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"Stephen Fry, a highly respected actor, comedian, writer, presenter and author yesterday admitted to downloading TV shows for free using BitTorrent. Speaking at the iTunes Festival in London last night, Fry told the audience that he's grabbed episodes of 24 and the series finale of House, starring his former comedy partner Hugh Laurie." And he admits that he feels a bit guilty about it, but the reason is that he can't really get that content elsewhere. The fault is with the industry, and yet the gov't is trying to protect that industry, rather than recognize that the real problem is the industry not giving people what it wants. Having the gov't come up with a plan to try to stomp out file sharing misses the point. The problem isn't the file sharing -- it's the industry not responding to the market.

"But what's missing from the whole debate is some data. Just how much unlawful file-sharing is going on in the UK and what effect is it having on the creative industries? It's hard to be sure really - the music industry often says that twenty unauthorised tracks are downloaded for every one that's paid for, but I'm not sure how that figure was worked out. The government, too, seems hazy, unable to say how it will know when file-sharing has been reduced by 70%, the target to be attained by the initial deterrence campaign before stronger measures are contemplated."

Bangalore: The long-pending Bill to curb piracy of Kannada cinemas and songs is likely to become a reality during the budget session of the State Legislature, according to sources in Kannada cinema industry.

Along with alarmist predictions of the death of film, "She added that the industry is moving away from the anti-piracy campaigns based around social stigma, such as "Knockoff Nigel", with a more positive campaign called "You make the Movies" launched earlier this month emphasising that DVD sales and cinema tickets are part of the funding process for high quality content."

"While appreciating the need for stopping "Software Piracy", the attention of the Government should however be drawn to long term strategies to make Piracy un economical to both the "Pirate" and the "Consumer". The industry has seen a dramatic reduction of pirated copies of Windows since its prices were brought down. The continuation of piracy in other software is to a large extent a result of unreasonable pricing by manufactures. Prices are being determined by them based on their costs and profit requirements rather than the utility value of the software. For example, how many home users can justify the need to buy a Office 2000 paying say around Rs 20,000 which is the cost of the entire hardware system they have bought?. Most offices would find it uneconomical to buy software at such costs. "

"This paper investigates the conditions of the manufacture of low-cost technology in China with the examples of 'pirated' VCD players, 'no-name' DVD players, and Shenzhen's development as a techno-urban city. It emphasizes the significance of the cultural logic of original equipment manufacturers (OEMs) and argues that the various transformations and deflections that are derived from ubiquitous OEM experiences have gone beyond the original model of an authorized OEM, experiences that are to some extent embodied in the transgression of brand name and patent hegemonies, which are mainly controlled by high technology companies. OEMs have been associated with China's current imperative and uninhibited development of low-cost technology capitalism. 'Made in China' signifies the production of any product, legal or illegal, for transnational high technology giants or domestic technology manufacturers. Learning to 'become an OEM' in China has partly resulted in excessive technological mimesis that may be part of an unauthorized, underground economy that is based on low-cost technology. Based on the Shenzhen experience, part of this study will show industrial production-oriented OEM cultures in which illegal operations and counterfeit trade are incorporated, even in city projects that are shared by municipal governments and Chinese technological companies, and undergo spatial restructuring in the development of the economy, consumerism, and urbanism. "

The strategy contains more than thirty concrete recommendations for improvement, falling into six main categories. First, we will lead by example. Specifically, we will work to ensure that we do not mistakenly purchase or use illegal products. Second, the strategy underscores that this Administration supports transparency. That includes transparency in our development of enforcement policy, information sharing, and reporting of law enforcement activities at home and abroad. Third, we will improve coordination and thereby increase efficiency and effectiveness of law enforcement efforts at the Federal, state and local level, of personnel stationed overseas and of our international training efforts. Fourth, we will work with our trading partners and within international organizations to better enforce American intellectual property rights in the global economy. In that regard, we will initiate a comprehensive review of current efforts in support of U.S. businesses that have difficulty enforcing their intellectual property rights in overseas markets, with a particular focus on China. Fifth, we must secure our supply chain. To achieve this most important goal, we will take a close look at the unique problems posed by foreign-based websites and other entities that provide access to counterfeit or pirated products, and develop a coordinated and comprehensive plan to address them. We will make sure our law enforcement has the authority it needs to secure the supply chain and also encourage industry to work collaboratively to address unlawful activity on the internet, such as illegal downloading and illegal internet pharmacies. Sixth, and finally, we will make sure we spend your money wisely, a process we have already begun. To do that, we have, and will continue to collect and track the amount of money we spend on intellectual property enforcement per year. We will use this information to map out the most effective way to fight this theft.

A landmark study by the Institute of European Media Law (EML) found that a levy on internet usage legalising non-commercial online exchanges of creative works conforms with German and European copyright law, even though it requires changes in both. The German and European factions of the Green Party who had commissioned the study will make the "culture flat-rate," as the model is being called in Germany, an issue in their policies. The global debate on a new social contract between creatives and society is getting more pronounced by the day. Two models are emerging: a free-market approach based on private blanket licences and voluntary subscriptions, and a legal licence approach based on exceptions in copyright law and mandatory levies, that now has been proven legally feasible and appropriate by the EML study.

"I think the trend is now clear. There have been a number of cases in the last five years and if you look at the way they have been decided - the Kazaa case in Australia clearly referred to the American [Grokster] decision and just tweaked the law in a way that suited the rights holders. In Belgium, an ISP [Scarlet] was forced to implement filtering [June 2007, Belgian Society of Authors Composers and Publishers (SABAM) v Scarlet, Brussels Court of First Instance, currently under appeal]; there was a case in Finland [June 2008, Finnish Court of Appeal, where administrators of P2P site Finreactor were sued on an individual basis and 21 people were jointly fined €500,000 ($647,284) for copyright infringement and assisting copyright infringement; 14 are appealing] where the BitTorrent super-users were found guilty and they pleaded they were only linking. So I do see that trend." [...] "The big frustration is that we act for all these legal services who pay lots of money to the rights holders, and it's almost impossible to get licenses. They are so expensive and the process is so slow. Two or three years can go by and you can throw millions at trying to get a compelling service launched, and there are obstacles in the way all the time. Pandora is a great example, it's just not possible [to operate it in Europe]. We also advise Last.fm and MySpace, it's just so much hard work. This is the irony: they [labels] complain about piracy and then you walk in the door with a new service with some VC funding and an amazing bit of software that is essentially promoting and selling their content. But they say 'we are not moving unless you give us an advance of $5 million plus equity."

The global software piracy rate rose to 41% in 2008 from 38% in 2007, costing rights owners an exchange-rate adjusted $50 billion, according to a joint study between the Business Software Alliance (BSA) and IDC released last week. One of the factors driving greater piracy is increased high-speed Internet access, particularly in emerging markets where piracy rates are the highest. Software piracy is rampant on many Internet channels, including peer-to-peer (P2P) networks, auctions sites and websites. On auction sites alone, software piracy is estimated to be between 50% and 90%, according to an earlier BSA report. Other key findings from the May 2009 joint study include: * Even though global software piracy increased overall in 2008, the piracy rate actually dropped in 52% of the 110 countries studied and stayed the same in 35% of them * The impact of the global economic recession on software piracy is so far mixed, as reduced buying power is just one of many factors affecting piracy * Sites offering access to pirated software also spread malware. According to a 2006 IDC study, 29% of websites and 61% of P2P sites offering pirated software attempt to distribute malware. * While the US has the lowest piracy rate in the world-20%-it suffered the largest revenue loss in 2008 due to piracy given its leadership position in the global software industry

Alleged file-sharer Joel Tenenbaum has a new ally in his battle against the record labels: Radiohead manager Brian Message. Tenenbaum, a grad student currently being sued for allegedly sharing seven tracks on Kazaa, intends to have Message testify that file-sharing can help the music industry, according to his lawyer, Charles Nesson of Harvard Law School.

So maybe Coldplay is not a group of plagiarists; rather, it is a group of pop hacks working on tropes that the entire pop music industry since the 1950's has stolen from elsewhere. Originality is a tricky thing. Just ask Shepard Fairey.

"The common Western narrative of China is of a country whose businesses unfairly compete by stealing intellectual property from others and making money off of copycat technology. While undoubtedly a large amount of IP theft does happen in China, its hard to believe that anyone can look at China and not see innovation everywhere. I've noticed that this question of innovation in China comes up often among Western observers of China. Why? Do we feel that the playing field is unfair? Are we in the U.S. desperately looking for signs of an enduring competitive advantage even as we've shipped our entire manufacturing base overseas? I'm not sure, but the topic sure comes up a lot. Yes, China can innovate, but what kind of innovation? Jacob Hsu (Symbio) remarked that in Silicon Valley, investors and entrepreneurs are looking for "business model" innovation, which I interpreted to mean a new product that creates new markets. He characterized Chinese innovation as mostly incremental "technology" innovation in the past, but that increasing we were seeing highly innovative companies emerge, such as Tencent. He also highlighted the phenomenon of "shanzhai" as an example of innovation on a much smaller scale. The "shanzhai" consumer electronics economy in China is rapidly creating next generation connected devices out of laptop and mobile phone components, and that in most cases the minimum scale required to produce these units can be as small as a few hundred units to make money. Conventional wisdom equates intellectual property protection with innovation. But the "shanzhai" phenomenon challenges this idea. Could the lack of intellectual property protection create opportunities to remix, modify and mashup existing technology that creates an "innovation capability" for China's entrepreneurs even as the lack of IP protection prevents them from fully capitalizing on their successes (because the next guy will just rip them off)? In this

"Since then downloads have come to dominate the top 40. About 98% of all single sales are now from downloads, with about 100,000 needed every week to get to the top spot."

But, where PRS really shines is in threatening tons of small businesses. Over the years, we've had stories on PRS threatening car repair shops, because mechanics in the garage were playing their radios loud enough that customers in the waiting room could hear them. That's a public performance, according to PRS. Then they went after a police station because some cops were listening to radios. Then they went after a children's charity for singing Christmas carols without paying up. The group has even been known to call up small businesses and if they hear music in the background, demand payment, including one case involving a guy working at home with his dog. Apparently, that constitutes a "public performance." The latest (sent in by a few folks) is that PRS has now threatened a woman who plays classical music to her horses in her stable to keep them calm. She had been turning on the local classical music station, saying that it helped keep the horse calm -- but PRS is demanding £99 if she wants to keep providing such a "public performance." And it's not just a one-off. Apparently a bunch of stables have been receiving such calls.

The Songwriters Assn. of Canada proposes to allow domestic consumers access to all recorded music available online in return for adding a $5 Canadian ($4.96) monthly fee to every wireless and Internet account in the country. It has been slammed as "a pipe dream" by Canadian labels.