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Excellent collection of articles on the public conciousness of the law (the Tamil Nadu Goondas Act) and its interactions with everyday affairs (video piracy).

Review of Michael Heller's "The Gridlock Economy"

"When Canada started a consultation on implementing these treaties in June, 2001, one of the first books I read was Jessica Litman's book "Digital Copyright". The website for the book is Digital-Copyright.com, and the similarity to the Digital-Copyright.ca name is not a coincidence. This book is the journey in the United States from 1993 and the Bruce Lehman Working Group, through the policy-laundering of their harmful ideas through WIPO in 1996, to the passage of the USA's Digital Millennium Copyright Act (DMCA) in 1998. This is likely the best book to understand how the USA got their DMCA, and by extension why this harmful policy is now being pushed into Canada. It should be noted that even Bruce Lehman has stated publicly that his Clinton-era policies didn't work out well. Probably the best resource for understanding how the DMCA has harmed (and continues to harm) the United States is to read the DMCA archives of the Electronic Frontier Foundation. This includes the paper Unintended Consequences: Seven Years under the DMCA from April, 2006."

"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."

"Meeting of the 14th session of the Intergovernmental Committee on the Universal Copyright Convention as revised in 1971 . 7-9 June, 2010 UNESCO Headquarters, Paris, France. "

Definitely a must-read. Valenti, for instance, claims that home recording is *not* a crime, but then a few years later, sues Sony for assisting infringement. There's Clint Eastwood too.

This course surveys the political and economic history of the commons, its strengths and limitations over the centuries, and its burgeoning contemporary manifestations.  We will be guided by the writings of Elinor Ostrom, Peter Linebaugh, Yochai Benkler, Lawrence Lessig, Peter Barnes, Lewis Hyde and David Bollier as well as by a range of films, essays and Web resources.  The course will have direct conversations with policy experts, academics and activists who are at the forefront of commons work, and confront the ambiguities and perplexities of this still-emerging realm of thought and action.

Very reminiscent of the debates around cultural appropriation of the Alberto Korda photo of Che.

My friend had hundreds of these examples. We could have sat in his living room playing at musical genealogy for hours. Did the examples upset him? Of course not, because he knew enough about music to know that these patterns of influence-cribbing, tweaking, transforming-were at the very heart of the creative process. True, copying could go too far. There were times when one artist was simply replicating the work of another, and to let that pass inhibited true creativity. But it was equally dangerous to be overly vigilant in policing creative expression, because if Led Zeppelin hadn't been free to mine the blues for inspiration we wouldn't have got "Whole Lotta Love," and if Kurt Cobain couldn't listen to "More Than a Feeling" and pick out and transform the part he really liked we wouldn't have "Smells Like Teen Spirit"-and, in the evolution of rock, "Smells Like Teen Spirit" was a real step forward from "More Than a Feeling." A successful music executive has to understand the distinction between borrowing that is transformative and borrowing that is merely derivative, and that distinction, I realized, was what was missing from the discussion of Bryony Lavery's borrowings. Yes, she had copied my work. But no one was asking why she had copied it, or what she had copied, or whether her copying served some larger purpose.

Google has banned subscribers to its Korean blogging platform, Textcube (www.textcube.org), from uploading songs onto their blogs, citing the country's new anti-file sharing provisions aimed at thwarting online piracy. This is the first time that the U.S. giant has disabled its bloggers from posting music files on their personal Web pages. Last month, Google blocked users from posting videos and comments on the Korean site of YouTube (kr.youtube.com), its online video service. This was to avoid the new regulations that mandate Internet users to make verifiable real-name registrations on all Web sites with more than 100,000 daily visitors, which means they have to submit their resident registration codes, the Korean equivalent of social security numbers.

The government recently released Decree 47, raising the maximum fine for copyright infringement from 70 million to 500 million dong. The highest fine will be imposed in the following cases: appropriating copyrights, directly or indirectly copying shows, directly or indirectly copying visual and audio recording works, copying broadcasting programmes, appropriating related rights. The decree also stipulates supplementary forms of punishment and measures to repair damages. Vietnam Literary Copyright Centre Director Doan Thi Lam Luyen said: "The new decree is harsher but it is insufficient if only a fine is applied. While someone who steals a chicken or a cow faces imprisonment, stealing intellectual products only results in a fine." The new decree will take effect on June 30, 2009.

The whole proposal is worth reading. But we think Prof. Felten hasn't gone far enough. As Cory Doctorow has suggested, this wonderful idea should also be applied to corporations -- if the Walt Disney Company is accused of copyright infringement 3 times, it should also be banned from the Internet, don't you think?

A new report in a Swedish news site, IDG, recently reported (Google translation) that officials from the BSA are now admitting that their own statistics shouldn't be treated seriously or should be treated like a pinch of salt. From the report:

"I guess spending $350 for the lowest-capacity Meizu M8 can put too much strain on on our bank accounts in this economic environment, which is what the good people of MeiLi must be thinking when they made their own version of the M8 Apple iPhone clone. The MeiLi M8 is undeniably a lookalike of the Meizu M8, a phone generally acknowledged as the finest iPhone clone there ever was. The question is if the MeiLi M8 is a Meizu M8 clone and the latter is a clone of the iPhone, then theoretically Apple can sue MeiLi for copyright infringement, too. Right?"

"As the world economy increasingly centers on "memes, genes, and bits," new technologies permit new production models that threaten entrenched interests. As a consequence, we face a looming political battle that could reshape the information society. There are three main barriers to democratic participation in setting the rules of the information economy that bias the playing field in favor of entrenched interests and old models. The first is that the harms of bad A2K policy often take a long time to manifest themselves, making it difficult to instill a sense of urgency in the body politic and among policy elites. The current experience of "information overload" obscures increasing regulation of the use of knowledge. The second is that information policy issues tend to be highly technical and esoteric to the uninitiated, and difficult even for the initiated to analyze effectively. The third is that the promises of a world where knowledge is free as the air we breathe seems ephemeral in the face of the concrete harms claimed by those who would fence off the information commons."

These are two speeches given by Thomas Macaulay in Parliament in 1841, when the issue of copyright was being hammered out. They are, no other word for it, brilliant - and cover everything fundamental which is involved in the issue.

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Sam Ricketson's seminal 86 page opus, presented at the 9th session of the SCCR in 2003.