hu üzemel, a többiekhez képest sokkal szerényebb kínálattal, hiszen csak magyar előadók zenéit kínálja eladásra. A megszűnés különösen fájó a hazai jogvédő szervezeteknek és zenei tartalomtulajdonosoknak, hiszen a bevezetni tervezett „kalóztörvény” egyik kiindulópontja az volt, hogy létezik olyan legális forrás, ahonnan a zenei tartalmak jelentős része beszerezhető. A most kialakult helyzet viszont komoly munícióval szolgál azoknak, akik az illegális letöltést azzal védik, hogy legális módon nincs lehetőség zenei tartalmak beszerzésére.
Pedig a kezdetek optimizmusra adtak okot.
A 2000-es évek első évtizedének derekára a hazai szélessávú internetes hálózatfejlesztés eredményeképpen a fogyasztói oldalon megjelent az igény arra, hogy az interneten már ne csak szöveges tartalmat lehessen fogyasztani, hanem egyéb audiovizuálisakat is. Több oka is van annak, hogy első körben a zenei tartalmat kínáló online áruházak jelentek meg. Egy cd-nyi tömörített zenei tartalom letöltése maximum tíz percet vett igénybe, míg egy film esetében ez meghaladta volna az egy órát is az akkori sávszélességek mellett. További előny volt az is, hogy a zenei tartalmak jogtulajdonosai relatív koncentráltak voltak (a négy nemzetközi zenei kiadó és a korábbi állami monopóliumból átalakult Hungaroton). Optimizmusra adott okot az is, hogy 2005 közepére már félmilliárd zeneszámot töltöttek le az Apple Itunes Store-jából.
Eleinte biztatóan alakultak a forgalmi adatok, azonban 2008-ra a növekedés megállt, majd ugyanazzal a dinamikával csökkenésbe váltott. A legális online zeneletöltés sikertelenségének okait vizsgálva láthatjuk, hogy a kudarcban az értéklánc összes szereplője szerepet vállalt. A nemzetközi kiadók anyagaik átadásakor ragaszkodtak a másolásvédelmi technológiák bevezetéséhez. A digitális jogvédelmi (DRM) rendszereknek azonban megvan az a hátrányuk, hogy erősen korlátozzák a fogyasztó szabad választását a zenehallgatás tekintetében. A DRM rendszer platformfüggetlenségének hiánya a nem Windows-alapú számítógépek és különösen az okostelefonok piaci részesedésének robbanásszerű növekedésével jelentősen csökkentette a potenciális vásárlók számát, hiszen ezekkel már nem lehetett meghallgatni a megvásárolt zenéket. Nem segítette a piac fejlődését az a tény sem, hogy a nemzetközi kiadók nagyon szigorú területi korlátozással adták át anyagaikat, így a felvevőpiac Magyarországra korlátozódott. Ez viszont a méretgazdaságosság elérését akadályozta meg, hiszen nincsenek nagyságrendbeli különbségek fejlesztés, üzemeltetés és beruházás tekintetében egy 10 milliós vagy egy 100 milliós piac kiszolgálása esetén. Viszont egy tízszer akkora piac esetén tízszer gyorsabb megtérüléssel lehet számolni.
A kudarc egy másik oka az árban keresendő. Sajnos a nagykereskedelmi árak és a jogdíjak megállapítását követően kialakuló végfelhasználói ár sok esetben megegyezett a hagyományos cd-ével, sőt néha még meg is haladta azt. Mindezt úgy, hogy a megvásárolt virtuális zene – a digitális tömörítés miatt – rosszabb minőségű, mint a cd, illetve a hagyományos lemezekkel ellentétben nem adja meg a vásárlóknak a fizikai birtoklás érzetét. A közös jogkezelők piacromboló hatású, magas minimumdíjú jogdíjszámításának következtében az eladott zenék jelentős hányadánál a fizetendő jogdíj önmaga elérte a bruttó 70 forintot. Tovább drágította a végfelhasználói árakat a fizetési szolgáltatók magas tranzakciódíja is.
Az árak nem vették figyelembe a fogyasztási attitűd változását sem. Húsz-harminc évvel ezelőtt egy átlagos zenehallgató jellemzően 3-500 dalt tartalmazó kazetta- vagy lemezgyűjteménnyel rendelkezett, addig a mai zenefogyasztó akár tízezres repertoárt is hallgathat. Ez pedig azt jelenti, hogy az egy dalra jutó fajlagos szabadidő töredékére csökkent, így annak értéke is töredékére esett. Emellett pedig az átlag magyar internetfelhasználó az évek során úgy szocializálódott, hogy az interneten található tartalmak a szabad jószág kategóriájába esnek, így nem érez belső késztetést arra, hogy azokért fizessen.Mindezen körülmények miatt egyre szélesebb körben terjednek el azok a nézetek, melyek szerint a zenei kiadók már elvesztették a harcot, és csak idő kérdése, hogy mikorra válnak teljesen ingyenessé a zenei tartalmak. Egy biztos, a hagyományos üzleti modell az internetes zenefogyasztásban halott, ha már eleve nem halva született. Ma nincs a világon olyan fizetős, internetes zenei szolgáltatás, amely önmagában nyereséges lenne. Az oly sokszor példaként felhozott Apple zeneáruház is csak a magas fedezeti hányaddal rendelkező hardvereladás nyereségességéből keresztfinanszírozott, önmagában nem lenne életképes.
Persze az élet nem áll meg, a jogtulajdonosok, szolgáltatók újabb és újabb üzleti modelleket húznak elő a cilinderből. Pár éve a reklámalapú streamingszolgáltatások tűntek befutónak. Azonban az egyik legkomolyabb szolgáltatónak, a Spotifynak az a lépése, hogy megszünteti az ingyenes szolgáltatást (pontosabban annyira lekorlátozza, hogy az gyakorlatilag felér a megszüntetéssel), és havidíjassá teszi azt, mutatja, hogy ez a modell sem vált sikeressé. Hasonló alapon működik a pár hete Magyarországon elindított Superbox.hu, amely havidíjas konstrukcióban kínál korlátlanul zenét. Komoly hibája, hogy csak egyetlen nemzetközi kiadó anyagát tartalmazza, valamint a felhasznált technológia következtében mobileszközökön nem élvezhető. A korábbi hasonló hazai szolgáltatások tapasztalatait figyelembe véve sajnos ettől a szolgáltatástól sem várható komolyabb áttörés.
Végül pedig azoknak, akik lemaradtak a fizetős online zenei piac vesszőfutásáról, és szeretnék ugyanezeket a problémákat valós időben megfigyelni: „kapcsoljanak át” az ebookok piacára! Érdemes.
BE Broadband surveyed a few hundred customers and asked them whether they are aware of the Digital Economy Act, and how they think their file-sharing habits would change under the new law. The results are intriguing.
Of all the respondents who use file-sharing networks (85% of the total sample) more than 94 percent say they will not share less when the Digital Economy Act gets into full swing. Instead, the majority of the file-sharers say they will simply take measures to hide their IP-address, by using VPN and proxy services for example.
Rene Summer, Director of Government and Industry Relations at Ericsson, offers some similar suggestions. Speaking for Ericsson, Summer states that copyright holders should stop their calls for harsher anti-piracy legislation, and focus their attention on giving consumers what they really want.“Current restrictions have forced European consumers into a digital exile. Seeking an appropriate way to access legal digital content, and unable to satisfy this legitimate desire through a legitimate digital alternative, many resort to illegal file-sharing. Economic rights holders spare little expense in pursuing and prosecuting these individuals, and do not hesitate to ask courts or policymakers to mandate Internet service providers ISPs and other intermediaries to police such behavior,” Summer writes.
Torrent Stream Magic Player is a brand new add-on that allows users to stream video and music torrents directly in their browser. The Magic Player works with Chrome, Firefox, Opera and supports dozens of popular torrent sites including The Pirate Bay, isoHunt, BTjunkie and EZTV. It’s one of the first solutions to create a true video-on-demand experience directly in the browser.
– If ever Demoniod.com is seized by ICE or the upcoming COICO legislation it won’t matter.
– You simply type Demoniod.com into your browser as usual, the browser sends the address to the add-on, the add-on checks if Demoniod.com is on the list of sites to be redirected and immediately redirects you to the mirror site.
This happens in microseconds and completely transparent to you (the user).
We are informed by the BBC that the MPA is in the UK High Court today seeking to force the ISP British Telecom to block us from Stephen Fry’s web browser. Charming, we thought, bloody charming: “A Newzbin2 themed costume party, with horsehair wigs, and no-one invited us.” The MPA didn’t invite us, BT didn’t invite us, the court didn’t invite us. Team R Dogs would have loved to have had some say.What is worse is that it is a UK legal first: the first time anyone there has sought a blocking order in the High Court. The only blocking so far has been done by British Telecom using their Cleanfeed system to filter out kiddyporn sites on a list created by the Internet Watch Foundation, but that has been done without a court order.If the MPA get this injunction they will certainly, in the mould of the Internet Watch Foundation, start to add to the list other sites that offend them, e.g. the Pirate Bay. All of this will probably also be secret and, like us, not subject to an appeal or any due process.
Signing a deal that makes anyone a net profit participant in a Hollywood movie deal has always been a sucker’s bet. In an era where studios have all but eliminated first dollar gross and invited talent to share the risk and potential rewards, guess what? Net profit deals are still a sucker’s bet. I was slipped a net profit statement below for Harry Potter and The Order of the Phoenix, the 2007 Warner Bros sequel. Though the film grossed $938.2 million worldwide, the accounting statement below conveys that the film is still over $167 million in the red. Text continues below…harry potter net profits
Now on sale in some online marketplaces: cheap, illegal access to SciFinder, an extensive database of scholarly articles and information about chemical compounds run by a division of the American Chemical Society. The sellers are pirates, hawking stolen or leaked SciFinder account information from college students and professors.”There are reseller Web sites in China where we’ve purchased access to our own products for pennies on the dollar,” says Michael Dennis, vice president for legal administration and applied research at the Chemical Abstracts Service, the division that publishes SciFinder. “We’re shutting down hundreds of these every couple of months,” he says, though in some cases the publisher has trouble taking effective action against sites in other countries.
June 24th, 2011| isps, Scrapbook | Comments:Kommentek: 0
Some of the country’s largest Internet service providers are poised to leap into the antipiracy fight in a significant way.
After years of negotiations, a group of bandwidth providers that includes AT&T, Comcast, and Verizon are closer than ever to striking a deal with media and entertainment companies that would call for them to establish new and tougher punishments for customers who refuse to stop using their networks to pirate films, music and other intellectual property, multiple sources told CNET.
The sources cautioned that a final agreement has yet to be signed and that the partnership could still unravel but added that at this point a deal is within reach and is on track to be unveiled sometime next month.
The benefits of being on Facebook are fairly obvious by now: you can connect to friends and family and share things with them no matter where they are — and it’s all free! This quasi-public space is also owned and controlled by a corporate entity, however, and it has its own views about what kinds of behavior should be allowed. That inevitably raises questions about whether the site is engaging in what amounts to censorship — questions that resurfaced this week after a page belonging to film critic Roger Ebert disappeared, and a group of protesters in Britain found their content blocked. Who is watching the watchmen?
Friday nights in Romania under the Communist regime which came to an end in December 1989, friends and family would gather in front of their television sets, trying to guess what they were actually watching. Telephone calls would be made, film reference and theory books consulted. Such detective skills were required due to the government’s censorship tactics, which included screening foreign films both on television and in cinemas with their titles altered beyond recognition, their credit sequences removed, entire scenes eliminated, and dialogue ideologically “cleansed” through the subtitling process. 1 Coauthor and Romanian national Ioana Uricaru recalls that “God” was invariably translated as Cel-de-Sus, or “the one above,” and “church” as edificiu, or “edifice.” 2 Sometimes films playing in cinemas would differ dramatically at the beginning and end of their run as elements requiring excision came to the attention of officials. 3Subtitling was the translation method associated with government media channels. As such, it was considered official, professional, and proper—both “ideologically correct” and the industry standard. With subtitles, interference of the “original” is kept at a minimum. 4 As lines of text superimposed onto the film image, subtitles neither erase nor noisily intrude upon the foreign soundtrack. Consequently, they are often viewed as a clean technique that respects the source material by enabling it to remain intact. However, in Romania the identification of subtitling with “quality” translation was compromised by its close link to adjacent practices of content deletion and paraphrasing for the sake of ideological alteration. The role that subtitling played in making meaning palatable for the “party line” meant that this technique was, concurrently, subject to suspicion and distrust
Each new pocket of attention is harder to find: maybe your product needs to steal attention from that one TV obscure show watched by just 3% of the population between 11:30 and 12:30 AM. The next displacement will fragment the attention even more. When found, each new pocket is less valuable. There is a lot more money to be made in replacing hand-washing time with washing-machine plus magazine time, than there is to be found in replacing one hour of TV with a different hour of TV.
As TorrentFreak, one of the first blogs to report on the Locker case, points out: If only 10,000 of the alleged infringers pay a $2,000 settlement, it would net $20 million for Voltage and USCG. In comparison, The Hurt Locker grossed $17 million at the U.S. box office.
A Hamisítás Elleni Nemzeti Testület publikálta honlapján annak a felmérésnek eredményeit, amelyet 2011. március-április hónapban végeztek. Az online kérdőívre az ország 241 középiskolájának 17435 diákja válaszolt.
The United Nations Special Rapporteur on the promotion and protection of the right to freedom of opinion and expression has released an important new report that examines freedom of expression on the Internet. The report is very critical of rules such as graduated response/three strikes, arguing that such laws may violate the International Covenant on Civil and Political Rights Canada became a member in 1976. Moreover, the report expresses concerns with notice-and-takedown systems, noting that it is subject to abuse by both governments and private actors.On the issue of graduated response, the report states:he is alarmed by proposals to disconnect users from Internet access if they violate intellectual property rights. This also includes legislation based on the concept of “graduated response”, which imposes a series of penalties on copyright infringers that could lead to suspension of Internet service, such as the so-called “three strikes-law” in France and the Digital Economy Act 2010 of the United Kingdom.Beyond the national level, the Anti-Counterfeiting Trade Agreement ACTA has been proposed as a multilateral agreement to establish international standards on intellectual property rights enforcement. While the provisions to disconnect individuals from Internet access for violating the treaty have been removed from the final text of December 2010, the Special Rapporteur remains watchful about the treaty’s eventual implications for intermediary liability and the right to freedom of expression.In light of these concerns, the report argues that the Internet disconnection is a disproportionate response, violates international law and such measures should be repealed in countries that have adopted them
Global Congress on Public Interest Intellectual Property LawCall for Applications to ParticipateAugust 25-27, 2011American University Washington College of Law4801 Massachusetts Ave, NWWashington DC, 20016REGISTRATIONRegistration is now open to participate in one of the most important meetings on international intellectual property law and policy of the year.HOSTS AND SPONSORSAmerican University Washington College of Law WCL will host the inaugural Global Congress on Public Interest Intellectual Property August 25-27, 2011. The Global Congress will be co-hosted by WCL’s Program on Information Justice and Intellectual Property, Fundação Getulio Vargas’s Center for Technology and Society Brazil, the American Assembly at Columbia University and the International Centre for Trade and Sustainable Development Geneva. Sponsors include Google Inc., the Institute for Global and International Studies at George Washington University, Seattle University School of Law and the American University International Law Review the sponsoring journal for symposium publications. Other sponsors are currently being solicited.
The explosive growth of ereading is creating the biggest change to the publishing industry since Gutenberg. Bricks-and-mortar sales are declining as digital distribution and self-publishing rise. The rapid proliferation and adoption of ereading devices by tens of millions of US consumers are accelerating these trends.
As ebooks reshape the industry, publishers, booksellers, and device manufacturers need to understand trends and changes in consumption patterns quicker than ever before. Our latest survey uncovers consumer behaviors and attitudes towards ebooks that can help industry players face challenges and exploit opportunities in the brave new world of publishing.
Elastic Path's consumer research report on ebooks reveals:
Why are we so afraid of metal, of sexualization of anything seemingly opposite of the warm, living, animalistic and primal? Sexual augmentation in our era is dominated by these inorganic sexualities. Though dreaming of an eXistenZ-like future where all tech is biotech, gently embedded in a fleshy container, we find ourselves prior to it. But until sextech passes that uncanny valley, to meet us in the flesh, we’re the Borg from Star Trek. Robofucking, an abject, Ballardian collision of soft organic and hard synthetic. Inflatable penises, tongue extensions, fuckingmachines(.com). Erogenous zones visibly mechanical, audibly whirring, largely non-digital, and cold.
Mechanical sex is permeating even the most platinumb of mainstream culture now; as 2006 heard Justin Timberlake’s Future Sex/Love Sounds, 2010 bore witness to Christina Aguilera going Bionic. It’s losing its kink. In the technosexual millennium, porn is on tap in every household; cyber-sexting is redefining adolescent sexualities and the legislation around them.
Az elmúlt években a szerzői jogsértésekkel kapcsolatban leggyakrabban a fájlcserélő hálózatok kerültek szóba, a Facebook azonban mindig kimaradt. Pedig Christian Solmecke, a Wilde Beuger Solmecke Médiajogi Ügyvédi Iroda résztulajdonosa szerint több millió tinédzser gyakorlatilag a szerzői jogot megsértve internetezik. A közösségi portálon több millióan rendelkeznek saját profillal és az ott megjelentetett tartalmak miatt sokezer eurós kártérítési perek is indíthatók lennének.
A Facebookon a fiatalok megosztják ismerőseikkel a sztárok fotóit, YouTube-videóit, dalszövegeit vagy különböző könyvek beszkennelt oldalait. A jogász úgy véli, hogy egyetlen átlagos Facebook-tagnak akár 10 000, vagy 15 000 euróról szóló csekket is ki lehetne kézbesíteni. Az persze már más kérdés, hogy a szerzői jogi ügyekkel foglalkozó ügyvédek és a zene-, illetve a filmipar érdekeit képviselő szervezetek még nem fedezték fel ezt a számukra mindenképpen kincsesbányát jelentő világot.
A perek megnyerésére a jelenleg hatályos szerzői jogi törvények alapján elvileg jó esély lenne, és a felhasználók még csak nem is tudnának védekezni. A figyelmeztető levelek után hiába törölnék esetleg a linkeket vagy a videókat, a jogsértés ténye ettől még fennállna. Az ügyvéd számos példát felsorolt: egy sztár fotójának engedély nélküli nyilvánosságra hozatala büntethető csakúgy, mint a YouTube-videókra mutató hivatkozások megjelentetése. De az sem érezheti magát biztonságban, aki a saját, népszerű slágerek feldolgozásait játszó zenekarának felvételeit jelenteti meg. A zeneszámok eredeti előadója és kiadója ugyanis szintén kártérítési igénnyel léphet fel.
A dalszövegek sem jelentenek kivételt, mivel 70 éves szerzői jogvédelem vonatkozik rájuk. Végül, de egyáltalán nem utolsósorban az is büntethető, aki ilyen tartalmakat ugyan nem jelentet meg, de a rájuk való hivatkozásokat terjeszti az ismerősei, barátai körében. A jogász persze irreálisnak tartja elképzelését, ezzel a felvetéssel csupán érzékeltetni kívánta mekkora szükség lenne egy teljesen új szerzői jogi szabályozás kialakítására, amellyel kivédhető lenne, hogy fiatalok milliói naponta kövessenek el jogsértéseket. Jelenleg még csak nagyon ritkán küldenek az ügyvédek figyelmeztetéseket a Facebook-tagoknak, azonban félő, hogy hamarosan szabályos feljelentési és kártérítés kérési lavina indulhat el.
Responses to Amazon.com's hire of Laurence Kirshbaum as publisher have varied from worried to fear of a “dampening” effect on competition among delegates at the BEA conference.
Word that started to spread Sunday night was confirmed first thing Monday morning with the announcement that Kirshbaum, former TimeWarner c.e.o.-turned-agent, would be heading up Amazon's publishing operation in New York.
Everybody knew that an Amazon push into frontlist publishing was coming: the move into original genre books and the cooperation with Houghton Mifflin Harcourt was not enough to satisfy the giant's ever-hungry maw. Highly-placed executives from New York houses have been migrating to Amazon for a while, and the company ratcheted up expectations after circulating a recruiting letter for various personnel a few weeks back. The question was only when.
The news spread swiftly around the Javits Center even though the exhibition floor was not yet open, the first day of BEA being devoted to conference sessions. For Kirshbaum, it seemed a natural: as Workman's Bob Miller put it, “Larry missed running the whole show. Being an agent just wasn't the same.”
Independent booksellers took the news in their stride: “it didn't surprise” outgoing ABA president Michael Tucker, whose store is in San Francisco. Another major indie bookseller, Elliott Bay's Rick Simonsen (on Amazon's home turf of Seattle), saw it being “of more concern to publishers than to booksellers at this point. Remember, most booksellers have to deal with B&N's Sterling [publishing subsidiary] already. And Amazon will now get trapped in the real world!”
The proprietor of a store much closer to New York, who preferred to talk on background, said that given the state of Borders, and the likely difficulties Amazon may encounter with B&N, indies might actually get higher discounts on the books Amazon publishes since they will need a bricks and mortar storefront.
What people on the publishing side are feeling—again, off the record for the most part—is worried. Publishers, already feeling squeezed, have been feeling even more so since Monday morning.
Agent Richard Curtis, who doubles as proprietor of E-Reads, one of the earliest e-publishing and POD reprinters of out-of-print books, said: “I think Larry is an iconic branded figure in the American book business and will be the perfect person to bring the old and new worlds of publishing together.
The year 2010 was similar to 2009 in that the domestic box office hit a record high, once again, while the domestic video retail market was continuing its steady decline as consumers alter their home video viewing habits.Consumers are now opting to sign up for streaming and/or rental services, such as Netflix Inc. They are using video-on-demand services more and more, as they discover these services can be cost-effective.Unfortunately for studios, the revenue from VOD has not yet offset the resulting drop in DVD sale revenue, which was their top earner for more than a decade now.We tracked 415 titles in our database that were released on DVD in 2010, and among those titles, wholesale revenue dropped by 43.9% from $7.97 billion in 2009 to $4.47 billion in 2010. It is important to note that this does not include Blu-ray revenue, which grew significantly in 2010. It should also be noted that this sample of the video market does not include library titles, direct-to-video titles and TV on DVD, as well. When looking at the video retail market as a whole, consumer spending only declined 10.8% to $11.86 billion in 2010.The average wholesale price was relatively flat when compared with 2009, but there were significantly fewer units shipped, down 43.8% to nearly 226.0 million.On average, films shipped 545,000 units and made $10.8 million in wholesale revenue, off 52.4% from the $22.6 million average in 2009. In the past five years, average wholesale revenue posted a negative 13.7% CAGR.
Now, the cyberspace metaphor is thirty years old. You can see how violently it has been reshaped by the passage of time. It's not bad that these things happen — but you need to understand that these historical formulations are mortal. They're not false. It's not like the “information Superhighway” never existed. It existed. It got federal funding. There were political issues about it, newspaper stories. It's not false, it's just mortal. You don't want to tie your fate to such mortal things. Universities need to be places in our society where young people, who know very little — young, innocent, ignorant people — are put directly in touch with things that are less mortal than we are. Less mortal than we are — not more mortal than we are.
Anti-censorship campaigners compared the plan to China’s notorious system for controlling citizens’ access to blogs, news websites and social networking services.The proposal emerged an obscure meeting of the Council of the European Union’s Law Enforcement Work Party LEWP, a forum for cooperation on issues such as counter terrorism, customs and fraud.“The Presidency of the LEWP presented its intention to propose concrete measures towards creating a single secure European cyberspace,” according to brief minutes of the meeting.
Netflix knocked over a new milestone Monday: It now has more subscribers than the largest cable TV operator in the U.S.
Netflix's global subscriber base grew almost 70% over the past year, to 23.6 million users. With that audience, it dethroned Comcast (CMCSA, Fortune 500) as the country's biggest provider of subscription video content. More than 7% of Americans now subscribe to Netflix.
Those details came out Monday in Netflix's (NFLX) first-quarter report, in which the company reported earnings of of $60.2 million, or $1.11 a share. That's up from $32 million, or 59 cents a share, a year ago.
Revenue rose 46% to $719 million. Both figures topped Wall Street estimates, but shares fell 2.5% in after-hours trade on light forecasts for the second quarter.
Netflix knocked over a new milestone Monday: It now has more subscribers than the largest cable TV operator in the U.S.
Netflix's global subscriber base grew almost 70% over the past year, to 23.6 million users. With that audience, it dethroned Comcast (CMCSA, Fortune 500) as the country's biggest provider of subscription video content. More than 7% of Americans now subscribe to Netflix.
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Those details came out Monday in Netflix's (NFLX) first-quarter report, in which the company reported earnings of of $60.2 million, or $1.11 a share. That's up from $32 million, or 59 cents a share, a year ago.
Revenue rose 46% to $719 million. Both figures topped Wall Street estimates, but shares fell 2.5% in after-hours trade on light forecasts for the second quarter.
YouTube could become the latest to offer a movie rental service, challenging streaming sites such as Netflix.The entertainment news site The Wrap says Google is lining up deals with major Hollywood studios in order to launch the service. The story cited an anonymous executive at a studio that has signed on who said Sony Pictures Entertainment, Warner Brothers, Lionsgate and Universal have all licensed their movies to the service. Not everyone is on board — Paramount, Fox and Disney declined to join. Photo: Reuters<br>YouTube is preparing a video rental service according to one report.EnlargePhoto: ReutersYouTube is preparing a video rental service according to one report.Related ArticlesStrong earnings push S&P through key levelAnalysts Are Concerned Netflix’s Fun Run About To EndStrong earnings drive S&P through key levelRelated Topics Netflix Wal-Mart Hollywood Sony InvestmentGet Tech Emails & Alerts Stay connected with cutting edge technology news SampleYouTube has already gotten into the movie rental game with a few independent films. The service is currently in beta mode and the films are available for a 24-hr rent at the price of $2.99.A YouTube spokesperson said, “We've steadily been adding more and more titles since launching movies for rent on YouTube over a year ago, and now have thousands of titles available. Outside of that, we don't comment on rumor or speculation.”
I cordially invite you to the XVIII. International Book Festival, to the launch of my first book ‘Copyright Pirates’. The launch will take place on the 15th of Aprin, 3 PM in the Osztovits Levente hall.
The event will be in English!
. Szeretnélek benneteket meghívni a könyvbemutatómra április 15-én a nemzetközi Könyvfesztiválra, ahol a Szerzői jog kalózai című könyvemnek (http://www.typotex.hu/konyv/aszerzoijogkalozai) lesz több bemutatója is.
Aki a könyvtárosokat szereti azt 10.30-ra várom a Fogadó épület galériájába, ahol a szerzői jogi törvény könyvtárakban való gyakorlati alkalmazásáról lesz szó Fodor Klaudia Franciskával (Artisjus) és Fonyó Istvánnéval (BME OMIKK).
A hivatalos esemény pedig délután 3-kor lesz az Osztovits Levente teremben.
Állófogadás, pezsgő, a kalóz pdf-ek dedikálása, fun!
March 31st, 2011| Scrapbook | Comments:Kommentek: 0
A recent study on moral standards and whether some law breaking is socially acceptable has revealed an interesting stance on file-sharing among the public. Of those questioned in the study, 70% said that downloading illicit material from the Internet is acceptable. Three out four, however, felt it was completely unacceptable to then sell that product for profit.
“Myself and a few friends were very angry that certain people only seem to want to profit from recordings like the Toy album, so when we saw the eBay auction and heard of someone else selling discs for $55, I decide to upload it and give it away,” Brigstow told TorrentFreak.
Creative Destruction and Copyright Protection, a paper by the London School of Economics' Bart Cammaerts and Bingchun Meng, is an eye-opening look at the economics of file-sharing and music. The authors argue that an overall decline in consumer entertainment spending is to blame for the music industry's downturn, supporting their assertion with (for example), research showing that entertainment spending declined by 40 percent in households that didn't own computers (who probably weren't downloading!) over the period of overall decline for the industry.
March 23rd, 2011| isps, Scrapbook | Comments:Kommentek: 0
Rights holders from across the music and film industries have identified about 100 websites – including The Pirate Bay and “cyberlocker” sites – that they want internet service providers such as BT to block under new measures to tackle illegal filesharing.Under a voluntary code that is under discussion, content owners would pass evidence of illegal filesharing sites to ISPs, which would then take action against those sites.However, the proposals are fraught with complications. ISPs are understood to be open to the idea of cutting off access to some infringing sites, but argue that an impartial judge should decide which get blocked. It is also unclear whether content owners or ISPs would be liable to pay compensation to a site that argues that it has been unfairly censored.
There are two principle components of the new value chain of television hyperdistribution: the producer and the advertiser. An advertising agency is likely acting as an intermediary between these two, connecting producers to advertisers, working out the demographic appeal of particular programs, and selling ad payload into those programs; this is a role they already fulfill – although at present they work with the broadcast networks rather than the producers. There is no role for a broadcaster in this value chain; the audience has abandoned the broadcaster in favor of a direct relationship with the program provider. That said, the broadcasters are uniquely qualified to transform themselves into highly specialized advertising agencies, connecting advertisers to producers; this is something they already excel at.
This is clearly a viable economic model: the producer gets paid at least as much for their programming as they would have received from a broadcaster, and probably more; the advertiser gets a cheaper ad buy; and the audience continues to receive free television programs. This is a win-win-win scenario, unless you're a broadcaster.
March 21st, 2011| books, Scrapbook | Comments:Kommentek: 0
On Tuesday 1 March, several publishing offices in Europe were raided by inspectors from the European Commission. “They burst in like cowboys” said Francis Esménard, the president of French publisher Albin Michel, to journalists at 01net, even if “they were only going to find legal contracts”. Elsewhere, they seized smart phones and laptops from senior executives and no doubt ruined a good few lunches. No one likes to meet a Eurocrat at the best of times, but these ones may be beating the death knell of the publishing industry.The background to these raids is the agency model many big publishers have adopted to sell ebooks. Under this model, instead of selling the ebooks wholesale and allowing the retailer to set the price they charge the customers, the publisher itself sets the price of the ebooks and the retailer takes a commission. The potential problem with this arrangement is that it could, according to the EU commission statement explaining the raids, “violate EU anti-trust rules that prohibit cartels and other restrictive business practices”.
In a little over two months time, the long-awaited horror movie The Tunnel will receive its world premiere. Rather than a traditional theatrical release, the movie – which is set in abandoned real-life tunnels under Sydney, Australia – will make its debut online for free with BitTorrent. Simultaneously it will be released on physical DVD, to be distributed by Hollywood giant Paramount Pictures.
March 9th, 2011| books, Scrapbook | Comments:Kommentek: 0
Specifically, I saw that a self-published book could be offered on Kindle for 99 cents, and still turn a 35 cent profit. I was stunned! I walked around in a daze for, well, days, trying to explain to people what that meant. No one seemed impressed. To me it was like receiving the keys to the kingdom, and I immediately set a goal to become the world’s greatest 99-cent author.
Joe: Which, at this moment, you are. This fascinates me, because when Amazon began offering 70% to ebooks priced $2.99 and up, a lot of people considered staying at 99 cents to be slumming.
Which was naive. Coming from a legacy publishing background, I knew that 35% royalties were much better than anything the Big 6 offered. Even so, when I first got into this, I thought that cheap ebooks would be a loss lead, that would get people to read my more expensive books.
And yet, when I lowered the price of The List from $2.99 to 99 cents, I started selling 20x as many copies–about 800 a day. My loss lead became my biggest earner.
The injunction was the result of a lengthy and ongoing litigation process which dates back to 2006, and soon after it was awarded the record labels filed a claim to recoup damages said to have been caused by LimeWire. The labels calculated that the company behind the popular file-sharing client owes them up to a billion dollars.
The case dragged on and in recent weeks dozens of documents were submitted to the court in a noteworthy side-battle. To get to the bottom of how the music industry sets up licensing deals with other Internet companies, LimeWire subpoenaed internal emails from Apple, Amazon, Yahoo, Google, MySpace and others.
Thus far a quarter million pages of emails have been collected, leading LimeWire to draw some interesting conclusions. Among other things, they found that unauthorized downloads actually boosted the revenue of music labels, and that their income took a dive when LimeWire shut down.
Wikileaks represents a new type of (h)activism, which shifts the source of potential threat from a few, dangerous hackers and a larger group of mostly harmless activists — both outsiders to an organization — to those who are on the inside. For insiders trying to smuggle information out, anonymity is a necessary condition for participation. Wikileaks has demonstrated that the access to anonymity can be democratized, made simple and user friendly.
LibraryGoblin sez, “HarperCollins has decided to change their agreement with e-book distributor OverDrive. They forced OverDrive, which is a main e-book distributor for libraries, to agree to terms so that HarperCollins e-books will only be licensed for checkout 26 times. Librarians have blown up over this, calling for a boycott of HarperCollins, breaking the DRM on e-books–basically doing anything to let HarperCollins and other publishers know they consider this abuse.”
I've talked to a lot of librarians about why they buy DRM books for their collections, and they generally emphasize that buying ebooks with DRM works pretty well, generates few complaints, and gets the books their patrons want on the devices their patrons use. And it's absolutely true: on the whole, DRM ebooks, like DRM movies and DRM games work pretty well.
But they fail really badly. No matter how crappy a library's relationship with a print publisher might be, the publisher couldn't force them to destroy the books in their collections after 26 checkouts. DRM is like the Ford Pinto: it's a smooth ride, right up the point at which it explodes and ruins your day.
HarperCollins has some smart and good digital people (they're my UK/Australia/South Africa publisher, and I've met a ton of them). But batshit insane crap like this is proof that it doesn't matter how many good people there are at a company that has a tool at its disposal that is as dangerous and awful as DRM: the gun on the mantelpiece in act one will always go off by act three.
And that's why libraries should just stop buying DRM media for their collections. Period. It's unsafe at any speed.
I mean it. When HarperCollins backs down and says, “Oh, no, sorry, we didn't mean it, you can have unlimited ebook checkouts,” the libraries' answers should be “Not good enough. We want DRM-free or nothing.” Stop buying DRM ebooks. Do you think that if you buy twice, or three times, or ten times as many crippled books that you'll get more negotiating leverage with which to overcome abusive crap like this? Do you think that if more of your patrons come to rely on you for ebooks for their devices, that DRM vendors won't notice that your relevance is tied to their product and tighten the screws?
You have exactly one weapon in your arsenal to keep yourself from being caught in this leg-hold trap: your collections budget. Stop buying from publishers who stick time-bombs in their ebooks. Yes, you can go to the Copyright Office every three years and ask for a temporary exemption to the DMCA to let your jailbreak your collections, but that isn't Plan B, it's Plan Z. Plan A is to stop putting dangerous, anti-patron technology into your collections in the first place.
The publisher also issued a short statement: “HarperCollins is committed to the library channel. We believe this change balances the value libraries get from our titles with the need to protect our authors and ensure a presence in public libraries and the communities they serve for years to come.”
Josh Marwell, President, Sales for HarperCollins, told LJ that the 26 circulation limit was arrived at after considering a number of factors, including the average lifespan of a print book, and wear and tear on circulating copies.
As noted in the letter, the terms will not be specific to OverDrive, and will likewise apply to “all eBook vendors or distributors offering this publisher's titles for library lending.” The new terms will not be retroactive, and will apply only to new titles. More details on the new terms are set to be announced next week.
For the record, all of my HarperCollins ebooks are also available as DRM-free Creative Commons downloads. And as bad as HarperCollins' terms are, they're still better than Macmillan's, my US/Canadian publisher, who don't allow any library circulation of their ebook titles.
Free streaming services are replacing piracy as the chief culprit of music industry revenue loss in the minds of fiscally frustrated executives, if a number of panel discussions at a New York digital music conference are any indication.
People are listening to more music than ever before, but they are paying less for it, noted Russ Crupnick, a president at the analyst firm NPD Group, speaking at the Digital Music Forum East conference, held Thursday in New York.
Crupnick noted that the average consumer listened to music 19.7 hours a week in 2010, up from 18.5 hours per week in 2009. But at the same time, consumers have been buying less music. In 2010, only 50 percent of consumers purchased music, by either buying a CD or paying for a downloadable music track, down from 70 percent in 2006.
“We have lost 20 million buyers in just five years,” Crupnick said. Moreover, only about 14 percent of buyers account for 56 percent of revenue for the recording industry.
“Consumers have flipped us the bird,” Crupnick concluded, adding that the lost sales has thus far not been made up yet by other forms of revenue, such as concerts or merchandise sales.
The music industry has long expected that sales of music CDs would decline, as consumers move their libraries to computers and portable listening devices. Digital sales, however, have not made up for the shortfall on CD sales over the past decade. Last year, digital sales accounted for about 23 percent of all music sales, which is up only modestly from 14 percent in 2006, Crupnick said.
“We never really made the digital transformation,” he said.
The reasons behind this sales decline have been routinely debated at this conference over the past decade, the panelists noted. In years past, music executives put the blame on digital music piracy — the easy and free sharing of music with Internet software like BitTorrent — for eroding sales of recorded music.
At this year's conference, however, concern centered on the growing influence of free streaming Internet services, such as Pandora, MySpace, Spotify and even YouTube. Music listeners deploy YouTube as a streaming service, picking the songs they want to hear and minimizing the browser window, noted Eric Garland, who is the CEO and founder of BigChampagne, a media tracking company.
A piece in the Infocommunications and Law journal on pricing problems and piracy. In this piece I argue that the problem is not that pirates and ISPs are not willing to pay rightsholders, but that legitimate businesses cannot get the right price with which they could outcompete the black market. I argue that if there is a room for intervention, it must be concentrated on forcing rights holders to set a price which reflects local market realities, instead of forcing ISPs or their users to pay a levy for file-sharing. Read the rest of this entry »
The Hulu team is often asked about our thoughts on the future of TV. The following represents our point of view, which has been materially influenced by our daily interactions with users, advertisers, and content owners. We are fortunate to have such meaningful interactions with these three customer sets, and we are relentlessly inventing better ways to serve them.
“The Guardian reports that Britain’s two biggest record labels, Sony and Universal, plan to beat music piracy by making new singles available for sale on the day they first hit the airwaves hoping the effort will encourage young people to buy songs they can listen to immediately rather than copying from radio broadcasts online. Songs used to receive up to six weeks radio airplay before they were released for sale, a practice known as ‘setting up’ a record. ‘What we were finding under the old system was the searches for songs on Google or iTunes were peaking two weeks before they actually became available to buy, meaning that the public was bored of — or had already pirated — new singles,’ says David Joseph. Sony, which will start the ‘on air, on sale’ policy simultaneously with Universal next month, agreed that the old approach was no longer relevant in an age where, according to a spokesman for the music major, ‘people want instant gratification.'”
January 18th, 2011| In Focus, theory | Comments:Kommentek: 0
“The hacktivism 1.0 was the activism of outsiders. Its organizing principle was to get outsiders into the territory of the other. Wikileaks, on the other hand, is an infostructure developed to be used by insiders. Its sole purpose is to help people get information out from an organization. Wikileaks shifts the source of potential threat from a few and dangerous hackers and a larger group of mostly harmless activists – both outsiders to an organization -, to those who are on the inside. For mass protesters and cyber activists anonymity is a nice, but certainly not an essential feature. For insiders trying to smuggle information out, anonymity is a necessary condition for participation. Wikileaks has demonstrated that the access to such features can be democratized, made simple and user friendly. Easy anonymity also radically transforms who the activist may be. It turns a monolithic, crystal clear identity, defined through opposition into something more complex, multilayered, hybrid, by allowing the cultivation of multiple identities, multiple loyalties. It allows those to enter the activist scene, who do not want to define themselves – at least not publicly – as activist, radical or oppositional. The promise – or rather, the condition – of Wikileaks is that one can be in the inside and on the outside at the same time. Through anonymity the mutually exclusive categories of inside/outside, cooption/resistance, activism/passivity, power/subjection can be overridden and collapsed.”
excerpt from my upcoming publication on wikileaks, freedom and sovereignty in the cloud.“The hacktivism 1.0 was the activism of outsiders. Its organizing principle was to get outsiders into the territory of the other. Wikileaks, on the other hand, is an infostructure developed to be used by insiders. Its sole purpose is to help people get information out from an organization. Wikileaks shifts the source of potential threat from a few and dangerous hackers and a larger group of mostly harmless activists – both outsiders to an organization -, to those who are on the inside. For mass protesters and cyber activists anonymity is a nice, but certainly not an essential feature. For insiders trying to smuggle information out, anonymity is a necessary condition for participation. Wikileaks has demonstrated that the access to such features can be democratized, made simple and user friendly. Easy anonymity also radically transforms who the activist may be. It turns a monolithic, crystal clear identity, defined through opposition into something more complex, multilayered, hybrid, by allowing the cultivation of multiple identities, multiple loyalties. It allows those to enter the activist scene, who do not want to define themselves – at least not publicly – as activist, radical or oppositional. The promise – or rather, the condition – of Wikileaks is that one can be in the inside and on the outside at the same time. Through anonymity the mutually exclusive categories of inside/outside, cooption/resistance, activism/passivity, power/subjection can be overridden and collapsed.”
excerpt from my upcoming publication on wikileaks, freedom and sovereignty in the cloud.
“Ambiguity surrounds the real impact of digital book piracy, notes Brian O’Leary in an interview with O’Reilly Radar, but all would be better served if more data was shared and less effort was exerted on futile DRM. ‘The publishing industry should be working as hard as we can to develop new and innovative business models that meet the needs of readers. And what those look like could be community-driven. I think of Baen Books, for example, which doesn’t put any DRM restrictions on its content but is one of the least pirated book publishers. As to sales, Paulo Coelho is a good example. He mines the piracy data to see if there’s a burgeoning interest for his books in a particular country or market. If so, he either works to get his book out in print or translate it in that market.'”
Anonymous, who have been on a week long sprint/spree to paralyze website sites like Mastercard and Paypal, are often described in the news as a “group” with “members.” This is usually followed by a series of prolonged qualifications and caveats because many characteristics we usually associate with groups don’t seem to apply comfortably with Anonymous: there are no leaders, anyone can seemingly join, and participants are spread across the globe, although many of them can be found on any number of Internet Relay Chat Channels where they discuss strategy, plan attacks, crack jokes, and often pose critical commentary on the unfolding events they have just engendered. Earlier this week, The Economist listened in on the IRC channels, opening a fascinating window into the order behind the seeming chaos of Anonymous and providing a sense of how the Distributed Denial-of-Service attacks are coordinated by a trusted group of Ops who leverage the labor of thousands of other contributors.
But there is a lot more to how Anonymous, at least in this operation, deliberate about their mission, make decisions, and produce collective statements, such as Manifestos. Here I want to give a fuller picture of what it looks like to participate in Anonymous, how they arrive at some consensus, how they change tactics, and how they use technology to produce collaboratively. Although this is quite an incomplete picture, it will perhaps give a more human face to an operation that otherwise seems faceless.
As mentioned already, IRC is where many participants congregate. They do so in very large numbers to coordinate attacks, debate, and simply watch. In the constant streams of chatter (and they are often multiple channels), there is always a strange mix of pragmatic imperatives with more philosophical or critical takes on the events:
(11:23:42 AM) XXXX Well until we get real orders, just keep attacking MasterCard, until we get real orders(in the topic)Well until we get real orders, just keep attacking MasterCard, until we get real orders(in the topic) migs.mastercard.com.au port . . .
(11:23:43 AM) YYYY: i think most of people here do not fight because of something… they are fighting because of the fight… such a shame
We see here how one participant is trying to rally the infantry to stay on target but this is followed by critical commentary on motivations behind the attacks. But is it the case that “most people here do not fight because of something?” In reality, it is hard to tell. In some ways, it may be impossible to gauge the intent and motive of thousands of participants, many of who don’t even bother to leave a trace of their thoughts, motivations, and reactions. Among those that do, opinions vary considerably.
And yet there are other statements made by Anonymous that do give a clear sense that some fight for “something” and that this is part of a larger political plan, even if surely not everyone participates in Anonymous for noble causes. Along with IRC, Anonymous have also made ample use of collaborative writing software, in this case Pirate Pad (which rose from the ashes of Etherpad) and do so to coordinate actions, pick targets, and write manifestos. If IRC is where the cacophonous side of Anonymous is most clearly manifest, then the documents and conversation on Pirate Pad reflect a calmer, more deliberate and deliberative side of Anonymous, where participants offer arguments that are picked apart or supported through reasoned debate.
Take for instance a snapshot from a document written by 31 anons, 16 writing simultaneously:
Here they get into a few more details as to who and why they attack:
From at least this vantage point Anonymous starts to look more like a group of seasoned politics activists, debating the merits and demerits of actions and targets, warning for example, not to attack the media. Even if these documents cannot be taken as the totality of Anonymous, they reveal that some of the participants do engage in strategic and political thinking.
These documents are not, however, the only place where participants deliberate or announce tactics. IRC, as I noted, is where so much of the action and the coordination occurs.
As I was writing this up, a number of participants were calling for a change of tactics: (12:25:13 PM) AAAA: Decision: Our message has come across. We have been mentioned in medias, blogs and other sources. Our response has been succesful. Our point has come across. We need to stop all attacks now and focus on organization, so that future attack may come in tenfold strength. Stop all attacks!
And yet, did this happen? There are some signs — like Operation Leakspin — that it has. But it’s too early to make a real determination. And Anonymous has shown that it’s willing to change as circumstances change. And the news that Julian Assange expects to be charged for espionage could shift things for Anonymous, as this tweet makes utterly clear. Stay tuned.
Netflix announced today that they have brokered a deal with Disney-ABC to add their content to the Netflix library. The deal should add a substantial number of new TV shows and Movies to instant watch. The episodes will be added rather quickly to instant watch only 15 days after initial telecast. Here is a list of the new additions to Netflix:
Prior season episodes of current ABC hit series “Grey’s Anatomy,” ”Desperate Housewives” and, for the first time on Netflix, “Brothers & Sisters,” all of which are among the network’s most successful and popular TV franchises in recent years.
Every episode of recent ABC favorites “Lost” and “Ugly Betty,” the latter making its streaming debut at Netflix.
Each season of several hit series from ABC Studios, including “Scrubs” and “Reaper,” which are both new additions to Netflix.
A host of content from the Disney Channel, including the hits “Phineas and Ferb” and “Good Luck Charlie,” which are also new to Netflix; updated and expanded offerings of “The Suite Life on Deck” and “Wizards of Waverly Place;” and library offerings from the smash hits “Hannah Montana” and “The Suite Life of Zack & Cody.”
A wide range of content from ABC Family, marking the introduction of ABC Family content streaming from Netflix. Included are the hit series “Greek,” “Make It or Break It,” “The Secret Life of the American Teenager” and “Melissa & Joey.”
With much more content to come. Netflix also recently added a new plan that included no dvd rentals but unlimited streaming for only $7.99 a month down from the original $8.99 plan.
Piracy is so difficult to battle because file-sharers are motivated by altruism and not financial gain, according to one academic.
Joe Cox, an economist at the Portsmouth Business School, believes file-sharers who post content online see themselves as the “Robin Hoods of the digital age,” according to a study he’s published in the journal Information Economics and Policy.
Such insight could help drive policy and find ways to prevent illegal downloads, he claims. We spoke to him to find out more.
Q. Why did you decide to look at file-sharing?
A. A lot of the academic effort which has focused on file-sharing has been on lost revenues, to say how much the record industry and the film industry has lost as a result of people illegally downloading content.
I was more interested in the behavioural motivations. To me it seems pretty obvious why you might want to illegally download a music track or a film or a video game, but what I was really interested in is the people who make the content available in the first place, because there doesn’t seem to be much to be gained for them, at least not materially. They presumably already bought the material to make it available in the first place.
I called them seeders – it’s a pretty standard term for people who make the material available – distinguishing them from leechers, who just take material from others but don’t give any back. I’ve never seen anything published which looks at those two groups to look at their different motivations.
Q. What was the motivation for seeders?
A. For the leechers, pretty obviously, the major motivation was financial. They wanted to acquire music or films without paying for it because it was cheaper than going out to buy it.
What was interesting was the difference with the seeders, and it was quite apparent that financial motivations were nowhere near as prevelant; it was a kind of altruism.
Their main motivation was that they were seeking notoriety, peer recognition, peer esteem, some sort of feeling of getting one over on the system. It was a much richer tapestry of different things contributing to the decision to go ahead and make the content available.
Q. With that in mind, how should illegal sharing be prevented?
A. The survey data suggested there was a deep-seated belief that this type of activity shouldn’t be illegal, that there was no criminal act involved.
That makes it very hard to deter with advertising to suggest that you’re funding piracy, that you’re a cheap knock-off merchant, because they believe what they’re doing is morally right. And it’s these guys that record labels and movie studios are most interested in getting to. They’re the source.
Q. You’ve said the Digital Economy Act won’t work, so what do you suggest?
A. Technology has developed to such a point now that you can’t turn back the clock and you can’t change the digital revolution – it’s a bit like King Canute trying to halt the advance of the tides.
I think there needs to be a more radical rethink in how the arts and the creative industries are funded.
The phenomena of the record label and the movie studio pretty much come into their own in the 20th century and I think they are a 20th century phenomena. Before that opera, ballet, and music were funded on a system of patronage.
I think we need to consider potential funding from the public sector. Coming at this from an economics perspective – I’m an economist – we have a particular type of common good that we look at, called a public good.
I would argue that these days music and movies are public goods: you can’t really exclude people from using them
The characteristics of this are you can’t exclude people from enjoying the benefits of it if they don’t pay for it, and if any one person consumes the good it doesn’t affect anyone else’s ability to consume it too. Classic examples are things like street lighting or national defence.
I would argue that these days music and movies are public goods. You can’t really exclude people from using them. The internet is giving them the availability to share this material at will and it’s virtually impossible to stop that. And with the digital nature of material, you can make perfect reproductions and share it to others.
What economists say will happen if you have a public good and look to the free market, the market won’t provide any output because everyone will just look to free-ride, and not pay themselves. But if no-one pays the good doesn’t get produced.
Q. And public funding is the way to get around that?
A. With street lighting or national defence, these are things that government funds through taxation. It would probably be a bit radical to say the government should fund the creative industries through taxation, but there are creative ways knocking around at the moment.
For example, you could try introducing non-commercial use levies on iPods or DVD players. It’s a lump sum you would pay over and above the purchase price when you buy the device, with the understand that you’re going to use it to access digital content.
If that money was collected into a pot, it could be distributed to record labels and movie studios to give proper compensation to rights owners. And then there could be a relaxation on how people access the material. You could keep track of downloads to make sure the most popular artists get the most money.
The Hungarian Academy of Sciences and the Library of the Zrínyi Miklós University have organized a conference of the web and the library. My presentation asks the question whether the libraries need to follow the fate of their quickly dematerializing books.
A tudomány ünnepe keretében Webpolgár címen rendezett konferenciát a Zrínyi Miklós Nemzetvédelmi egyetem könyvtára. Nagy sikert aratott az előadás, ami azt a kérdést teszi fel, hogy követik-e a könyvtárak a dematerializálódó könyveik sorsát…
The Combating Online Infringement and Counterfeits Act (COICA, S.3804) sets up a system through which the US government can blacklist a pirate website from the Domain Name System, ban credit card companies from processing US payments to the site, and forbid online ad networks from working with the site. It passed the Senate Judiciary Committee 19-0 this week, but it’s never going to pass the Senate before the end of the current Congress.
That’s due to resistance from people like Senator Ron Wyden (D-OR), who announced at a separate trade hearing of his own yesterday that he was going to “take the necessary steps to stop [COICA] from passing the United States Senate.”
“It seems to me that online copyright infringement is a legitimate problem,” he said in the midst of his questioning, “but it seems to me that COICA as written is the wrong medicine. Deploying this statute to combat online copyright infringement seems almost like using a bunker-busting cluster bomb when what you really need is a precision-guided missile.”
“The collateral damage of this statute could be American innovation, American jobs, and a secure Internet.”
Ed Black, CEO of computing industry trade group CCIA, was testifying at the hearing, and he agreed that COICA was a “good example of what not to do in an important, complicated digital ecosystem.”
Sweet sanity! And yet—this thing passed out of committee 19-0 with minimal hearings? Presumably there’s a big bipartisan bloc in the Senate which doesn’t think a major new Internet censorship regime—and one that applies only to copyright—needs much in the way of oversight. While the bill looks dead this year, the idea has met with thunderous applause from the movie and music industries, who are sure to back it next year. Hopefully, something more considered will be on the table the second time around.
YouTube will begin paying French artists when their works show up on the site, thanks to a new deal with three French royalty societies. The agreement only affects videos viewed in France, Belgium, and Luxembourg, but it does cover clips and movies uploaded to YouTube from 2007 all the way through 2013.
Google’s new agreement affects screenwriters and filmmakers represented by Société des Auteurs et Compositeurs Dramatiques (SACD), Société Civile des Auteurs Multimedia, and the Société des auteurs dans les arts graphiques et plastiques, the company said during a press conference on Thursday (covered by the Wall Street Journal). The agreement follows a similar one made earlier this year between Google and France’s leading royalty society for musicians, SACEM.
Like other agreements made in other parts of Europe—as well as the US—the royalty societies will get a cut of YouTube’s ad revenues in exchange for permission to host the clips. Google didn’t disclose the terms of the deals, but it’s likely that the payments will vary depending on how many views each of the films gets from Internet users in France, Belgium, and Luxembourg. Whether the films will be viewable to users outside of those countries isn’t clear.
Making these agreements hasn’t always been easy for YouTube. The site had to block “premium” content in the UK in 2009 thanks to a disagreement over royalties. Warner Music made waves in 2008 for pulling all of its content in the US after licensing negotiations broke down. It’s a fine line to walk—content owners can definitely benefit from the exposure of their materials to a wider audience, but they want to make sure YouTube’s not getting a free ride either.
“This is a happy moment after nearly 10 years of misunderstanding,” said SACD director general Pascal Rogard. “It shows that there is a middle ground between protecting authors’ rights and making [content] available online.”
Operation Payback has been without a doubt the longest and most widespread attack on anti-piracy groups, lawyers and lobbyists. Despite the massive media coverage, little is known about the key players who coordinate the operation and DDoS attacks. A relatively small group of people, they are seemingly fuelled by anger, frustration and a strong desire to have their voices heard.
In the last two months, dozens of anti-piracy groups, copyright lawyers and pro-copyright outfits have been targeted by a group of Anonymous Internet ‘vigilantes’ under the flag of Operation Payback.
Initially DDoS assaults were started against the MPAA, RIAA and anti-piracy company AiPlex Software because these outfits had targeted The Pirate Bay. Those DDoS attacks were later replicated against many other targets that have spoken out against piracy or for copyright, resulting in widespread media coverage.
Even law enforcement agencies showed interest in the operation recently. Last week CNET reported that an FBI probe is underway, and TorrentFreak personally knows of at least one court case against a person that was associated with the operation.
Besides covering the results of the DDoS attacks and website hacks, very little is known about the people who are part of the operation. Who are they? What do they want, and what are their future plans? In this article we hope to solve a few pieces of the puzzle.
After numerous talks with people who are actively involved in Operation Payback, we learned that there are huge differences between the personal beliefs of members.
We can safely conclude that this Anonymous group doesn’t have a broad shared set of ideals. Instead, it is bound together by anger, frustration and the desire to be heard. Their actions are a direct response to the anti-piracy efforts of pro-copyright groups.
Aside from shared frustration, the people affiliated with the operation have something else in common. They are nearly all self-described geeks, avid file-sharers and many also have programming skills.
When Operation Payback started most players were not looking to participate in the copyright debate in a constructive way, they simply wanted to pay back the outfits that dared to target something they loved: file-sharing.
Many of the first participants who set the DDoS actions in motion either came from or were recruited on the message board 4Chan. But as the operation developed the 4Chan connection slowly disappeared. What’s left today are around a dozen members who are actively involved in planning the operation’s future, and several dozen more who help to execute the DDoS attacks.
An Anonymous spokesperson, from whose hand most of the manifestos originated, described the structure of the different groups to us.
“The core group is the #command channel on IRC. This core group does nothing more than being some sort of intermediary between the people in that IRC channel and the actual attack. Another group of people on IRC (the main channel called #operationpayback) are just there to fire on targets.”
Occasionally new people are invited to join the command to coordinate a specific attack, but a small group of people remains. The command group is also the place where new targets are picked, where future plans are discussed, and where manifestos are drafted. This self-appointed group makes most of the decisions, but often acts upon suggestions from bypassers in the main IRC channel.
Now let’s rewind a little and go back to the first attacks that started off the operation in September.
The operation’s command was ‘pleasantly’ surprised by the overwhelming media coverage and attention, but wondered where to go from there. They became the center of attention but really had no plan going forward. Eventually they decided to continue down the road that brought them there in the first place – more DDoS attacks.
What started as a retaliation against groups that wanted to take out The Pirate Bay slowly transformed into an attack against anyone involved in anti-piracy efforts. From trade groups, to lawyers, to dissenting artists. Since not all members were actively following the copyright debate, command often acted on suggestions from the public in the main IRC channel.
What followed was an avalanche of DDoS attacks that were picked up by several media outlets. This motivated the group to continue their strategy. Anonymous’ spokesperson admitted to TorrentFreak that the media attention was indeed part of what fuelled the operation to go forward. But not without some strategic mistakes.
As the operation continued more trivial targets were introduced and the group started to lose sympathy from parts of the public. While targeting the company that admittedly DDoSed The Pirate Bay could be seen as payback by some, trying to take out Government bodies such as the United States Copyright Office and UK’s Intellectual Property Office made less sense. In part, these targets were chosen by anarchistic influences in the operation.
“I fight with anonops because I believe that the current political system failed, and that a system based on anarchy is the only viable system,” one member told TorrentFreak. “I encouraged them to go after political targets just because I like Anarchy.”
The Anonymous spokesperson admitted to TorrentFreak that mistakes were made, and command also realized that something had to change. The targets were running out and the attacks weren’t gaining as much attention as they did in the beginning. It was a great way to gather attention, but not sustainable. In fact, even from within the operation not everyone was convinced that DDoS attacks were the best ‘solution’.
“I personally don’t like the concept of violence and attacking, but violence itself does raise attention,” Anonymous’ spokesperson told TorrentFreak.
“Attacking sites is one side of the story, but this operation would finally have to serve a purpose, otherwise it wouldn’t exist. We all agree that the way things [abuse of copyright] are currently done, is not the right way.”
Last week command decided to slow the DDoS attacks down and choose another strategy, mainly to regain the focus of attention. It was decided that they would make a list of demands for governments worldwide. In a move opposed to the desires of the anarchic influences, command decided to get involved in the political discussion.
Copyright/patent laws have to change, they argued, and from the bat they were willing to negotiate. They called for scrapping censorship, anti-piracy lawsuits and limiting copyright and patent terms, but not getting rid of copyright entirely. Interestingly, there is also no word in the demands about legalizing file-sharing.
To some this new and more gentle position taken by Anonymous came as a complete surprise. We asked the spokesman of the group about this confusing message and he said that there are actually several political parties that already adopt a similar position, like the Pirate parties and the Greens in Europe.
However, according to the spokesman (who wrote the latest manifesto with other members in Piratepad) they consciously chose this set of demands. “Some of us have the vision of actually getting rid of copyright/patents entirely, but we are at least trying to stay slightly realistic.”
“What we are now trying to do, is to straighten out ideals, and trying to make them both heard and accepted. Nobody would listen to us if we said piracy should be legal, but when we ask for copyright lifespan to be reduced to ‘fair’ lengths, that would sound a lot more reasonable,” the spokesman told TorrentFreak.
The demands have been published on the Operation Payback site for nearly a week, but thus far the media coverage hasn’t been as great as when they launched their first DDoS. Some have wondered whether this is the right path to continue in the first place, as it may get in the way of groups and political parties that have fought for similar ‘ideals’ for years already.
The spokesman disagreed and said that Operation Payback has “momentum” now.
So here we are nearly two months after Anonymous started Operation Payback. The initial anger and frustration seems to have been replaced by a more friendly form of activism for the time being. The group wanted to have their voice heard and they succeeded in that. However, being listened to by politicians and entertainment industry bosses might take more than that.
How hard would it be to go a week without Google? Or, to up the ante, without Facebook, Amazon, Skype, Twitter, Apple, eBay and Google? It wouldn’t be impossible, but for even a moderate Internet user, it would be a real pain. Forgoing Google and Amazon is just inconvenient; forgoing Facebook or Twitter means giving up whole categories of activity. For most of us, avoiding the Internet’s dominant firms would be a lot harder than bypassing Starbucks, Wal-Mart or other companies that dominate some corner of what was once called the real world.
The Internet has long been held up as a model for what the free market is supposed to look like—competition in its purest form. So why does it look increasingly like a Monopoly board? Most of the major sectors today are controlled by one dominant company or an oligopoly. Google “owns” search; Facebook, social networking; eBay rules auctions; Apple dominates online content delivery; Amazon, retail; and so on.
There are digital Kashmirs, disputed territories that remain anyone’s game, like digital publishing. But the dominions of major firms have enjoyed surprisingly secure borders over the last five years, their core markets secure. Microsoft’s Bing, launched last year by a giant with $40 billion in cash on hand, has captured a mere 3.25% of query volume (Google retains 83%). Still, no one expects Google Buzz to seriously encroach on Facebook’s market, or, for that matter, Skype to take over from Twitter. Though the border incursions do keep dominant firms on their toes, they have largely foundered as business ventures.
The rise of the app (a dedicated program that runs on a mobile device or Facebook) may seem to challenge the neat sorting of functions among a handful of firms, but even this development is part of the larger trend. To stay alive, all apps must secure a place on a monopolist’s platform, thus strengthening the monopolist’s market dominance.
Today’s Internet borders will probably change eventually, especially as new markets appear. But it’s hard to avoid the conclusion that we are living in an age of large information monopolies. Could it be that the free market on the Internet actually tends toward monopolies? Could it even be that demand, of all things, is actually winnowing the online free market—that Americans, so diverse and individualistic, actually love these monopolies?
The history of American information firms suggests that the answer to both questions is “yes.” Over the long haul, competition has been the exception, monopoly the rule. Apart from brief periods of openness created by new inventions or antitrust breakups, every medium, starting with the telegraph, has eventually proved to be a case study in monopoly. In fact, many of those firms are still around, if not quite as powerful as they once were, including AT&T, Paramount and NBC.
Internet industries develop pretty much like any other industry that depends on a network: A single firm can dominate the market if the product becomes more valuable to each user as the number of users rises. Such networks have a natural tendency to grow, and that growth leads to dominance. That was the key to Western Union’s telegraph monopoly in the 19th century and to the telephone monopoly of its successor, AT&T. The Bell lines simply reached more people than anyone else’s, so ever more customers came to depend on them in a feedback loop of expanding market share. The more customers they reached, the more impervious the firm became to challengers.
Still, in a land where at least two mega-colas and two brands of diaper can duke it out indefinitely, why are there so many single-firm information markets? The explanation would seem to lie in the famous American preference for convenience. With networks, size brings convenience.
Consider that, in the late 1990s, there were many competing search engines, like Lycos, AltaVista and Bigfoot. In the 2000s, there were many social networking sites, including Friendster. It was we, collectively, who made Google and Facebook dominant. The biggest sites were faster, better and easier to use than their competitors, and the benefits only grew as more users signed on. But all of those individually rational decisions to sign on to the same sites yielded a result that no one desires in principle—a world with fewer options.
Every time we follow the leader for ostensibly good reasons, the consequence is a narrowing of our choices. This is an important principle of information economics: Market power is rarely seized so much as it is surrendered up, and that surrender is born less of a deliberate decision than of going with the flow.
We wouldn’t fret over monopoly so much if it came with a term limit. If Facebook’s rule over social networking were somehow restricted to, say, 10 years—or better, ended the moment the firm lost its technical superiority—the very idea of monopoly might seem almost wholesome. The problem is that dominant firms are like congressional incumbents and African dictators: They rarely give up even when they are clearly past their prime. Facing decline, they do everything possible to stay in power. And that’s when the rest of us suffer.
AT&T’s near-absolute dominion over the telephone lasted from about 1914 until the 1984 breakup, all the while delaying the advent of lower prices and innovative technologies that new entrants would eventually bring. The Hollywood studios took effective control of American film in the 1930s, and even now, weakened versions of them remain in charge. Information monopolies can have very long half-lives.
Declining information monopolists often find a lifeline of last resort in the form of Uncle Sam. The government has conferred its blessing on monopolies in information industries with unusual frequency. Sometimes this protection has yielded reciprocal benefits, with the owner of an information network offering the state something valuable in return, like warrantless wiretaps.
Essential to NBC, CBS and ABC’s long domination of broadcasting was the government’s protection of them first from FM radio (the networks were stuck on AM) and later from the cable TV industry, which it suppressed for decades. Today, Verizon and AT&T’s dominance of wireless phone service can be credited in part to de facto assistance from the U.S., and consequently their niche is probably the safest in the entire industry. Monopolies may be a natural development, but the most enduring ones are usually state-sponsored. All the more so since no one has ever conceived a better way of scotching competitors than to make them comply with complex federal regulation.
Info-monopolies tend to be good-to-great in the short term and bad-to-terrible in the long term. For a time, firms deliver great conveniences, powerful efficiencies and dazzling innovations. That’s why a young monopoly is often linked to a medium’s golden age. Today, a single search engine has made virtually everyone’s life simpler and easier, just as a single phone network did 100 years ago. Monopolies also generate enormous profits that can be reinvested into expansion, research and even public projects: AT&T wired America and invented the transistor; Google is scanning the world’s libraries.
The downside shows up later, as the monopolist ages and the will to innovate is replaced by mere will to power. In the 1930s, AT&T took the strangely Luddite measure of suppressing its own invention of magnetic recording, for fear it would deter use of the telephone. The costs of the monopoly are mostly borne by entrepreneurs and innovators. Over the long run, the consequences afflict the public in more subtle ways, as what were once highly dynamic parts of the economy begin to stagnate.
These negative effects are why people like Theodore Roosevelt, Louis Brandeis and Thurman Arnold regarded monopoly as an evil to be destroyed by the federal courts. They took a rather literal reading of the Sherman Act, which states, “Every person who shall monopolize…shall be deemed guilty of a felony.” But today we don’t have the heart to euthanize a healthy firm like Facebook just because it’s huge and happens to know more about us than the IRS.
The Internet is still relatively young, and we remain in the golden age of these monopolists. We can also take comfort from the fact that most of the Internet’s giants profess an awareness of their awesome powers and some sense of attendant duty to the public. Perhaps if we’re vigilant, we can prolong the benign phase of their rule. But let’s not pretend that we live in anything but an age of monopolies.
—Tim Wu is a professor at Columbia Law School. His new book is “The Master Switch: The Rise and Fall of Information Empires.”
“When you sign in to Facebook, you had the option of importing your email contacts, to ‘friend’ them all on the social network. Importing the other way — easily copying your Facebook contacts to Gmail — required jumping through considerable copy/paste hoops or third-party scripts. Google said enough is enough, and they’re no longer helping sites that don’t allow two-way contact merging. The stated intention is standing their ground to persuade other sites into allowing users to have control of where their data goes — but will this just lead to more sites putting up ‘data walls?'”
If book publishers want to see the next decade in any reasonable health, then it’s absolutely imperative that they rethink their pricing strategies and business models right now. I hope this example will illustrate why:
I’m a big fan of Iain Banks’ novels; I always buy them in hardback as soon as they come out. It doesn’t matter what reviewers say, I need to have his books immediately. His latest novel, Surface Detail, came out a few days ago and promptly arrived at my office – all 627 pages of it. I lugged the thing home and began reading it this morning.
Being a Culture novel, it’s a real page-turner and I found it difficult to pull myself away from it. I didn’t want to lug it back to the office again, not least because I didn’t have any space left in my bag, so I did the unthinkable – I googled surface detail ePub so I could download and read it on my iPad (and iPhone).
I try doing this every six months or so, and I usually end up mired in a swamp of fake torrent links and horrible PDF versions; for what it’s worth, this was mostly out of curiosity, since six months ago I didn’t own an iPad.
This time, it took me 60 seconds to download a pristine ePub file, and another five minutes to move it to my iPad and iPhone. While this was going on, I took the opportunity to poke around the torrent sites and forums that my search had yielded, and discovered a wonderful selection of books, including:
Freedom, by Jonathan Franzen
Our Kind of Traitor, by John le Carre
Jump! by Jilly Cooper
The Fry Chronicles, by Stephen Fry
Eat Pray Love, by Elizabeth Gilbert
Solar, by Ian McEwan
Zero History, by William Gibson
Obama’s Wars, by Bob Woodward
Now, that’s not all of the current bestsellers, but it’s not a bad start. “Oh, but we’ve still got the backlist!” I hear some publisher cry. No such luck, because some helpful pirate has bundled entire collections of popular backlist novels into a single torrents, including:
Iain M. Banks’ Culture novels
Terry Pratchett’s Discworld novels
Lord of the Rings
Narnia
Harry Potter
Artemis Fowl
Twilight
The Hunger Games
Every Ken Follett book
Every Stieg Larsson book
Every Stephen King book
Every Douglas Adams book
etc.
Pretty much all of these books are available in ePub, mobi, PDF and every other popular format (the non-fiction and literary selection is much worse though, which probably reflects the tastes of the people uploading the torrents – that’ll change soon enough).
I am not a torrent-finding genius – I just know how to add ‘ePub’ to the name of a book or author. I don’t need a fast internet connection, because most books are below 1MB in size, even in a bundle of multiple formats. I don’t need to learn how to use Bittorrent, because I already use that for TV shows. And Apple has made it very easy for me to add ePub files to my iPad and iPhone. So really, there is nothing stopping me from downloading several hundred books other than the fact that I already have too much to read and I think authors should be paid.
But why would the average person not pirate eBooks? Like Cory Doctorow says, it’s not going to become any harder to type in ‘Toy Story 3 bittorrent’ in the future – and ‘Twilight ePub’ is even easier to type, and much faster to download to boot.
After Christmas, tens of millions of people will have the motive, the means, and the opportunity to perform book piracy on a massive scale. It won’t happen immediately, but it will happen. It’ll begin with people downloading electronic copies of books they already own, just for convenience’s sake (and hey, the New York Times says it’s ethical!). This will of course handily introduce them to the world of ebook torrents.
Next, you’ll have people downloading classics – they’ll say to themselves, “Tolkein and C. S. Lewis are both dead, so why should I feel bad about pirating their books?” Then you’ll have people downloading ebooks not available in their country yet. Then it’ll be people downloading entire collections, just because it’s quicker. Then they’ll start wondering why they should buy any ebooks at all, when they cost so much. And then you go bust.
But of course I’m exaggerating. Most publishers won’t go bust. eBook prices will be forced down, margins will be cut, consolidation will occur. New publishers will spring up, with lower overheads and offering authors a bigger cut. A few publishers will thrive; most publishers will suffer. Some new entrants will make a ton of cash; maybe there’ll be a Spotify or Netflix for books. Life will go on. Authors will continue writing – it’s not as if they ever did it for the money – and books will continue being published.