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.

via Americans are moving faster than ever away from traditional TV – The Washington Post.

Ready to Dump Cable? | Free Press.

Ready to Dump Cable? | Free Press.

Cord Cutting Is The New File-Sharing

Janko RoettgersJuly 15, 20124 cord cutting,

opinionPrint

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.

via Cord Cutting Is The New File-Sharing | TorrentFreak.Cord Cutting Is The New File-Sharing

Janko RoettgersJuly 15, 20124 cord cutting,

opinionPrint

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.

via Cord Cutting Is The New File-Sharing | TorrentFreak.

Fox sues Dish over ad-blocking feature; Dish fires back – latimes.com.

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.”

Fox sues Dish over ad-blocking feature; Dish fires back – latimes.com.

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.

via Who’s Pirating Game of Thrones, And Why? | TorrentFreak.

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.

via 2012.01.19. – Feljövőben a digitális videótárak.

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.

via Fox’s 8-Day Delay on Hulu Triggers Piracy Surge | TorrentFreak.

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.

via Fox Will Boost U.S. TV-Show Piracy | TorrentFreak.

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?

via Speed of life: Consumer intelligence series.

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.

via Netflix CEO: ‘We’re Finally Beating BitTorrent’ — Online Video News.

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.

via Mindjack – Piracy is Good? Part Two: The New Laws of Television.

Hulu Blog

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.

TekGoblin

 

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.

 

Slashdot Technology Story | How Hulu, NBC, and Other Sites Block Google TV

Shortly after the launch of Google TV, it became clear that several networks and services were blocking access. Reader padarjohn points out a blog post from Lauren Weinstein explaining the blocking mechanisms being used and wondering why it’s being tolerated. “Imagine the protests that would ensue if Internet services arbitrarily blocked video only to Internet Explorer or Firefox browsers! Or if Hulu and the other networks decided they’d refuse to stream video to HP and Dell computers because those manufacturers hadn’t made deals with the services to the latter’s liking.” Various workarounds are being used to get around the blocks.

Slashdot News Story |

 

Since I never heard of Sickbeard, sabnzbd, or Astraweb, I figured I’d do a little research, and post my (Score: 5 Informative?) findings here. Please correct me if I made any mistakes….

Sickbeard is an open source, GPL licensed Python application (so runs on Windows and Linux and other platforms), that watches newsgroups, looking for announcements of TV shows whose torrents have been put on the web. In Sickbeard, the user can specify which shows he is interested in, and it keeps an eye out for those shows. Once it finds shows that the user has specified, it can queue up a retrieval program, but Sickbeard doesn’t retrieve them itself.

Sickbeard will request the show from sabnzbd. Sabnzbd is also open source, Python. Its function is to go retrieve binaries from newsgroups. So it seems to me that the newsgroups have both the announcement of the availability of a TV program (like a torrent tracker), and the actual program. Sickbeard is watching the announcements, and Sabnzbd is grabbing the program.

Astraweb is a newsgroup website that apparently allows you to download newsgroup posts. This is a paid service, and the parent post signed up for a $25 service for 180GB of downloads. Based on my MythTV experience, I’m guessing this might be 180 half hours of TV (please correct this number if I am off!).

So for $25 plus 2 free open source programs, I can have almost 200 half-hour programs that I can watch anytime (starting a few minutes after they air). Interesting!

 

WSJ.com

ABC, CBS and NBC are blocking TV programming on their websites from being viewable on Google Inc.’s new Web-TV service, exposing the rift that remains between the technology giant and some of the media companies it wants to supply content for its new products.

Epicenter | Wired.com

 

 

Media | The Guardian

The UK has become the first major economy where advertisers spend more on internet advertising than on television advertising, with a record £1.75bn online spend in the first six months of the year.

The milestone marks a watershed for the embattled TV industry, the leading ad medium in the UK for almost half a century. It has taken the internet little more than a decade to become the biggest advertising sector in the UK.

UK advertisers spent £1.75bn on internet advertising in the six months to the end of June, a 4.6% year-on-year increase, according to a report by the Internet Advertising Bureau and PricewaterhouseCoopers. To put this in perspective, in 1998, when the IAB first measured internet advertising, just £19.4m was spent online.

The internet now accounts for 23.5% of all advertising money spent in the UK, while TV ad spend accounts for 21.9% of marketing budgets.

The IAB originally predicted that internet ad spend would overtake TV at the end of 2009; however, the crippling advertising recession accelerated this by six months. TV advertising fell about 17% year on year in the first half, to about £1.6bn, according to the report.

The IAB’s figures show that of the total of £1.75bn spent on internet advertising, £1.05bn, or 60%, was spent on search advertising on websites including Google, up 6.8% year on year.

Online classified advertising grew by 10.6% year on year to £385m, about 22% of total internet ad spend. But online display advertising, such as banners on websites, fell by 5.2% year on year, to £316.5m. This was an 18% share of all internet ad spend.

Total Telecom

Online video service reinvents itself as technology provider for media companies.

Joost NV, an online video service launched by the founders of Skype, is retreating from the consumer market and replacing its high-profile chief executive.

The New York-based company, which provides television programming over the Web, said it would reinvent itself as a technology provider that will enable media companies to publish Internet video under their own brands.

The move marks a dramatic shift by Joost, which was founded in 2006 but failed to live up to its early hype. Internet users have instead flocked to Google Inc.’s YouTube for user-generated content or sites like Hulu LLC, a joint venture between News Corp., General Electric Co.’s NBC Universal and Walt Disney Co. dedicated to TV programs.

“In these tough economic times, it’s been increasingly challenging to operate as an independent, ad-supported online video platform,” said Mike Volpi, who will step aside as Joost’s chief executive as part of the restructuring.

Mr. Volpi will be replaced as CEO by Matt Zelesko, senior vice president of engineering. Mr. Volpi, a key architect of networking giant Cisco Systems Inc.’s acquisition machine during the dot-com boom, will remain chairman of Joost’s board.

Mr. Volpi said the changes will result in layoffs but didn’t say how many people would be leaving the company. Joost employed about 100 people prior to the restructuring.

Joost was founded by Niklas Zennstrom and Janus Friis, creators of Internet telephone service Skype, but the company got off to a rocky start largely because it required users to download software, while rivals such as YouTube and Hulu let people stream video directly from Web sites.

Mr. Volpi joined the company two years ago and his first order of business was to relaunch Joost as a streaming Web service, but that improvement wasn’t enough to overcome the company’s early missteps.

O’Reilly Radar

That’s pretty much my view, too. DVDs (mentioned in the note at the start) became a big boon for the studios, once their crazy ideas about self-destructing Divx discs went the way of the Dodo. The studios have a very long history of betting against technology people want, and on technology people don’t want. This is just another such case. The technology people want always wins in the end — no duh — and usually benefits the businesses who fought that technology to the death. Here’s hoping the technology people want — Boxee — doesn’t wind up benefiting the studios fighting it now.

Sports Night season 1 episode 4 clip 2
Happy birthday is copyrighted

Soundalikes and Disrupted Pleasures

Technology | Reuters

NEW YORK (Reuters) – NBC Universal, a unit of General Electric Co, is teaming up with Google Inc on a multi-year partnership in which Google will act as a broker to sell TV advertising on some NBC cable channels.

In a joint statement, the two companies said NBC Universal will offer advertising time from several of its cable networks for Google to sell advertising through its Google TV Ads service.

The deal, set to go into effect in coming months, covers advertising inventory on Sci Fi, Oxygen, MSNBC, CNBC, Sleuth, and Chiller, with more NBC Universal channels possible in the future, the companies said.

“Advertisers using the Google TV Ads platform can reach NBCU Cable’s national audience and gain access to viewership data at an unprecedented scale,” the NBC Universal and Google statement said.

Mike Pilot, president of NBC Universal sales and marketing, and Tim Armstrong, Google’s president of advertising and commerce for North America, said that the partnership would make TV ads more accountable.

Through an existing deal with DISH Network, the Google TV Ads service can report second-by-second TV usage data allowing advertisers to measure viewership of their ads more precisely. The NBC-Google partnership extrapolates on the data supplied by Dish set-top boxes in millions of U.S. homes.

NBC Universal and Google have also agreed to work together to adapt the Google TV Ad service for use in local TV markets. They are also collaborating on custom marketing and research projects using Google TV Ads to survey audience trends.

Epicenter from Wired.com

Less than 24 hours after the season premiere of Prison Break aired on Fox on Monday, it was downloaded close to one million times, according to TorrentFreak.

Prison Break fans didn’t have to download the show illegally. The show is readily available to stream legitimately on both Hulu and Fox.com, where viewers have to sit through a few commercial breaks, but they can still watch the entire episode legally.

[Hulu won’t disclose how many people viewed Prison Break on the site on Monday, but the show is one of the top 5 most-popular shows on Hulu today, and it was the most-popular show yesterday. There’s no way of knowing, though, whether the program was watched more on Hulu than it was downloaded illegally.]

The fact that one million people downloaded the show within 24 hours — a little less than one-sixth of the 6.5 million people who watched Prison Break on TV on Monday night — proves, though, that P2P isn’t going away just because there are legal alternatives now.

“This is a group of people who define themselves in part by the technology they use and the application of that technology,” says Robert Rosenberg, president of Insight Research. “Chances are that this is only happening in a defined age group. You’d be hard-pressed to find 60 year-old guys passing this stuff off to their buddies.”

Even if file sharers make up a small slice of the population, the impact is not insignificant. Could networks win these viewers back? The most common complaint about big media companies over the last decade is that they’ve been slow to provide legal alternatives. In this case, however, Fox has gone to great lengths to give viewers an option to watch programs legally online, but die-hard file sharers still aren’t biting.

“I think a lot of the problem is that the content providers have typically been using business models that extend backwards in time. They have not been able to adapt their intellectual property and business processes to the new reality — essentially that all types of information and media are going to find their way on to a network and will be widely distributed,” says Rosenberg. “Look at the music industry. They simply didn’t have a formula for preventing file sharing until Apple taught them how to do it.”

Many legal alternatives could be improved, too, says Eric Garland, CEO of Big Champagne, an online media measurement company. Content providers have been slow to offer legal streaming options in many international markets, and there still aren’t many networks that let users actually download files, which is a bummer for collectors, says Garland.

Also, the networks haven’t necessarily improved upon the experience on pirated sites, so users don’t have much incentive to leave those sites.

“If it ain’t broke, don’t fix it,” says Garland. “Sites like Mininova or Pirate Bay have been around long before there was Hulu, and why should they stop using a familiar option that works well?”

TorrentFreak

The broadcast of the Olympics opening ceremony has been downloaded more than a million times already, and the download counters go up every day.

NYTimes.com

NBC, which owns the exclusive rights to broadcast the Olympics in the United States, spent most of Friday trying to keep it that way.

NBC’s decision to delay broadcasting the opening ceremonies by 12 hours sent people across the country to their computers to poke holes in NBC’s technological wall — by finding newsfeeds on foreign broadcasters’ Web sites and by watching clips of the ceremonies on YouTube and other sites.

In response, NBC sent frantic requests to Web sites, asking them to take down the illicit clips and restrict authorized video to host countries. As the four-hour ceremony progressed, a game of digital whack-a-mole took place. Network executives tried to regulate leaks on the Web and shut down unauthorized video, while viewers deftly traded new links on blogs and on the Twitter site, redirecting one another to coverage from, say, Germany, or a site with a grainy Spanish-language video stream.

As the first Summer Games of the broadband age commenced in China, old network habits have never seemed so archaic — or so irrelevant.

“The Olympics to me is a benchmark for how fast we’ve gone with technology,” Brad Adgate, the senior vice president for research at Horizon Media, a media buying firm in New York, said. “Thirty months ago, no one was talking about YouTube. Now, it’s a verb.”

Two years ago, during the Winter Olympics in Turin, Italy, NBC Universal, a unit of General Electric, offered only two hours of live coverage on the Internet. This year, it is putting a staggering 2,200 hours online in scores of video feeds.

But NBC, which paid $894 million for the exclusive rights to the Olympic broadcast in the United States, intends to show some premier events like swimming live on television only to reach a wider audience and charge higher rates for advertising.

Although the numbers are not yet available, NBC’s tape-delayed version of the opening ceremonies will almost certainly be watched by more Americans than the live Internet streams. Steven J. Farella, the president and chief executive of the TargetCast TCM media agency in New York, said that “if the question is, ‘is this a big issue?’ the answer is, ‘not yet.’ ”

“Right now, people can go on the Internet to watch, but not enough will because it’s not the same experience,” he added. “People love TV and still like to get entertainment that way.” However, he added, by the Summer Games in 2012, “Olympic ad sales could be turned upside down.”

But as Internet users reaffirmed on Friday, some viewers are already willing to find some other source and watch what they want, when they want.

As dancers and acrobats whisked across the National Stadium in Beijing, anonymous users uploaded more than 100 video clips of the ceremony to YouTube, but the site, owned by Google, swiftly removed as many as it could. Similarly, some live video streams on Justin.tv, a popular source for international video, were also removed. According to International Olympic Committee guidelines, the television networks with the local rights to the Games are the only legal sources of video in each country.

But the media companies were almost always a step behind users who have a seemingly unlimited number of Web sites, especially when bloggers were sharing links to new sources. In Rhode Island, Aida Neary and a colleague huddled at her desk to watch a Brazilian television channel’s live coverage.

“It wasn’t the best quality,” Ms. Neary said of the video feed, “and I’m sure it will be better on TV, but to watch that flame go up at the same time as the rest of the world was a beautiful, moving thing.”

Most of the world’s other broadcasters with rights to the Olympics, including CBC in Canada, Televisa in Mexico, the BBC in Britain and NHK in Japan, broadcast the opening ceremonies live on television. “The idea of watching a 14-hour delay is repulsive,” remarked Tracy Record, a blogger in Seattle, who woke up at 5 a.m. to watch the opening ceremonies with her 12-year-old son on CBC.

Around the same time, American television viewers were treated to a taste on NBC’s “Today” show and regular programming on NBC’s cable sisters, MSNBC and CNBC. Parts of “Today” were taped hours in advance because Matt Lauer, who serves as co-host of the morning show, was due at the stadium to anchor the opening ceremonies with Bob Costas.

Gary Zenkel, the president of NBC Olympics, said in a statement: “We have a billion dollars worth of revenue at stake here, so that means we’re not public television, for better or worse.”

The International Olympic Committee is permitting networks to stream video this year because geographic blocking technology allows the companies to keep their broadband feeds within national borders. In some cases Friday, users illegally retransmitted the feeds. But in at least one case involving Germany’s ARD broadcast network, the blocking did not occur.

ARD did not direct its Olympic stream through the geographic protection provided by the European Broadcasting Union, a conglomerate of dozens of national broadcasters that acquired the rights to the Beijing Games for $443.4 million, according to a memo sent to the International Olympic Committee and obtained by The New York Times. Gina Lundby, the sports projects coordinator of Eurovision, the broadcast division of the E.B.U., wrote in the memo that the German network had been prohibited from further streaming “until this matter has been clarified and resolved.”

Lorie Johnson, an information technology worker in Little Rock, Ark., benefited from the security lapse. She watched the torch lighting from her desk at work.

“In the age of Internet (almost) anywhere, why be tied to a TV?,” Ms. Johnson wrote in an e-mail message. Television networks “no longer have the same viewer monopoly they had 30 years ago — why don’t they see that?”

Stuart Elliott, Richard Sandomir and Bill Carter contributed reporting.

NewTeeVee

NBC’s delayed Olympics coverage and sports’ fans quest to find pirated livestreams online has officially become the media story of the games. Even the New York Times has chimed in, noting what it referred to as the “game of digital whack-a-mole” between pirates and NBC that took place during the opening ceremony. The network’s fight against unauthorized streams on sites like Ustream.tv and Justin.tv continued all weekend, with streams going down quicker that you can say Dick Ebersol.

The network may win a fight or two, but the battle is far from over. I’m watching a broadcast of the Cuba vs. the Netherlands beach volleyball game — which NBC’s cable channel USA Network won’t show for another two hours and won’t air online at all — live on my laptop as I’m writing this article, courtesy of some folks in France that relay a live TV signal from heaven knows where. To be fair, there are some occasional hiccups with the video, but the overall quality is actually pretty good. Good enough to keep me engaged, and definitely good enough to question the whole idea of NBC-like restrictions in the age of global online video.

NBC is not alone in its fight against the Olympics pirates. The state-owned Chinese TV network CCTV sued the Google-backed P2P startup Xunlei last week, alleging it had broadcast parts of the torch relay earlier this year without getting a license from CCTV. The lawsuit was a clear warning shot against the dozen or so P2P TV platforms that have popped up in China in recent years, most of whom responded by putting IP number-based geolocation restrictions on CCTV streams or filtering them outright.

Sopcast, for example, has blocked access to its CCTV streams, making them inaccessible from within the client’s program guide. But the software also allows users to transmit their own streams, and a number of them use this feature to relay TV broadcasts from all around the world. I gave it a shot this weekend, and quickly found satellite TV feeds from Malaysia in surprisingly high video quality, video feeds from Poland and even a Portuguese video stream that someone apparently was filming off his TV in real time. A little tough on the eyes, but pretty amusing nonetheless.

Granted, watching pirated TV feeds via P2P TV isn’t always easy. A few other clients left me empty-handed. PPLive, for example, is an official licensing partner of CCTV. The company told us last week that it was going to block access to all CCTV stations for viewers from outside of China, and it has kept its word. Sina Live is a web plug-in that only works with Internet Explorer. The CCTV channels are embedded into Sina’s web site and seemed to be blocked for overseas users as well. At least I think that’s what happened; the language barrier didn’t help. Peercast.org, one of the oldest P2P streaming solutions, featured one Olympics channel, but I couldn’t get it to play on my machine.

So I decided to stick with Sopcast, and was rewarded with lots and lots of live coverage. Pretty much all the competitions were available in real time. To be fair, a lot of the minor events were also broadcast live on NBCOlympics.com, and in a few some cases the official streams had a much better quality (I’m talking to you, anonymous Portuguese pirate!). Overall, save for the occasional bandwidth hiccup, the quality of the pirated streams was surprisingly good. At least I got to watch the games in full screen, complete with live commentary, and let me tell you: Those sportscasters in Malaysia speak English with less of an accent than half of my neighborhood, me (obviously) included.

The downside of watching pirated P2P TV streams is that you have to install software from companies that you’re probably going to trust less than NBC, and rightly so. Sopcast for instance, comes bundled with an adware app, but users are reporting online that it can be erased without affecting the performance of the client. I bet many sports fans are willing to take that chance.

Epicenter from Wired.com

“For some time, the trend has been that people are moving away from network [TV] to cable,” says David Joyce, an analyst with Miller Tabak & Co.

The nominations say a lot about the state of television, but they also say a lot about the value of piracy as a marketing tool. It’s probably no coincidence that the most pirated cable programs of 2007 made it to the Emmy nomination table. Cable shows that have historically been totally inaccessible to non-subscribers are now readily available online for download and streaming (both legally and illegally), which could help grow traditional viewership.

“Some studies have shown that people who watch the shows on TV are more engaged since they can catch up with the shows online,” says Joyce.

But popularity and critical acclaim still don’t translate into a richly profitable program — there’s a history of canceled TV shows that belatedly get recognition from the Academy of Television Arts & Sciences.

“Emmys are not financially significant,” says David Joyce. “The Oscars may help sell DVDs, and they may extend a box office run, but Emmys are more of a look in the rear-view mirror.”

Epicenter from Wired.com

Jesse Alexander, co-producer of “Heroes” and “Lost,” says file sharing isn’t all bad.

It’s mighty big of him to admit, given that P2P has undoubtedly eaten profits from his shows — downloads of “Heroes” and “Lost” can run up to 10 million per week.

Alexander sees the silver lining, though.

“People watching shows such as ‘Lost’ and ‘Heroes’ on BitTorrent is the present world reality,” Alexander told Torrent Freak. “TV Networks have to recognize this, give their viewers more ways to interact with the shows, and find ways to generate revenue from every member of the global audience.”

Incidentally, Alexander is also reportedly working on a 13-part TV show about piracy.

Filmmaker Michael Moore has a similar take: He has said on the record that he doesn’t have a problem with people who download his movies, as long as they don’t make a profit off it.

Ars Technica

Hollywood has been granted another victory in its war against piracy, this time at the expense of two linking sites that the Motion Picture Association of America believes profited from enabling copyright infringement. Both ShowStash.net and Cinematube.net have been hit with multimillion dollar judgments recently for copyright infringement of various movies and TV shows.
Even though ShowStash and Cinematube didn’t host any of these files, both were found guilty of contributory copyright infringement, according to the judges’ opinions, because they searched for, identified, collected, and indexed links to illegal copies of movies and TV shows. Aside from monetary damages, both sites are now prohibited from engaging in further activity that would infringe upon the studios’ work.

The damages totaled $2.7 million for ShowStash and $1.3 million for Cinematube, neither of which were particularly well-known to the general Internet community. The MPAA doesn’t seem to care much that it gives free publicity to these tiny sites when it makes announcements of its litigation plans, however. The organization apparently hopes that others will merely feel threatened by the prospect of paying out millions of dollars and shut down voluntarily.

MediaPost Publications -  – 03/18/2008

Using CBS as an example, Keane said the online video audience for one episode of “Jericho” boosted the show’s TV ratings by almost a full point: from 4.2 to 5.1. While Keane made no mention of it, this extra audience is especially valuable for a show like “Jericho,” which has struggled to build a larger audience. The show’s hardcore fans saved the show from cancellation once, but it’s hanging by a thread–and another ratings point may help.

Citing another example from CBS, Keane said that while the Grammys attracted 16.9 million TV viewers–down 15% from the previous year–it also generated 7.9 million online video streams and 4.9 million page views.

(June 3, 2005). Bridgeport Music, Inc., et al. v. Dimension Films, et al.: UNITED STATES COURT OF APPEALS FOR THE SIXTH CIRCUIT. more… (2007). Digital Music Report 2006: IFPI. more…

(2006). The Economy of Culture in Europe: KEA European Affairs; Media Group (Turku School of Economics); MKW Wirtschaftsforschung GmbH. more…, more…, more…, more…, more…, more…, more…, more…, more…, more…

(Mai 2005). Etude D’impact D’une Remuneration Alternative Sur Les Echanges Peer To Peer: UFC – Que Choisir. more…

(March 8, 2006). An Examination of Consumer Satisfaction With Commercial Radio in Canada (Vol. 1): Strategic Inc. more…

(2006/01/20). File-sharing ‘not cut by courts’, BBC. more…

(2006). Monitoring and Identifying P2P Media by BigChampagne Online Media Measurement: SPEDIDAM. more…

(1735). A second letter from an author to a Member of Parliament; containing, some further remarks on a late letter concerning the bill now depending in the House of Commons, for the encouragement of learning, &c. London. more…

(2005. június). A szerzői jogi alapú ágazatok gazdasági súlya Magyarországon (pp. 121). Budapest: Magyar Szabadalmi Hivatal. more…

(April 3, 2001). Testimony of the Future of Music Coalition on “Online Entertainment and Copyright Law: Coming Soon to a Digital Device Near You.” Senate Judiciary Committee (pp. 13). Washington, DC: Future of Music Coalition. more…

(December 12, 1906). Twain’s Plant to Beat The Copyright Law, New York Times. New York, NY. more…

(2003). ‘Two relationships to a cultural public domain. (Conference on the Public Domain)’, Law and Contemporary Problems, 239(224). more…

Adelstein, R. P., & Peretz, S. I. (1985). ‘The competition of technologies in markets for ideas: Copyright and fair use in evolutionary perspective’, International Review of Law and Economics, 5(2), 209-238. Stable URL more…

Akerlof, G. A., Hahn, R., Litan, R. E., Arrow, K. J., Bresnahan, T. F., Buchanan, J. M., et al. (2002). The Copyright Term Extension Act of 1998: An Economic Analysis: AEI-Brookings Joint Center. more…

Alford, W. P. (1993). ‘Don’t Stop Thinking about…Yesterday: Why There Was No Indigenous Counterpart to Intellectual Property Law in Imperial China’, Journal of Chinese Law, 7. more…

ALLIANCE, I. I. P. (2006). 2006 Special 301: Hungary. more…, more…

Anand, B., & Galetovic, A. (2004). ‘Strategies That Work When Property Rights Don’t’, pp. 261-304 in G. Libecap (ed), Intellectual Property and Entrepreneurship. Greenwich, Conn.: JAI Press. more…

Andersson, J. (2006). ‘The Pirate Bay and the ethos of sharing’ in A. e. a. Hadzi (ed), Deptford.TV Diaries. London: Openmute Publishing. more…

Argentesi, E., Alvisi, M., & Carbonara, E. (2002). Piracy and Quality Choice in Monopolistic Markets: SSRN. Stable URL more…

Armstrong, E. (1990). Before copyright : the French book-privilege system 1498-1526. Cambridge [England] ; New York: Cambridge University Press. more…

Astbury, R. (1978). ‘The Renewal of the Licensing Act in 1693 and its Lapse in 1695’, Library, s5-XXXIII(4), 296-322. Stable URL more…

Atkins, R., Mintcheva, S., & National Coalition against Censorship (U.S.). (2006). Censoring culture : contemporary threats to free expression. New York: New Press : Distributed by W.W Norton.

Bakos, Y., & Brynjolfsson, E. (1999). ‘Bundling information goods: Pricing, profits, and efficiency’, Management Science, 45(12), 1613-1630. more…

Banerjee, A., Faloutsos, M., & Bhuyan, L. N. (2007). P2P:Is Big Brother Watching You? Riverside: Department of Computer Science and Engineering

University of California. more…

Barber, G. (1961). ‘Galignani’s and the Publication of English Books in France from 1800 to 1852’, Library, s5-XVI(4), 267-286. Stable URL more…

Basho, K. (2000). ‘The licensing of our personal information: Is it a solution to Internet privacy?’ California Law Review, 88(5), 1507-1545.

Becker, J. U., & Clement, M. (2003). ‘Generation Napster – Analysis of the economic rationale to share files in peer-to-peer-networks’, Wirtschaftsinformatik, 45(3), 261-271.

Becker, J. U., & Clement, M. (2006). ‘Dynamics of illegal participation in peer-to-peer networks – Why do people illegally share media files?’ Journal of Media Economics, 19(1), 7-32. more…

Benkler, Y. (2000). ‘An unhurried view of private ordering in information transactions’, Vanderbilt Law Review, 53(6), 2063-2080.

Benkler, Y. (2002). ‘Coase’s penguin, or, Linux and The Nature of the Firm’, Yale Law Journal, 112(3), 369-+.

Benkler, Y. (2003). ‘Through the looking glass: Alice and the constitutional foundations of the public domain.(Conference on the Public Domain)’, Law and Contemporary Problems, 173(152). more…

Benkler, Y. (Nov 2000). ‘An unhurried view of private ordering in information transactions’, Vanderbilt Law Review 53(6), 2063. more…

Benkler, Y. (2006). The wealth of networks : how social production transforms markets and freedom. New Haven: Yale University Press. Stable URL more…

Bennett, S. (1976). ‘John Murray’s Family Library and the Cheapening of Books in Early Nineteenth Century Britain’, Studies in Bibliography, 29, 139-166. Stable URL

Bernstein, D. (January 26, 2004). Music Royalties Rise, Even as CD Sales Fall, The New York Times. New York more…

Besen, S. M., & Kirby, S. N. (1989). ‘Private Copying, Appropriability, and Optimal Copying Royalties’, Journal of Law & Economics, 32(2), 255-280. more…

Bettig, R. V. (1996). Copyrighting culture : the political economy of intellectual property. Boulder, Colo: Westview Press.

Bhattacharjee, S., Gopal, R. D., Lertwachara, K., & Marsden, J. R. (2003). Economic of online music, Proceedings of the 5th international conference on Electronic commerce. Pittsburgh, Pennsylvania: ACM. more…

Bhattacharjee, S., Gopal, R. D., Lertwachara, K., & Marsden, J. R. (2006). ‘Impact of Legal Threats on Online Music Sharing Activity: An Analysis of Music Industry Legal Actions’, Journal of Law & Economics, 49(1), 91-114. Stable URL more…

Birn, R. (1970). ‘The Profits of Ideas: Privileges en Librairie in Eighteenth-Century France’, Eighteenth-Century Studies, 4(2), 131-168. Stable URL more…

Blackburn, D. (2004). On-line Piracy and Recorded Music Sales. Cambridge, Mass. more…

Blagden, C. (1955). ‘The English Stock of the Stationers’ Company An account of its origins’, Library, s5-X(3), 163-185. Stable URL more…

Blomqvist, U., Eriksson, L.-E., Findahl, O., Selg, H., & Wallis, R. Trends in downloading and filesharing of music, MusicLessons – Broadband technologies transforming business models and challenging regulatory frameworks – lessons from the music industry. more…

Bô, D., Claire-Marie Lévêque, Marsiglia, A., Lellouche, R., Danard, B., & Jeanneau, C. (2004 Mai). La piraterie de films: Motivations et pratiques des Internautes: Centre National de la Cinématographie. more…

Bokor, J., & Kováts, I. (1975). Hanglemezgyártás és kereskedelem. Budapest: Tömegkommunikációs Kutatóközpont. more…

Boldrin, M., & Levine, D. K. (2004). ‘2003 Lawrence R. Klein lecture the case against intellectual monopoly’, International Economic Review, 45(2), 327-350. more…

Bond, R. P. (December 1963). ‘The Pirate and the Tatler’, The Library, XVIII(4), 257. more…

Borghi, M. (2003). Writing Practices in Privilege and Intellectual Property Systems. more…

Bouckaert, B., & Geest, G. d. (2000). ‘1610 Copyright’ in Encyclopedia of law and economics. Cheltenham, UK ; Northampton, MA: Edward Elgar. more…

Bowbrick, P. (1983). ‘The Economics of Superstars – Comment’, American Economic Review, 73(3), 459-459.

Bowrey, K. (1996). ‘Who’s writing copyright’s history?’ European Intellectual Property Review, 18(6), 322-329. more…

Boyle, J. The Second Enclosure Movement and the Construction of the Public Domain: SSRN. Stable URL more…

Boyle, J. (1992). ‘A Theory of Law and Information: Copyright, Spleens, Blackmail, and Insider Trading’, California Law Review, 80(6), 1413-1540. Stable URL more…

Boyle, J. (2000). ‘Cruel, mean, or lavish? Economic analysis, price discrimination and digital intellectual property’, Vanderbilt Law Review, 53(6), 2007-2039. more…

Boyle, J. (2002). ‘Fencing off ideas: enclosure & the disappearance of the public domain’, Daedalus, 131(2), 13(13).

Boyle, J. (2003). ‘The second enclosure movement and the construction of the public domain.(Conference on the Public Domain)’, Law and Contemporary Problems, 33(42). more…

Bracha, O. (2005). Owning Ideas: A History of Anglo-American Intellectual Property (Vol. S.J.D.): Harvard Law School. more…, more…, more…, more…, more…, more…, more…

Breyer, S. (1970). ‘The Uneasy Case for Copyright: A Study of Copyright in Books, Photocopies, and Computer Programs’, Harvard Law Review, 84(2), 281-351. Stable URL more…

Brooker, R. (September 2005). Investigation into The Cultural Diversity of Music Download Web Sites, Intertek Research & Performance Testing Technical Report (Vol. 1). London: Intertek. more…

Brynjolfsson, E., Hu, Y. J., & Smith, M. D. (2003). Consumer Surplus in the Digital Economy: Estimating the Value of Increased Product Variety at Online Booksellers: SSRN. Stable URL more…

Buchanan, J. M., & Yoon, Y. J. (2000). ‘Symmetric tragedies, commons and anticommons’, Journal of Law and Economics, 43(1), 1-13. more…

Buchanan, J. M., & Yoon, Y. J. (2001). ‘MAJORITARIAN MANAGEMENT OF THE COMMONS’, Economic Inquiry, 39(3), 396. more…

Chard, L. F. (1977). ‘Bookseller to Publisher: Joseph Johnson and the English Book Trade, 1760 to 1810’, Library, s5-XXXII(2), 138-154. Stable URL more…

Chartier, R. (2002). ‘Property & privilege in the republic of letters: translated by Arthur Goldhammer’, Daedalus, 131(2), 60(67). more…

Chellappa, R. K., & Shivendu, S. (2003). ‘Economic implications of variable technology standards for movie piracy in a global context’, Journal of Management Information Systems, 20(2), 137-168.

Chellappa, R. K., & Shivendu, S. (2005). ‘Managing piracy: Pricing and sampling strategies for digital experience goods in vertically segmented markets’, Information Systems Research, 16(4), 400-417.

Chen, Y.-n., & Png, I. (2003). ‘Information Goods Pricing and Copyright Enforcement: Welfare Analysis’, Info. Sys. Research, 14(1), 107-123. more…

Chesterman, J., & Lipman, A. (1988). The electronic pirates : DIY crime of the century. London: Routledge.

Clarke, J., Hall, S., Jefferson, S., & Roberts, B. (1997). ‘Subcultures, Cultures and Class’, pp. xvi, 599 p. in K. Gelder & S. Thornton (eds), The subcultures reader. London ; New York: Routledge. Stable URL more…

Claus, P. Danish file-sharing, Piratgruppen: Lessig Blog Archive. Stable URL more…

Coase, R. H. (1979). ‘Payola in Radio and Television Broadcasting’, Journal of Law and Economics, 22(2), 269-328. Stable URL more…

Cohen, A. K. (1997). ‘A General Theory of Subcultures’, pp. xvi, 599 p. in K. Gelder & S. Thornton (eds), The subcultures reader. London ; New York: Routledge. Stable URL more…

Cohen, D. J., & Rosenzweig, R. (2006). Digital history : a guide to gathering, preserving, and presenting the past on the Web. Philadelphia: University of Pennsylvania Press. Stable URL

Cohen, J. E. (1905). Copyright and the Perfect Curve: SSRN. Stable URL more…

Condorcet, M. D. (2002). ‘Fragments concerning freedom of the press: excerpts selected and translated by Arthur Goldhammer’, Daedalus, 131(2), 57(53). more…

Condry, I. (2004). ‘Cultures of music piracy: an ethnographic comparison of the US and Japan’, International Journal of Cultural Studies, 7(3), 343-363. more…

Connolly, M., & Krueger, A. B. (2006). ‘Rockonomics: The Economics of Popular Music’, pp. 667-719 in: Elsevier. Stable URL more…

Coombe, R. J. (1991). ‘Objects of Property and Subjects of Politics – Intellectual Property Laws and Democratic Dialog’, Texas Law Review, 69(7), 1853-1880. more…

Coombe, R. J. (1998). The cultural life of intellectual properties : authorship, appropriation, and the law. Durham: Duke University Press. more…

Cooper, M. N. (March 2005). Time For The Recording Industry To Face The Music: The Political, Social And Economic Benefits Of Peer-To-Peer Communications Networks (Vol. 1, pp. 79): Consumer Federation Of America. more…

Cowen, T. (October 2004). How the United States Funds the Arts. In M. Bauerlein (Ed.): National Endowment for the Arts. more…

Cox, J. E. (1997). ‘Publishers, publishing and the Internet: How journal publishing will survive and prosper in the electronic age’, Electronic Library, 15(2), 125-131.

Danard, B., & Jeanneau, C. (Mai 2004). Le téléchargement de films sur Internet: Centre national de la cinématographie. more…

Darnton, R. (1982). The literary underground of the Old Regime. Cambridge, Mass: Harvard University Press. Stable URL *** DOCUMENT BOUNDARY *** more…

Darnton, R. (2003). ‘The Science of Piracy: A Crucial Ingredient in Eighteenth-Century Publishing’, Studies on Voltaire and the Eighteenth Century 12, 3-29. more…

Davies, G., & Hung, M. E. (1993). Music and video private copying : an international survey of the problem and the law. London: Sweet & Maxwell.

Davies, W. (01 December 2005). Markets in the Online Public Sphere: Institute for Public Policy Research. more…

Delacroix, F., Danard, B., & Jardillier, S. (2005). L’offre « pirate » de films sur Internet: Centre national de la cinématographie. more…

Demsetz, H. (1969). ‘Information and Efficiency: Another Viewpoint’, Journal of Law and Economics, 12(1), 1-22. Stable URL more…

Diderot, D. (2002). ‘Letter on the book trade: excerpts selected and translated by Arthur Goldhammer’, Daedalus, 131(2), 48(49).

Domon, K., & Nakamura, K. Unauthorized Copying and Copyright Enforcement in Developing Countries: A Vietnam Case Study: SSRN. Stable URL more…

Donaldson, A. (1764). Some Thoughts on the State of Literary Property. more…

Dreyfuss, R. C. (Nov 2000). ‘Games Economists Play.’ Vanderbilt Law Review, 53(6), 9. more…

Dubosson-Torbay, M., Pigneur, Y., & Usunier, J.-C. (2004). Business Models for Music Distribution after the P2P Revolution, Fourth International Conference on Web Delivering of Music: IEEE. more…

Duchene, A., & Waelbroeck, P. (2006). ‘The legal and technological battle in the music industry: Information-push versus information-pull technologies’, International Review of Law and Economics, 26(4), 565-580.

Duffy, J. F. (2004). ‘The marginal cost controversy in intellectual property’, University of Chicago Law Review, 71(1), 37-56. more…

Eisenstein, E. L. (1983). The printing revolution in early modern Europe. Cambridge [Cambridgeshire] ; New York: Cambridge University Press. more…

Eisenstein, E. L. (2005). The printing revolution in early modern Europe. Cambridge ; New York: Cambridge University Press. Stable URL

Ewing, J. (September 2003). ‘Copyright and authors’, First Monday, 8(10), URL (consulted Retrieved Date) Stable URL more…

Feather, J. (1994). Publishing, piracy, and politics : an historical study of copyright in Britain. New York, N.Y.: Mansell. more…

Febvre, L. P. V., & Martin, H.-J. (1976). The coming of the book : the impact of printing 1450-1800. London: N.L.B. more…

Feldman, Y., & Nadler, J. (2005). Expressive Law and File Sharing Norms: SSRN. Stable URL more…

Fernandes, S. (September 2005). Online Music Download Services, Intertek Research & Performance Testing Technical Report (Vol. 2). London: Intertek. more…

Fichte, J. G. (1793). Proof of the Illegality of Reprinting: A Rationale and a Parable. more…

Fisher III, W. W. (October 10, 2000). ‘Digital Music: Problems and Possibilities’, URL (consulted Retrieved Date) http://www.law.harvard.edu/Academic_Affairs/coursepages/tfisher/Music.html. Stable URL more…

Fisher III, W. W. (1999). ‘Property and Contract on the Internet’, Chicago-Kent Law Review, 73. more…

Frank, B. (1996). ‘On an art without copyright’, Kyklos, 49(1), 3-15.

Gaines, J. M. (2006). ‘Early cinema’s heyday of copying – The too many copies of L’Arroseur arrose (The Waterer Watered)’, Cultural Studies, 20(2-3), 227-244. more…

Galbi, D. (2003). Copyright and Creativity: Authors and Photographers: SSRN. Stable URL more…

Gallini, N., & Scotchmer, S. (2003). Intellectual Property: When is it the Best Incentive System? : UCLA Department of Economics. Stable URL more…

Gayer, A., & Shy, O. (2003). ‘Internet and peer-to-peer distributions in markets for digital products’, Economics Letters, 81(2), 197-203.

Gayer, A., & Shy, O. (2006). ‘Publishers, artists, and copyright enforcement’, Information Economics and Policy, 18(4), 374-384. more…

Geist, M. A. (2005). In the public interest : the future of Canadian copyright law. Toronto: Irwin Law. Stable URL more…, more…, more…, more…, more…, more…, more…, more…, more…, more…, more…, more…, more…, more…, more…, more…, more…, more…, more…, more…

Gelder, K., & Thornton, S. (1997). The subcultures reader. London ; New York: Routledge. Stable URL

Geller, P. E. Copyright History and the Future: What’s Culture Got to Do With It?: SSRN. Stable URL more…

Gensollen, M. (2007). ‘Information Goods and Online Communities’ in E. Brousseau & N. Curien (eds), Internet and Digital Economics: Cambridge University Press. more…

Ghosh, R. A. (2005). CODE : collaborative ownership and the digital economy. Cambridge, Mass: MIT Press.

Givon, M., Mahajan, V., & Muller, E. (1995). ‘Software Piracy – Estimation of Lost Sales and the Impact on Software Diffusion’, Journal of Marketing, 59(1), 29-37. more…

Goldhammer, A. (2002). ‘On Diderot & Condorcet.(Denis Diderot, Marie Jean Antoine Nicolas de Caritat)(Brief Article)’, Daedalus, 131(2), 46(42). more…

Goldstein, P. (2000). ‘Comment on “lessons from studying the international economics of intellectual property rights”‘, Vanderbilt Law Review, 53(6), 2241-2244. more…

Goldstein, P. (2003). Copyright’s highway : from Gutenberg to the celestial jukebox. Stanford, Calif.: Stanford Law and Politics. Stable URL more…

Goldstein, P. (2005). ‘Copyright’s Commons’, Columbia Journal of Law & The Arts, 29(1). more…

Gopal, R. D., Bhattacharjee, S., & Sanders, G. L. (2006). ‘Do artists benefit from online music sharing?’ Journal of Business, 79(3), 1503-1533. more…

Gopal, R. D., & Sanders, G. L. (1998). ‘International software piracy: Analysis of key issues and impacts’, Information Systems Research, 9(4), 380-397.

Gopal, R. D., Sanders, G. L., Bhattacharjee, S., Agrawal, M., & Wagner, S. C. (2004). ‘A behavioral model of digital music piracy’, Journal of Organizational Computing and Electronic Commerce, 14(2), 89-105.

Gordon, M. (1997). ‘The Concept of Sub-Culture and Its Application’, pp. xvi, 599 p. in K. Gelder & S. Thornton (eds), The subcultures reader. London ; New York: Routledge. Stable URL more…

Gordon, W. J. (1982). ‘Fair Use as Market Failure: A Structural and Economic Analysis of the “Betamax” Case and Its Predecessors’, Columbia Law Review, 82(8), 1600-1657. Stable URL more…

Gurnsey, J. (1995). Copyright theft. Aldershot, Hampshire, England

Brookfield, VT: Aslib Gower ;

Gower.

Hamermesh, D. S., Johnson, G. E., & Weisbrod, B. A. (1982). ‘Scholarship, Citations and Salaries – Economic Rewards in Economics’, Southern Economic Journal, 49(2), 472-481. more…

Harrison, F. M. (1934). ‘NATHANIEL PONDER: THE PUBLISHER OF THE PILGRIM’S PROGRESS’, Library, s4-XV(3), 257-294. Stable URL more…

Hars, A., & Ou, S. S. (2002). ‘Working for free? Motivations for participating in open-source projects’, International Journal of Electronic Commerce, 6(3), 25-39.

Heald, P. J. (2007). Property Rights and the Efficient Exploitation of Copyrighted Works: An Empirical Analysis of Public Domain and Copyrighted Fiction Best Sellers: SSRN. Stable URL more…

Hebdige, D. (1997). ‘Subculture: The Meaning of Style’, pp. xvi, 599 p. in K. Gelder & S. Thornton (eds), The subcultures reader. London ; New York: Routledge. Stable URL more…

Hemmungs Wirtâen, E. (2004). No trespassing : authorship, intellectual property rights, and the boundaries of globalization. Toronto ;: University of Toronto Press.

Hemmungs Wirtén, E. (2004). No trespassing : authorship, intellectual property rights, and the boundaries of globalization. Toronto ; Buffalo: University of Toronto Press. more…

Herman, A., Coombe, R. J., & Kaye, L. (2006). ‘Your second life? Goodwill and the performativity of intellectual property in online digital gaming’, Cultural Studies, 20(2-3), 184-210. more…

Hesmondhalgh, D. (2007). The cultural industries. London, UK ; Thousand Oaks, CA: Sage Publications.

Hess, C., & Ostrom, E. (2003). ‘Ideas, artifacts, and facilities: information as a common-pool resource.(Conference on the Public Domain)’, Law and Contemporary Problems, 111(135). more…

Hesse, C. (1990). ‘Enlightenment Epistemology and the Laws of Authorship in Revolutionary France, 1777-1793’, Representations(30), 109-137. Stable URL more…

Hesse, C. (2002). ‘The rise of intellectual property, 700 B.C.–A.D. 2000: an idea in the balance’, Daedalus, 131(2), 26(20). more…

Hesse, C. A. (1991). Publishing and cultural politics in revolutionary Paris, 1789-1810. Berkeley: University of California Press.

Hietanen, H., Oksanen, V., & Välimäki, M. (2007). Community Created Content – Law, Business, Policy: Turre Publishing. more…

Holdsworth, W. S. (1920). ‘Press Control and Copyright in the 16th and 17th Centuries’, The Yale Law Journal, 29(8), 841-858. Stable URL more…

Huang, C. Y. (2005). ‘File sharing as a form of music consumption’, International Journal of Electronic Commerce, 9(4), 37-55.

Huang, T. W. S. (1971). ‘Protection of American Copyrights under Nationalist Chinese Law’, Harvard International Law Journal, 12. more…

Hughes, J. Copyright and Incomplete Historiographies: Of Piracy, Propertization, and Thomas Jefferson: SSRN. Stable URL more…

Hughes, J. (2006). Locke’s 1694 Memorandum (and More Incomplete Copyright Historiographies): SSRN. Stable URL more…

Hui, K. L., & Png, I. P. L. (2002). ‘On the supply of creative work: Evidence from the movies’, American Economic Review, 92(2), 217-220. more…

Hunter, D., & Lastowka, G. Amateur-to-Amateur: SSRN. Stable URL more…

Hunyadi, Z. (2004. november). A budapestiek kulturálódási szokásai. Budapest: Magyar Művelődési Intézet; MTA Szociológiai Kutatóintézet. Stable URL more…

Hunyadi, Z. (2005. szeptember). Kulturálódási és szabadidő eltöltési szokások, életmód csoportok. Budapest: Magyar Művelődési Intézet. Stable URL more…

Hunyadi, Z., & Dudás, K. (2005. június). A hagyományos (színház, hangverseny, kiállítás) és a modern tömegkultúra (mozi, könnyűzenei koncert) helye és szerepe a kulturális fogyasztásban. Budapest: Magyar Művelődési Intézet. Stable URL more…

IFPI. (2001). IFPI Music Piracy Report. more…

IFPI. (2006). The Recording Industry 2006 Piracy Report: IFPI. more…

Irwin, J. (1997). ‘Notes on the Status of the Concept Subculture’, pp. xvi, 599 p. in K. Gelder & S. Thornton (eds), The subcultures reader. London ; New York: Routledge. Stable URL more…

Jaccard, M. A. (1997). ‘Securing copyright in transnational cyberspace: The case for contracting with potential infringers’, Columbia Journal of Transnational Law, 35(3), 619-662.

Jaszi, P. (1991). ‘Toward a Theory of Copyright – the Metamorphoses of Authorship’, Duke Law Journal(2), 455-502. more…

Jaszi, P. (1994). ‘On the Author Effect: Recovering Collectivity’ in M. Woodmansee & P. Jaszi (eds), The Construction of Authorship: Textual Appropriation in Law and Literature: Duke University Press. more…

Javorcik, B. S. (2004). ‘The composition of foreign direct investment and protection of intellectual property rights: Evidence from transition economies’, European Economic Review, 48(1), 39-62.

Johns, A. (2006). ‘Intellectual property and the nature of science’, Cultural Studies, 20(2-3), 145-164. more…

Johns, A. (December 2004). Irish piracy and the English Market, The History of Books and Intellectual History. Princeton University. more…

Johns, A. (2002). ‘Pop music pirate hunters’, Daedalus, 131(2), 67(11). more…

Johnson, W. R. (1985). ‘The Economics of Copying’, Journal of Political Economy, 93(1), 158-174. Stable URL more…

Jones, S. (2006). ‘Reality (c) and virtual reality (c) – When virtual and real worlds collide’, Cultural Studies, 20(2-3), 211-226. more…

Judge, C. B. (1934). Elizabethan book-pirates. Cambridge,: Harvard university press. more…

Kalaycioglu, S., & Rittersberger-Tilic, H. (2000). ‘Intergenerational solidarity networks of instrumental and cultural transfers within migrant families in Turkey’, Ageing and Society, 20, 523-542.

Kant, I. (1785). ‘Of the Injustice of Counterfeiting Books’ in Essays and Treatises on Moral, Political, and Various Philosophical Subjects. London. more…

Khan, B. Z. (January 2004). DOES COPYRIGHT PIRACY PAY? THE EFFECTS OF U.S. INTERNATIONAL COPYRIGHT LAWS ON THE MARKET FOR BOOKS, 1790- 920, NBER WORKING PAPER SERIES. Cambridge, MA: NATIONAL BUREAU OF ECONOMIC RESEARCH. more…

Khan, B. Z. (February 19, 2006. ). ‘An Economic History of Copyright in Europe and the United States’ in R. Whaples (ed), EH.Net Encyclopedia. more…

King, S. P., & Lampe, R. (2003). ‘Network externalities, price discrimination and profitable piracy’, Information Economics and Policy, 15(3), 271-290. more…

Kitch, E. W. (2000). ‘Elementary and persistent errors in the economic analysis of intellectual property’, Vanderbilt Law Review, 53(6), 1727-1741. more…

Klamer, A. (1996). The value of culture : on the relationship between economics and arts. Amsterdam: Amsterdam University Press. Stable URL

Klein, B., Lerner, A. V., & Murphy, K. M. (2002). ‘The economics of copyright “fair use” in a networked world’, American Economic Review, 92(2), 205-208. more…

Koelman, K. J. Copyright Law & Economics in the Copyright Directive: Is the Droit d’Auteur Passe?: SSRN. Stable URL more…

Kritikos, A., & Bolle, F. (2004). ‘Punishment as a public good. When should monopolists care about a consumer boycott?’ Journal of Economic Psychology, 25(3), 355-372.

Landes, W. M., & Posner, R. A. (1989). ‘An Economic Analysis of Copyright Law’, The Journal of Legal Studies, 18(2), 325-363. Stable URL more…

Landes, W. M., & Posner, R. A. (1989). ‘An Economic-Analysis of Copyright Law’, Journal of Legal Studies, 18(2), 325-363.

Landes, W. M., & Posner, R. A. (2003). The economic structure of intellectual property law. Cambridge, Mass.: Harvard University Press. more…

Lange, D. M. (2003). ‘Reimagining the public domain. (Conference on the Public Domain)’, Law and Contemporary Problems, 463(421). more…

Leach, J. (2005). ‘Modes of creativity and the register of ownership’, pp. x, 345 p in R. A. Ghosh (ed), CODE : collaborative ownership and the digital economy. Cambridge, Mass: MIT Press. more…

Lee, T. B. (March 21, 2006). Circumventing Competition: The Perverse Consequences of the Digital Millennium Copyright Act, Policy Analysis (Vol. 564). Stable URL more…

Lemley, M. A. (1997). ‘The economics of improvement in intellectual property law’, Texas Law Review, 75(5), 989-1084.

Lemley, M. A., & McGowan, D. (1998). ‘Legal implications of network economic effects’, California Law Review, 86(3), 479-611.

Lessig, L. (1999). Code and other laws of cyberspace. New York: Basic Books.

Lessig, L. (2001). The Future of ideas : the fate of the commons in a connected world. New York: Random House.

Lessig, L. (2004). Free culture : how big media uses technology and the law to lock down culture and control creativity. New York: Penguin Press.

Leyshon, A. (2003). ‘Scary monsters? Software formats, peer-to-peer networks, and the spectre of the gift’, Environment and Planning D-Society & Space, 21(5), 533-558.

Liebowitz, S. J. (1985). ‘Copying and Indirect Appropriability: Photocopying of Journals’, Journal of Political Economy, 93(5), 945-957. Stable URL more…

Liebowitz, S. J. (2006). ‘File Sharing: Creative Destruction or Just Plain Destruction?’ Journal of Law & Economics, 49(1), 1-28. Stable URL more…

Liebowitz, S. J., & Watt, R. (2006). ‘How to best ensure remuneration for creators in the market for music? Copyright and its alternatives’, Journal of Economic Surveys, 20(4), 513-545. more…

Locke, J. Second Treatise of Government. more…

MacDonald, G. M. (1988). ‘The economics of rising stars’, American Economic Review, v78(n1), p155(112). more…

Madow, M. (1993). ‘Private ownership of public image: popular culture and publicity rights’, California Law Review, 81(n1), 125-240. more…

Malm, K., & Wallis, R. (1992). Media policy and music activity. London ; New York: Routledge. Stable URL more…

Marinova, D., & Raven, M. (2006). ‘Indigenous knowledge and intellectual property: A sustainability agenda’, Journal of Economic Surveys, 20(4), 587-605. more…

Marshall, L. (2004). ‘The effects of piracy upon the music industry: a case study of bootlegging’, Media Culture & Society, 26(2), 163-+.

Martin, P., & Patrick, W. (2004). An Economist’s Guide to Digital Music, CESifo Working Paper (Vol. 1333): CESifo GmbH. Stable URL more…

Maskus, K. E. (2000). ‘Lessons from studying the international economics of intellectual property rights’, Vanderbilt Law Review, 53(6), 2219-2239. more…

Maxwell, T. A. (August 2004). ‘Is copyright necessary?’ First Monday, 9(9), URL (consulted Retrieved Date) Stable URL more…

McCracken, M. L. (1943). Henry Hills, Pirate Publisher: the Significance of His Pamphlets, with a Bibliography (Vol. doctoral dissertation): University of Texas. Stable URL more…

Merryman, J. H. (1989). ‘The Public-Interest in Cultural Property’, California Law Review, 77(2), 339-364. more…

Miceli, T. J., & Adelstein, R. P. (2006). ‘An economic model of fair use’, Information Economics and Policy, 18(4), 359-373.

Michael, P. (2003). ‘The Weakness in Strong Intellectual Property Rights’, Challenge, 46(6), 32-61. Stable URL more…

Michele, B., & David, K. L. (2004). IER Lawrence Klein Lecture: the case against intellectual monopoly: Federal Reserve Bank of Minneapolis. Stable URL more…

Miege, B. (1987). ‘The logics at work in the new cultural industries’, Media Culture Society, 9(3), 273-289. Stable URL more…

Mikszáth, K. (1874). Az írói tulajdonról, Nógrádi Lapok (Vol. 44-52). more…

Miyagawa, E. (2001). ‘Locating libraries on a street’, Social Choice and Welfare, 18(3), 527-541.

Myers, F. (2005). ‘Some properties of culture and persons’, pp. x, 345 p in R. A. Ghosh (ed), CODE : collaborative ownership and the digital economy. Cambridge, Mass: MIT Press. more…

Nadel, M. S. How Current Copyright Law Discourages Creative Output: The Overlooked Impact of Marketing: SSRN. Stable URL more…

Nadel, M. S. (2003). Questioning The Economic Justification For Copyright, SERCI Working Papers: Society for Economic Research on Copyright Issues. more…

Nash, N. F. (1982). ‘English Licenses to Print and Grants of Copyright in the 1640s’, Library, s6-IV(2), 174-184. Stable URL more…

National Research Council (U.S.). NII 2000 Steering Committee. (1997). The unpredictable certainty : information infrastructure through 2000 : white papers. Washington, D.C: National Academy Press. Stable URL

Netanel, N. W. Impose a Noncommercial Use Levy to Allow Free Peer-to-Peer File Sharing: SSRN. Stable URL more…

Newman, J. O. (1985). ‘The Word Made Print: Luther’s 1522 New Testament in an Age of Mechanical Reproduction’, Representations(11), 95-133. Stable URL more…

Nguyen, X. T. N., & Maine, J. A. (2004). ‘Taxing the new intellectual property right’, Hastings Law Journal, 56(1), 1-+.

Nichols, B. (October 2004). Artist Employment In 2003. In M. Bauerlein (Ed.). Washington, DC: National Endowment for the Arts. more…

Niedermüller, P. (2001). ‘A kultúraközi kommunikációról ‘ in I. Béres & Ö. Horányi (eds), Társadalmi kommunikáció. Budapest: Osiris. Stable URL

Nimmer, D. (2003). ‘”Fairest of them all” and other fairy tales of fair use. (copyright law) (Conference on the Public Domain)’, Law and Contemporary Problems, 263(225). more…

Novos, I. E., & Waldman, M. (1984). ‘The Effects of Increased Copyright Protection: An Analytic Approach’, The Journal of Political Economy, 92(2), 236-246. Stable URL more…

Novos, I. E., & Waldman, M. (1987). ‘The Emergence of Copying Technologies – What Have We Learned’, Contemporary Policy Issues, 5(3), 34-45. more…

Oberholzer-Gee, F., & Strumpf, K. (2007). ‘The effect of file sharing on record sales: An empirical analysis’, Journal of Political Economy, 115(1), 1-42. more…

Oksanen, V., & Välimäki, M. (2/2005). ‘Copyright Levies as an Alternative Compensation Method for Recording Artists and Technological Development’, Review of Economic Research on Copyright Issues, 2(2), 25-39. more…

O’Reilly, T. (April 11, 2005). ‘Oops – Only 4% of Titles Are Being Commercially Exploited’, O’Reilly Radar, URL (consulted Retrieved Date) Stable URL more…

p2pnet.net. (2006). Average Simultaneous Global P2P Users 2003-2006. more…

Peitz, M., & Waelbroeck, P. (2006). ‘Piracy of digital products: A critical review of the theoretical literature’, Information Economics and Policy, 18(4), 449-476. more…

Peitz, M., & Waelbroeck, P. (2006). ‘Why the music industry may gain from free downloading – The role of sampling’, International Journal of Industrial Organization, 24(5), 907-913. more…

Pessach, G. (2003). ‘Copyright law as a silencing restriction on noninfringing materials: Unveiling the scope of copyright’s diversity externalities’, Southern California Law Review, 76(5), 1067-1104.

Peterson, R. A., & Berger, D. G. (1975). ‘Cycles in Symbol Production – Case of Popular Music’, American Sociological Review, 40(2), 158-173. more…

Picard, R. G. (2004). ‘A note on economic losses due to theft, infringement, and piracy of protected works’, Journal of Media Economics, 17(3), 207-217. more…

Picker, R. C. (2002). Copyright as Entry Policy: The Case of Digital Distribution: SSRN. Stable URL more…

Plant, M. (1939). The English book trade; an economic history of the making and sale of books. London,: G. Allen & Unwin ltd. more…

Plant, M. (1974). The English book trade : an economic history of the making and sale of books. London: Allen & Unwin.

Pollard, A. W. (1916). ‘THE REGULATION OF THE BOOK TRADE IN THE SIXTEENTH CENTURY’, Library, s3-VII(25), 18-43. Stable URL more…

Pollard, A. W. (1917). Shakespeare’s fight with the pirates and the problems of the transmission of his text. London: A Moring.

Pollard, A. W. (1920). Shakespeare’s fight with the pirates and the problems of the transmission of his text. Cambridge [Eng.]: The University Press. more…

Pollard, A. W. (1922). ‘SOME NOTES ON THE HISTORY OF COPYRIGHT IN ENGLAND, 1662-1774’, Library, s4-III(2), 97-114. Stable URL more…

Posner, R. A. (2002). ‘The law & economics of intellectual property’, Daedalus, 131(2), 5(8).

Pouwelse, J. A., Garbacki, P., Epema, D. H. J., & Sips, H. J. (2005). The Bittorrent P2P File-sharing System: Measurements and Analysis, 4th Int’l Workshop on Peer-to-Peer Systems (IPTPS) (Vol. 3640): LNCS. more…

Rai, A. K., & Eisenberg, R. S. (2003). ‘Bayh-Dole reform and the progress of biomedicine. (Conference on the Public Domain)’, Law and Contemporary Problems, 289(226). more…

Redmond, D. A. (1990). Sherlock Holmes among the pirates : copyright and Conan Doyle in America 1890-1930. New York: Greenwood Press. more…

Rees, E., & Morgan, G. (1979). ‘Welsh Almanacks, 1680-1835: Problems of Piracy’, Library, s6-I(2), 144-163. Stable URL

Reese, R. A. The First Sale Doctrine in the Era of Digital Networks: SSRN. Stable URL more…

Reichman, J. H., & Uhlir, P. F. (2003). ‘A contractually reconstructed research commons for scientific data in a highly protectionist intellectual property environment.(Conference on the Public Domain)’, Law and Contemporary Problems, 315(148). more…

Richardson, R. S., & Gaisford, J. D. (1996). ‘North-South disputes over the protection of intellectual property. (developed and developing countries)’, Canadian Journal of Economics, v29(nSPEISS), pS376(376). more…

Rob, R., & Waldfogel, J. (2006). ‘Piracy on the high C’s: Music downloading, sales displacement, and social welfare in a sample of college students’, Journal of Law & Economics, 49(1), 29-62. more…

Rochelandet, F. (2005). ‘Unauthorised sharing through P2P networks: A digital pollution?’ Journal of Network Industries, 5(1), 25-45. more…

Rochelandet, F., Le Guel, F., Bazot, A., & Dourgnon, J. The Copying Practices Of French Internet Users: An Economic Analysis (pp. 37). Paris: ADIS-Robinson; UFC Que Choisir. more…

Rodman, G. B., & Vanderdonckt, C. (2006). ‘Music for nothing or, I want my mp3 – The regulation and recirculation of affect’, Cultural Studies, 20(2-3), 245-261. more…

Rose, C. M. (2003). ‘Romans, roads, and romantic creators: traditions of public property in the information age. (Conference on the Public Domain)’, Law and Contemporary Problems, 89(22). more…

Rose, M. (1988). ‘The Author as Proprietor, Donaldson-V-Becket and the Genealogy of Modern Authorship’, Representations(23), 51-85. more…

Rose, M. (1993). Authors and owners : the invention of copyright. Cambridge, Mass: Harvard University Press. more…

Rose, M. (2003). ‘Nine-tenths of the law: the English copyright debates and the rhetoric of the public domain. (Conference on the Public Domain)’, Law and Contemporary Problems, 75(13). more…

Rosen, S. (1981). ‘The Economics of Superstars’, American Economic Review, 71(5), 845-858. more…

Ruccio, D., Graham, J., & Amariglio, J. (1996). ‘”The Good, the Bad and the Different”: Reflections on Economic and Aesthetic Value’, pp. 56-77 in A. Klamer (ed), The value of culture : on the relationship between economics and arts. Amsterdam: Amsterdam University Press. Stable URL more…

Samuelson, P. (2003). ‘Mapping the digital public domain: threats and opportunities. (Conference on the Public Domain)’, Law and Contemporary Problems, 147(125). more…

Sanjek, D. (2006). ‘Ridiculing the ‘White Bread Ooriginal’ – The politics of parody and preservation of greatness in Luther Campbell a.k.a. Luke Skyywalker et al. v. Acuff-Rose Music, Inc.’ Cultural Studies, 20(2-3), 262-281. more…

Saunders, D. (1992). Authorship and copyright. London ;: Routledge. more…

Schultz, J. (2002). The Myth of the 1976 Copyright “Chaos” Theory. more…

Schultz, M. F. ‘Fear and Norms and Rock & Roll: What Jambands Can Teach Us about Persuading People to Obey Copyright Law’. Stable URL more…

Schultz, M. F. (2006). ‘Copynorms: Copyright and Social Norms’. Stable URL more…

Scotchmer, S. (2004). ‘The political economy of intellectual property treaties’, Journal of Law Economics & Organization, 20(2), 415-437. more…

Scott, K. (1998). ‘Authorship, the Academie, and the Market in Early Modern France’, Oxford Art Journal, 21(1), 29-41. Stable URL more…

Shapiro, C., & Varian, H. R. (1998). ‘Versioning: The smart way to sell information’, Harvard Business Review, 76(6), 106-+.

Slive, J., & Bernhardt, D. (1998). ‘Pirated for Profit’, The Canadian Journal of Economics / Revue canadienne d’Economique, 31(4), 886-899. Stable URL more…

Smiers, J. (2000). ‘The Abolition of Copyright: Better for Artists, Third World Countries and the Public Domain’, International Communication Gazette, 62(5), 379-406. Stable URL more…

Sobek, O. (1992). ‘Alternative Ways in Financing Public-Goods and Services’, Ekonomicky Casopis, 40(1), 24-39.

Solly, E. (1885). ‘Henry Hills, the Pirate Printer’, Antiquary, xi, 151-154. more…

SPEDIDAM. (Mars 2006). La licence globale optionnelle: SPEDIDAM. more…

Standage, T. (1998). The Victorian Internet : the remarkable story of the telegraph and the nineteenth century*s on-line pioneers. New York: Walker and Co. more…

Standage, T. (1998). The Victorian Internet : the remarkable story of the telegraph and the nineteenth centuryŽs on-line pioneers. New York: Walker and Co.

Strahilevitz, L. J. (2003). ‘Charismatic code, social norms, and the emergence of cooperation on the fileswapping networks’, Virginia Law Review, 89(3), 505-595. more…

Streeter, T. (1994). ‘Broadcast Copyright and the Bureaucratization of Property’ in M. Woodmansee & P. Jaszi (eds), The Construction of Authorship: Textual Appropriation in Law and Literature: Duke University Press. more…

Striphas, T., & McLeod, K. (2006). ‘Strategic improprieties: Cultural studies, the everyday, and the politics of intellectual properties’, Cultural Studies, 20(2-3), 119-144. more…

Sunstein, C. R., & Ullmann-Margalit, E. (2001). ‘Solidarity goods’, Journal of Political Philosophy, 9(2), 129-149. more…

Takeyama, L., Gordon, W. J., & Towse, R. (2005). Developments in the economics of copyright : research and analysis. Cheltenham, UK ; Northampton, MA: Edward Elgar.

Takeyama, L. N. (1994). ‘The Welfare Implications of Unauthorized Reproduction of Intellectual Property in the Presence of Demand Network Externalities’, Journal of Industrial Economics, 42(2), 155-166. more…

Thomas, M. (1994). ‘Reading and Writing the Renaissance Commonplace Book: A Question of Authorship?’ in M. Woodmansee & P. Jaszi (eds), The Construction of Authorship: Textual Appropriation in Law and Literature: Duke University Press. more…

Throsby, D. (2003). ‘Determining the Value of Cultural Goods: How Much (or How Little) Does Contingent Valuation Tell Us?(Author abstract)’, Journal of Cultural Economics, 27(3-4), 275(211). more…

Toldy (Schedel), F. (1838). ‘Néhány szó az írói tulajdonról’, Athenaeum, 705-717. more…

Torrubia, A., Mora, F. J., & Marti, L. (2001). ‘Cryptography regulations for e-commerce and digital rights management.’ Computers & Security, 20(8), 724-738.

Torsson, P., & Fleischer, R. (2005). The Grey Commons, 22C3. Berlin.

Towse, R. (2002). Copyright in the cultural industries. Cheltenham, UK ; Northampton, MA, USA: Edward Elgar.

Towse, R. (2006). ‘Copyright and artists: A view from cultural economics’, Journal of Economic Surveys, 20(4), 567-585.

Tuckman, H. P., & Leahey, J. (1975). ‘What Is an Article Worth?’ The Journal of Political Economy, 83(5), 951-968. Stable URL more…

Turner, F. (2006). From counterculture to cyberculture : Stewart Brand, the Whole Earth Network, and the rise of digital utopianism. Chicago: University of Chicago Press. Stable URL

Tushnet, R. (2006). ‘My library: Copyright and the role of institutions in a peer-to-peer world’, Ucla Law Review, 54(4), 977-1029. more…

Van Alstyne, W. W. (2003). ‘Reconciling what the First Amendment forbids with what the Copyright Clause permits: a summary explanation and review. (Conference on the Public Domain)’, Law and Contemporary Problems, 225(213). more…

Varian, H. ‘Pricing information goods’, H. R. Varian, Pricing information goods, available at hhttp://www.sims.berkeley.edu/¸hal/people/hal/papers.html citeseer.ist.psu.edu/varian95pricing.html more…

Wallis, R., & Malm, K. (1984). Big sounds from small peoples : the music industry in small countries. N[ew] Y[ork], NY: Pendragon Press. more…

Wark, M. (2006). ‘Information wants to be free (but is everywhere in chains)’, Cultural Studies, 20(2-3), 165-183. more…

Watt, R. (2000). Copyright and economic theory : friends or foes? Cheltenham, UK ; Northampton, MA, USA: E Elgar.

Weinreb, L. L. (1997-1998). ‘Copyright for Functional Expression’, Harvard Law Review, 111. more…

Wirten, E. H. (2006). ‘Out of sight and out of mind – On the cultural hegemony of intellectual property (critique)’, Cultural Studies, 20(2-3), 282-291. more…

Withers, K. (February 2006). Intellectual Property and the Knowledge Economy, Intellectual Property and the Public Sphere: Balancing Competing Priorities. London: Institute for Public Policy Research. more…

Wittmann, R. (December 2004). Viennese and South German Pirates and the German Market, The History of Books and Intellectual History. Princeton University. more…

Woodmansee, M. (1984). ‘The Genius and the Copyright: Economic and Legal Conditions of the Emergence of the ‘Author”, Eighteenth-Century Studies, 17(4), 425-448. Stable URL more…

Woodmansee, M. (1994). The author, art, and the market : rereading the history of aesthetics. New York: Columbia University Press. more…

Woodmansee, M. (1994). ‘On the ‘Author Effect’: Recovering Collectivity’ in M. Woodmansee & P. Jaszi (eds), The Construction of Authorship: Textual Appropriation in Law and Literature: Duke University Press. more…

Woodmansee, M. (2000). ‘The Cultural Work of Copyright: Legislating Authorship in Britain, 1837–1842 ‘ in Law in the domains of culture University of Michigan Press. more…

Woodmansee, M., & Jaszi, P. D. B. (1994). The Construction of authorship : textual appropriation in law and literature. Durham: Duke University Press.

Zentner, A. (2006). ‘Measuring the Effect of File Sharing on Music Purchases’, Journal of Law & Economics, 49(1), 63-90. Stable URL more…

Zimmermann, P. R. (2006). ‘Just Say No – Negativland’s No Business’, Cultural Studies, 20(2-3), 316-322. more…

Mashable

NBC Direct, the free service from NBC that lets you download full episodes of The Office, 30 Rock, Scrubs, Heroes and more, has gone live on the NBC site.

Currently in beta, and originally scheduled to launch in October, the new video viewing service allows you to download the latest episodes of NBC shows directly to your computer for viewing in a special player. Getting set up to do this is rather annoying. First off, it’s Internet Explorer only, then once you download the player, if you don’t have the latest .NET framework, you’ll be downloading that also. Next: Windows Media needed a security update on top of it all. On a Mac? Sorry, can’t help. Outside of the US? You’re out of luck too.

BBC NEWS

BBC shows such as Doctor Who and EastEnders are to be
made available on-demand after the BBC’s iPlayer service was given the
green light.

The service – which will launch later this year – allows
viewers to watch programmes online for seven days after their first TV
broadcast.

Episodes can also be downloaded and stored for up to 30 days.

The BBC Trust gave the iPlayer the go-ahead after consultations with members of the public.

BBC iPLAYER

• iPlayer will allow viewers to catch up on TV programmes for seven days
• Some TV series can be downloaded and stored for 30 days
• Viewers will be able to watch shows streamed live over the internet
• Users will not be able to download programmes from other broadcasters
  Classical recordings and book-readings are excluded from iPlayer

Kevin J. Delaney. Wall Street Journal. (Eastern edition). New York, N.Y.: Apr 17, 2007. pg. A.1

“It’s out there — you just have to hunt around for it a bit,” says the 28-year-old Mr. [Sam Martinez]. Like many similar sites, YouTVpc relies heavily on video-sharing sites outside the U.S., such as a French outfit called Dailymotion and Ouou.com in China. Mr. Martinez estimates that about 40% of the shows and films on the site — including episodes of “Desperate Housewives” and Fox’s “Prison Break” are provided by Ouou.com.

Last year Mr. Martinez’s childhood friend, Mr. [Billy Duran], built on the idea and created a site called “VTele” as an assignment for a computer-science class at Central New Mexico Community College. Through it, users could view TV shows and movies that he and Mr. Martinez copied from DVDs and uploaded to the school’s computer servers. The 23-year-old Mr. Duran says he got an “A” on the project. But within a month, the site attracted so many users that some of the school’s computer servers crashed. Administrators threatened Mr. Duran with expulsion.

Mr. Duran dropped out of Central New Mexico, and the two friends relaunched the site in September. At first it relied on volunteers to store video files on their own servers, until a user pointed Mr. Martinez to Dailymotion. “I was like, ‘Oh my gosh — gold mine!'” recalls Mr. Martinez. “We had all 18 seasons of ‘The Simpsons’ in two hours.”

Read the rest of this entry »

| The Register

Australian TV viewers are waiting longer than ever to view their favourite overseas produced televisions shows, driving them to use BitTorrent and other internet-based peer-to-peer programs to download programmes from overseas, prior to their local broadcast.

According to a survey based on a sample of 119 current or recent free-to-air TV series’, Australian viewers are waiting an average of almost 17 months for the first run series’ first seen overseas. Over the past two years, average Australian broadcast delays for free-to-air television viewers have more than doubled from 7.9 to 16.7 months.

A survey of TV programmes found that while some aired very close to their US air date, many popular programmes were significantly delayed.

Average broadcast delays were shortest for TV series’ on the Seven and Ten Networks, at around nine months. The average delay for TV series’ airing on the Nine Network was 22 months, while TV series’ on ABC and SBS aired on average 23 and 30 months behind the US.

Among popular programs, fans of Nine’s Without a Trace had to wait nearly nine months for an episode that aired in the US. A recent episode of Seven’s My Name Is Earl aired a year after its US broadcast date. Fans of Ten’s American Idol have just seen last season’s finals – nine months after they were seen in America, while Americans vote for the new Idol.

The ABC recently showed an episode of The West Wing 21 months after its US broadcast date, but Nine’s Antiques Roadshow and SBS’s Iron Chef take the cake with recent first run episodes shown over 11 years after their first overseas broadcast.

The survey followed a similar survey from two years ago which found the average delay for first run TV programmes on free-to-air TV at the time was just under eight months. Popular prime time TV programmes currently subject to substantial delays including the following:

* Close To Home (8.6 months)
* CSI: N.Y. (9.3 months)
* Desperate Housewives (4.4 months)
* Grey’s Anatomy (4.9 months)
* Heroes (4.2 months)
* House (5 months)
* NCIS (4.1 months)
* Third Watch (22.1 months)

While film and music content owners have attempted to cater for digital consumers through services like iTunes, Australian TV networks appear to be unable or unwilling to change their programming policies or provide new digital based options for consumers that don’t want to wait to view their favourite shows.

FT.com

Google’s strategy for its newly acquired YouTube site was dealt a serious blow on Friday when Viacom, the owner of MTV, demanded that all its clips be removed from the user-generated internet company’s site.

Viacom, which owns youth brands such as Nickelodeon and Comedy
Central, made the demand after months of negotiations with YouTube and
Google. It said more than 100,000 affected video clips on the YouTube
site had generated more than 1.2bn video streams.

The
move threatens to wreck Google’s attempts to cement commercial
relationships with traditional media groups, which supply most material.

Since
acquiring YouTube for $1.65bn in October, Google and Eric Schmidt, its
chief executive, have made a frantic effort to forge relationships with
traditional media companies. They have managed to sign short-term deals
with
CBS, Warner Music, Sony-BMG and Universal Music.

Discussions
with Viacom appeared to break down over the splitting of advertising
revenues from Viacom content. There was also a fight over which company
would make those sales.

Viacom executives were frustrated that
YouTube had failed to implement a content-monitoring system by the
beginning of the year, as it had promised, so companies could easily
tell when their material was being posted.

It accused Google and
YouTube of reaping all the revenue from their material “without
extending fair compensation to the people who have expended all of the
effort and cost to create it”.

YouTube said it would comply with the request.

“It’s
unfortunate that Viacom will no longer be able to benefit from
YouTube’s passionate audience which has helped to promote many of
Viacom’s shows,” YouTube said in a statement. “We take copyright issues
very seriously. We prohibit users from uploading infringing material,
and we cooperate with all copyright holders to identify and promptly
remove infringing content as soon as we are officially notified.”

Viacom
and other traditional media groups are eager to distribute their
content to audiences of social networking and user-generated websites,
which are wildly popular with young consumers. But they are wary of
losing commercial and editorial control.

They complain that most
clips posted on the sites are derived from their copyrighted work and
have been appropriated without permission.

Viacom believes it
has particular leverage because it specialise in youth-oriented and
short-form video clips. It has previously demanded that clips from
programmes such as Comedy Central’s Daily Show be removed.

Under
US copyright laws, sites are protected from legal action as long as
they respond in a timely manner to requests to remove unauthorised
material.
NBC Universal, Disney and Viacom complain that they have to monitor hundreds of thousands of clips.

Now this is public service.

BBC NEWS | Entertainment | BBC’s download plans get backing

TV shows like Doctor Who are expected to be available for download later this year after the BBC Trust gave initial approval to the BBC’s on-demand plans.

Under the proposals, viewers will be able to watch popular programmes online or download them to a home computer up to a week after they are broadcast.

But the trust imposed tough conditions on classical music, which could stop a repeat of the BBC’s Beethoven podcasts.

Full approval of the on-demand plans will follow a two-month consultation.

Guardian Unlimited Technology

The BBC is in advanced negotiations with Google to make programming available via a branded channel on the search giant’s video-sharing site, MediaGuardian.co.uk can reveal.

It is understood that BBC executives are keen that the deal, which involves BBC Worldwide and the BBC, is eventually expanded to include putting content on Google-owned YouTube.

BBC Worldwide is understood to be looking at commercial options for the agreement, such as a share on contextual advertising that will run alongside BBC content.

Several large broadcasters in the US have similar arrangements with
Google-owned YouTube including CBS, which claimed 200,000 extra viewers
for The Late Show with David Letterman after clips from the show were
posted on the video-sharing website.

BBC NEWS | Technology

Hundreds of episodes of BBC programmes will be made available on a file-sharing network for the first time, the corporation has announced.

The move follows a deal between the commercial arm of the organisation, BBC Worldwide, and technology firm Azureus.

The agreement means that users of Azureus’ Zudeo software in the US can download titles such as Little Britain.

Until now, most BBC programmes found on peer-to-peer file-sharing networks have been illegal copies.

The titles will be protected by digital rights
management software to prevent the programmes being traded illegally on
the internet.

Users will also be able to link to programmes from blogs, social networks and fansites.

No pricing structure for the BBC content on Zudeo has been revealed.

Lost Remote TV Blog:

It’s been a month since CBS began its partnership with YouTube, and the network has uploaded 300 videos. Since that time, the clips have racked up a total of 29.2 million views for an average of 857,000 views a day. Many of the clips are from CBS’ Late Show with David Letterman and The Late Late Show, and the network says ratings have risen 5 and 7 percent respectively since the YouTube deal began. “Although the success of these shows on YouTube is not the sole cause of the rise in television ratings, both companies believe that YouTube has brought a significant new audience of viewers to each broadcast,” reads the press release, which follows below along with a list of the top 15 clips so far…

Techcrunch » Blog Archive » YouTube Going Mobile… in 14 Months?:

Crunchgear caught an AdAge story today about YouTube founder Chad Hurley telling attendees at the OgivlyOne Digital Media Summit in New York that YouTube hopes to be able to deliver user generated short video clips to mobile devices by the end of 2007.

Wired 13.09: Reinventing Television:

Ben, I read something in which you talked about how network television and cable were going to become one and the same.



Karlin: Only in the sense of perception. From a creative standpoint, there used to be this idea that network was the holy grail and that cable was where people went who couldn’t work on network. That’s the old model. And now that there’s just as many quality shows coming out of cable – on FX there’s good shows, Comedy Central has good shows, HBO … I think the audience is going to cease noticing, “Oh, that’s got the NBC logo on it.”



Stewart: It’s the idea that the content is no longer valued by where it stands, in what neighborhood it lives. What matters is what you put out there, not its location. I think that’s what people have come to learn from the Internet – it doesn’t matter where it comes from. If it’s good, it’s good. Just because our channel is after HGTV and right before Spanish people playing soccer doesn’t make it any less valuable than something that exists in the single digits on your television set.



Karlin: The bottom line is network television is going to have to figure out a way to produce its shows less expensively in order to survive and compete. And cable shows are going to have to figure out a way to pay people a little more, probably, as they start getting the same kind of revenue out of their shows that the networks get.