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Meenatchi

RIAJ push for mobile phone DRM across Japan - 2 views

Article Summary: http://www.geek.com/articles/mobile/riaj-push-for-mobile-phone-drm-across-japan-20090915/ The article talks about the Recording Industry Association of Japan (RIAJ) attempting t...

Digital Rights DRM

started by Meenatchi on 16 Sep 09 no follow-up yet
Weiye Loh

Justin Bieber Swears Off YouTube For Facebook, Unwittingly Steps In Copyright Minefield... - 0 views

blogs.forbes.com/...y-steps-in-copyright-minefield

Copyright Youtube Social Social Media

shared by Weiye Loh on 04 Dec 10 - No Cached
  • Internet pop sensation Justin Bieber went to upload the music video of his new song called “Pray” to his personal YouTube site. He was in for a rude surprise: YouTube automatically blocked his video upload on “copyright grounds” that the video contained content from Universal Music Group (UMG), parent company to Bieber’s record label, Island Def Jam records.
  • “yo youtube…how u gonna block my own song?!?!?!” wrote an outraged Bieber on his Twitter account. In another Twitter update, he wrote, “dear youtube…we started this journey and now u r cheatin on me with this vevo chica…i see how it is…i will be over here with facebook [sic].” (Vevo is the music video website responsible for Bieber’s official YouTube syndication, and is a joint venture between music giants Sony Music Entertainment, UMG and Abu Dhabi Media.)
  • YouTube wrote back to Bieber on its Twitter account, “sorry about the upload pain around ‘Pray’. That’s between you and your label but we love you [both] so let’s figure this out!”
  • ...5 more annotations...
  • Frustrated with the Google-owned video site, Bieber instead uploaded his video using Facebook’s video app onto his Facebook page. “no one keeps my music from my fans. nobody,” he wrote on Twitter.
  • There’s a level of irony to the situation. Bieber got his start on YouTube, where home videos of him on his account singing covers of hip-hop songs
  • You would think if anyone deserved to be able to upload his own music videos to YouTube, it would be Bieber. So why couldn’t he? The answer lies in the complicated legalities behind copyright law and new media. It comes down to the question: who owns the video? In Bieber’s case, the answer depends on who you ask.
  • According to the YouTube website where Bieber’s upload was blocked, it appears that UMG has ownership. YouTube has a Content ID copyright protection system in place. Content ID automatically detects whether new content being uploaded to the website infringes on any copyrighted material in YouTube’s vast video database, using video and audio recognition techniques. The rights-holder can preselect what YouTube should do to the video in response: A) block it outright, B) monetize it by overlaying an ad on the video or C) do nothing, but be able to track the video’s viewership.
  • And why was Bieber able to upload his video to Facebook with no problems? Facebook also says it has a copyright protection scheme in place. But if it has a similar Content ID system to YouTube, it doesn’t have the same amount of video content that YouTube does, meaning a given uploaded video to the social network is less likely to automatically ring warning bells.
Weiye Loh

Did file-sharing cause recording industry collapse? Economists say no - 0 views

arstechnica.com/...-sharing-the-global-future.ars

Piracy File-Sharing Music

shared by Weiye Loh on 10 Apr 11 - No Cached
  • a 2007 Journal of Political Economy study found that most downloaders would not buy that content, even if they couldn't share it. "Downloads have an effect on sales that is statistically indistinguishable from zero," the authors flatly concluded then. "Our estimates are inconsistent with claims that file sharing is the primary reason for the decline in music sales during our study period."
  • But a later 2010 meta-study by the same authors concluded that piracy did, in fact, account for a bit of the decline in music sales—around 20 percent. The other 80 percent could be chalked up to the sale of digital singles rather than whole albums and the rise of other media options like video games.
  • "Downward pressure on leisure expenditure is likely to continue to increase due to rising costs of living and unemployment and drastic rises in the costs of (public) services," says the report. Having less money for entertainment has played a huge role in the decline of items like CDs. A 2004 US Consumer Expenditure Survey showed that even spending on CDs by people who had no computer (and were therefore unlikely to download and use BitTorrent) dropped by over 40 percent from 1999 through 2004. "Household budgets for entertainment are relatively inelastic as competition for spending on culture and entertainment increases and there are shifts in household expenditure as well," the LSE study notes.
  • ...3 more annotations...
  • Content industry analyses of the file sharing phenomenon tend to downplay key sources of income for musicians, the LSE report charges, most notably revenue from live concert performances.
  • Legal file sharing also grew by nine percent globally in 2009, along with an eight percent increase in performance rights revenue.
  • So what is emerging is an increasingly "ephemeral" global music culture based not upon the purchasing of discrete physical packages of music, but on the discovery and subsequent promotion of musicians through file sharing. The big winner in this model is not the digital music file seller, but the touring band, whose music is easily discoverable on the 'Net. As with so much of the rest of the emerging world economy, the shift is away from buying things and towards purchasing services—in this case tickets to concerts and related activities.
Jody Poh

Subtitles, Lip Synching and Covers on YouTube - 13 views

I think that companies concerned over this issue due to the loss of potential income constitutes egoism. They mainly want to defend their interests without considering the beneficial impact of the ...

copyright youtube parody

started by Ang Yao Zong on 25 Aug 09 1 follow-up, last by Jody Poh on 25 Aug 09
Magdaleine

Blur and Radiohead fight for digital rights - 2 views

http://www.techradar.com/news/internet/blur-and-radiohead-fight-for-digital-rights-580364 Musicians and bands are coming together to fight for their digital rights. The artistes are trying to figh...

digital rights

started by Magdaleine on 16 Sep 09 no follow-up yet
lee weiting

Man ordered to pay $675,000 over illegal downloading - 11 views

using the golden rule, i feel that the downloader should be arrested and fine. i believe no one will want their hard work to be duplicated and copied without proper recognition. some questions...

illegal downloading music copyright

started by Olivia Chang on 26 Aug 09 3 follow-ups, last by lee weiting on 26 Aug 09
Weiye Loh

IPhone and Android Apps Breach Privacy - WSJ.com - 0 views

online.wsj.com/...4694004576020083703574602.html

Mobile Privacy

shared by Weiye Loh on 19 Dec 10 - No Cached
  • Few devices know more personal details about people than the smartphones in their pockets: phone numbers, current location, often the owner's real name—even a unique ID number that can never be changed or turned off.
  • An examination of 101 popular smartphone "apps"—games and other software applications for iPhone and Android phones—showed that 56 transmitted the phone's unique device ID to other companies without users' awareness or consent. Forty-seven apps transmitted the phone's location in some way. Five sent age, gender and other personal details to outsiders.
  • The findings reveal the intrusive effort by online-tracking companies to gather personal data about people in order to flesh out detailed dossiers on them.
  • ...24 more annotations...
  • iPhone apps transmitted more data than the apps on phones using Google Inc.'s Android operating system. Because of the test's size, it's not known if the pattern holds among the hundreds of thousands of apps available.
  • TextPlus 4, a popular iPhone app for text messaging. It sent the phone's unique ID number to eight ad companies and the phone's zip code, along with the user's age and gender, to two of them.
  • Pandora, a popular music app, sent age, gender, location and phone identifiers to various ad networks. iPhone and Android versions of a game called Paper Toss—players try to throw paper wads into a trash can—each sent the phone's ID number to at least five ad companies. Grindr, an iPhone app for meeting gay men, sent gender, location and phone ID to three ad companies.
  • iPhone maker Apple Inc. says it reviews each app before offering it to users. Both Apple and Google say they protect users by requiring apps to obtain permission before revealing certain kinds of information, such as location.
  • The Journal found that these rules can be skirted. One iPhone app, Pumpkin Maker (a pumpkin-carving game), transmits location to an ad network without asking permission. Apple declines to comment on whether the app violated its rules.
  • With few exceptions, app users can't "opt out" of phone tracking, as is possible, in limited form, on regular computers. On computers it is also possible to block or delete "cookies," which are tiny tracking files. These techniques generally don't work on cellphone apps.
  • makers of TextPlus 4, Pandora and Grindr say the data they pass on to outside firms isn't linked to an individual's name. Personal details such as age and gender are volunteered by users, they say. The maker of Pumpkin Maker says he didn't know Apple required apps to seek user approval before transmitting location. The maker of Paper Toss didn't respond to requests for comment.
  • Many apps don't offer even a basic form of consumer protection: written privacy policies. Forty-five of the 101 apps didn't provide privacy policies on their websites or inside the apps at the time of testing. Neither Apple nor Google requires app privacy policies.
  • the most widely shared detail was the unique ID number assigned to every phone.
  • On iPhones, this number is the "UDID," or Unique Device Identifier. Android IDs go by other names. These IDs are set by phone makers, carriers or makers of the operating system, and typically can't be blocked or deleted. "The great thing about mobile is you can't clear a UDID like you can a cookie," says Meghan O'Holleran of Traffic Marketplace, an Internet ad network that is expanding into mobile apps. "That's how we track everything."
  • O'Holleran says Traffic Marketplace, a unit of Epic Media Group, monitors smartphone users whenever it can. "We watch what apps you download, how frequently you use them, how much time you spend on them, how deep into the app you go," she says. She says the data is aggregated and not linked to an individual.
  • Apple and Google ad networks let advertisers target groups of users. Both companies say they don't track individuals based on the way they use apps.
  • Apple limits what can be installed on an iPhone by requiring iPhone apps to be offered exclusively through its App Store. Apple reviews those apps for function, offensiveness and other criteria.
  • Apple says iPhone apps "cannot transmit data about a user without obtaining the user's prior permission and providing the user with access to information about how and where the data will be used." Many apps tested by the Journal appeared to violate that rule, by sending a user's location to ad networks, without informing users. Apple declines to discuss how it interprets or enforces the policy.
  • Google doesn't review the apps, which can be downloaded from many vendors. Google says app makers "bear the responsibility for how they handle user information." Google requires Android apps to notify users, before they download the app, of the data sources the app intends to access. Possible sources include the phone's camera, memory, contact list, and more than 100 others. If users don't like what a particular app wants to access, they can choose not to install the app, Google says.
  • Neither Apple nor Google requires apps to ask permission to access some forms of the device ID, or to send it to outsiders. When smartphone users let an app see their location, apps generally don't disclose if they will pass the location to ad companies.
  • Lack of standard practices means different companies treat the same information differently. For example, Apple says that, internally, it treats the iPhone's UDID as "personally identifiable information." That's because, Apple says, it can be combined with other personal details about people—such as names or email addresses—that Apple has via the App Store or its iTunes music services. By contrast, Google and most app makers don't consider device IDs to be identifying information.
  • A growing industry is assembling this data into profiles of cellphone users. Mobclix, the ad exchange, matches more than 25 ad networks with some 15,000 apps seeking advertisers. The Palo Alto, Calif., company collects phone IDs, encodes them (to obscure the number), and assigns them to interest categories based on what apps people download and how much time they spend using an app, among other factors. By tracking a phone's location, Mobclix also makes a "best guess" of where a person lives, says Mr. Gurbuxani, the Mobclix executive. Mobclix then matches that location with spending and demographic data from Nielsen Co.
  • Mobclix can place a user in one of 150 "segments" it offers to advertisers, from "green enthusiasts" to "soccer moms." For example, "die hard gamers" are 15-to-25-year-old males with more than 20 apps on their phones who use an app for more than 20 minutes at a time. Mobclix says its system is powerful, but that its categories are broad enough to not identify individuals. "It's about how you track people better," Mr. Gurbuxani says.
  • four app makers posted privacy policies after being contacted by the Journal, including Rovio Mobile Ltd., the Finnish company behind the popular game Angry Birds (in which birds battle egg-snatching pigs). A spokesman says Rovio had been working on the policy, and the Journal inquiry made it a good time to unveil it.
  • Free and paid versions of Angry Birds were tested on an iPhone. The apps sent the phone's UDID and location to the Chillingo unit of Electronic Arts Inc., which markets the games. Chillingo says it doesn't use the information for advertising and doesn't share it with outsiders.
  • Some developers feel pressure to release more data about people. Max Binshtok, creator of the DailyHoroscope Android app, says ad-network executives encouraged him to transmit users' locations. Mr. Binshtok says he declined because of privacy concerns. But ads targeted by location bring in two to five times as much money as untargeted ads, Mr. Binshtok says. "We are losing a lot of revenue."
  • Apple targets ads to phone users based largely on what it knows about them through its App Store and iTunes music service. The targeting criteria can include the types of songs, videos and apps a person downloads, according to an Apple ad presentation reviewed by the Journal. The presentation named 103 targeting categories, including: karaoke, Christian/gospel music, anime, business news, health apps, games and horror movies. People familiar with iAd say Apple doesn't track what users do inside apps and offers advertisers broad categories of people, not specific individuals. Apple has signaled that it has ideas for targeting people more closely. In a patent application filed this past May, Apple outlined a system for placing and pricing ads based on a person's "web history or search history" and "the contents of a media library." For example, home-improvement advertisers might pay more to reach a person who downloaded do-it-yourself TV shows, the document says.
  • The patent application also lists another possible way to target people with ads: the contents of a friend's media library. How would Apple learn who a cellphone user's friends are, and what kinds of media they prefer? The patent says Apple could tap "known connections on one or more social-networking websites" or "publicly available information or private databases describing purchasing decisions, brand preferences," and other data. In September, Apple introduced a social-networking service within iTunes, called Ping, that lets users share music preferences with friends. Apple declined to comment.
Weiye Loh

The Death of Postmodernism And Beyond | Philosophy Now - 0 views

www.philosophynow.org/...th_of_Postmodernism_And_Beyond

Postmodernism Foucault Philosophy Modernism Spectacle Reality Reality TV

shared by Weiye Loh on 28 Apr 12 - No Cached
  • Most of the undergraduates who will take ‘Postmodern Fictions’ this year will have been born in 1985 or after, and all but one of the module’s primary texts were written before their lifetime. Far from being ‘contemporary’, these texts were published in another world, before the students were born: The French Lieutenant’s Woman, Nights at the Circus, If on a Winter’s Night a Traveller, Do Androids Dream of Electric Sheep? (and Blade Runner), White Noise: this is Mum and Dad’s culture. Some of the texts (‘The Library of Babel’) were written even before their parents were born. Replace this cache with other postmodern stalwarts – Beloved, Flaubert’s Parrot, Waterland, The Crying of Lot 49, Pale Fire, Slaughterhouse 5, Lanark, Neuromancer, anything by B.S. Johnson – and the same applies. It’s all about as contemporary as The Smiths, as hip as shoulder pads, as happening as Betamax video recorders. These are texts which are just coming to grips with the existence of rock music and television; they mostly do not dream even of the possibility of the technology and communications media – mobile phones, email, the internet, computers in every house powerful enough to put a man on the moon – which today’s undergraduates take for granted.
  • somewhere in the late 1990s or early 2000s, the emergence of new technologies re-structured, violently and forever, the nature of the author, the reader and the text, and the relationships between them.
  • Postmodernism, like modernism and romanticism before it, fetishised [ie placed supreme importance on] the author, even when the author chose to indict or pretended to abolish him or herself. But the culture we have now fetishises the recipient of the text to the degree that they become a partial or whole author of it. Optimists may see this as the democratisation of culture; pessimists will point to the excruciating banality and vacuity of the cultural products thereby generated (at least so far).
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  • Pseudo-modernism also encompasses contemporary news programmes, whose content increasingly consists of emails or text messages sent in commenting on the news items. The terminology of ‘interactivity’ is equally inappropriate here, since there is no exchange: instead, the viewer or listener enters – writes a segment of the programme – then departs, returning to a passive role. Pseudo-modernism also includes computer games, which similarly place the individual in a context where they invent the cultural content, within pre-delineated limits. The content of each individual act of playing the game varies according to the particular player.
  • The pseudo-modern cultural phenomenon par excellence is the internet. Its central act is that of the individual clicking on his/her mouse to move through pages in a way which cannot be duplicated, inventing a pathway through cultural products which has never existed before and never will again. This is a far more intense engagement with the cultural process than anything literature can offer, and gives the undeniable sense (or illusion) of the individual controlling, managing, running, making up his/her involvement with the cultural product. Internet pages are not ‘authored’ in the sense that anyone knows who wrote them, or cares. The majority either require the individual to make them work, like Streetmap or Route Planner, or permit him/her to add to them, like Wikipedia, or through feedback on, for instance, media websites. In all cases, it is intrinsic to the internet that you can easily make up pages yourself (eg blogs).
  • Where once special effects were supposed to make the impossible appear credible, CGI frequently [inadvertently] works to make the possible look artificial, as in much of Lord of the Rings or Gladiator. Battles involving thousands of individuals have really happened; pseudo-modern cinema makes them look as if they have only ever happened in cyberspace.
  • Similarly, television in the pseudo-modern age favours not only reality TV (yet another unapt term), but also shopping channels, and quizzes in which the viewer calls to guess the answer to riddles in the hope of winning money.
  • The purely ‘spectacular’ function of television, as with all the arts, has become a marginal one: what is central now is the busy, active, forging work of the individual who would once have been called its recipient. In all of this, the ‘viewer’ feels powerful and is indeed necessary; the ‘author’ as traditionally understood is either relegated to the status of the one who sets the parameters within which others operate, or becomes simply irrelevant, unknown, sidelined; and the ‘text’ is characterised both by its hyper-ephemerality and by its instability. It is made up by the ‘viewer’, if not in its content then in its sequence – you wouldn’t read Middlemarch by going from page 118 to 316 to 401 to 501, but you might well, and justifiably, read Ceefax that way.
  • A pseudo-modern text lasts an exceptionally brief time. Unlike, say, Fawlty Towers, reality TV programmes cannot be repeated in their original form, since the phone-ins cannot be reproduced, and without the possibility of phoning-in they become a different and far less attractive entity.
  • If scholars give the date they referenced an internet page, it is because the pages disappear or get radically re-cast so quickly. Text messages and emails are extremely difficult to keep in their original form; printing out emails does convert them into something more stable, like a letter, but only by destroying their essential, electronic state.
  • The cultural products of pseudo-modernism are also exceptionally banal
  • Much text messaging and emailing is vapid in comparison with what people of all educational levels used to put into letters.
  • A triteness, a shallowness dominates all.
  • In music, the pseudo-modern supersedingof the artist-dominated album as monolithic text by the downloading and mix-and-matching of individual tracks on to an iPod, selected by the listener, was certainly prefigured by the music fan’s creation of compilation tapes a generation ago. But a shift has occurred, in that what was a marginal pastime of the fan has become the dominant and definitive way of consuming music, rendering the idea of the album as a coherent work of art, a body of integrated meaning, obsolete.
  • To a degree, pseudo-modernism is no more than a technologically motivated shift to the cultural centre of something which has always existed (similarly, metafiction has always existed, but was never so fetishised as it was by postmodernism). Television has always used audience participation, just as theatre and other performing arts did before it; but as an option, not as a necessity: pseudo-modern TV programmes have participation built into them.
  • Whereas postmodernism called ‘reality’ into question, pseudo-modernism defines the real implicitly as myself, now, ‘interacting’ with its texts. Thus, pseudo-modernism suggests that whatever it does or makes is what is reality, and a pseudo-modern text may flourish the apparently real in an uncomplicated form: the docu-soap with its hand-held cameras (which, by displaying individuals aware of being regarded, give the viewer the illusion of participation); The Office and The Blair Witch Project, interactive pornography and reality TV; the essayistic cinema of Michael Moore or Morgan Spurlock.
  • whereas postmodernism favoured the ironic, the knowing and the playful, with their allusions to knowledge, history and ambivalence, pseudo-modernism’s typical intellectual states are ignorance, fanaticism and anxiety
  • pseudo-modernism lashes fantastically sophisticated technology to the pursuit of medieval barbarism – as in the uploading of videos of beheadings onto the internet, or the use of mobile phones to film torture in prisons. Beyond this, the destiny of everyone else is to suffer the anxiety of getting hit in the cross-fire. But this fatalistic anxiety extends far beyond geopolitics, into every aspect of contemporary life; from a general fear of social breakdown and identity loss, to a deep unease about diet and health; from anguish about the destructiveness of climate change, to the effects of a new personal ineptitude and helplessness, which yield TV programmes about how to clean your house, bring up your children or remain solvent.
  • Pseudo-modernism belongs to a world pervaded by the encounter between a religiously fanatical segment of the United States, a largely secular but definitionally hyper-religious Israel, and a fanatical sub-section of Muslims scattered across the planet: pseudo-modernism was not born on 11 September 2001, but postmodernism was interred in its rubble.
  • pseudo-modernist communicates constantly with the other side of the planet, yet needs to be told to eat vegetables to be healthy, a fact self-evident in the Bronze Age. He or she can direct the course of national television programmes, but does not know how to make him or herself something to eat – a characteristic fusion of the childish and the advanced, the powerful and the helpless. For varying reasons, these are people incapable of the “disbelief of Grand Narratives” which Lyotard argued typified postmodernists
  • Weiye Loh on 28 Apr 12
     
    Postmodern philosophy emphasises the elusiveness of meaning and knowledge. This is often expressed in postmodern art as a concern with representation and an ironic self-awareness. And the argument that postmodernism is over has already been made philosophically. There are people who have essentially asserted that for a while we believed in postmodern ideas, but not any more, and from now on we're going to believe in critical realism. The weakness in this analysis is that it centres on the academy, on the practices and suppositions of philosophers who may or may not be shifting ground or about to shift - and many academics will simply decide that, finally, they prefer to stay with Foucault [arch postmodernist] than go over to anything else. However, a far more compelling case can be made that postmodernism is dead by looking outside the academy at current cultural production.
juliet huang

Go slow with Net law - 4 views

Article : Go slow with tech law Published : 23 Aug 2009 Source: Straits Times Background : When Singapore signed a free trade agreement with the USA in 2003, intellectual property rights was a ...

sim lim square

started by juliet huang on 26 Aug 09 no follow-up yet
Weiye Loh

Making Music in Singapore | informed intuitions - 0 views

www.informedintuitions.com/...making-music-in-singapore

Piracy Music

shared by Weiye Loh on 02 Jun 12 - No Cached
  • Weiye Loh on 02 Jun 12
     
    "All sharing is not piracy. Some of it is just actually sharing…. In order to protect some people from piracy we have also violated the rights of many more to share…In the Web 2.0 world, we are all producers of data. We not only leave traces but also put out material of cultural significance-from videos of dancing babies to knowledge that we want to share-through these peer-2-peer networks. A sudden collapse of this infrastructure almost seems to show how it is only the money-making material that is important to the state…"
Inosha Wickrama

Pirate Bay Victory - 11 views

http://www.telegraph.co.uk/technology/news/4686584/Pirate-Bay-victory-after-illegal-file-sharing-charges-dropped.html Summary: The Pirate Bay, the biggest file-sharing internet site which was accu...

started by Elaine Ong on 25 Aug 09 1 follow-up, last by Inosha Wickrama on 26 Aug 09
Karin Tan

ASCAP Makes Outlandish Copyright Claims on Cell Phone Ringtones - 16 views

As is the beginnings of copyright laws, it is to place value on IP so that people will have the motivation and incentive to produce and create even more in the future. Therefore, by saying th...

Copyright

started by Jude John on 24 Aug 09 5 follow-ups, last by Karin Tan on 26 Aug 09
Weiye Loh

Report: Piracy a "global pricing problem" with only one solution - 0 views

arstechnica.com/...lem-with-only-one-solution.ars

Piracy Pricing Capitalism Globalization Income Inequality

shared by Weiye Loh on 14 Mar 11 - No Cached
  • Over the last three years, 35 researchers contributed to the Media Piracy Project, released last week by the Social Science Research Council. Their mission was to examine media piracy in emerging economies, which account for most of the world's population, and to find out just how and why piracy operates in places like Russia, Mexico, and India.
  • Their conclusion is not that citizens of such piratical societies are somehow morally deficient or opposed to paying for content. Instead, they write that “high prices for media goods, low incomes, and cheap digital technologies are the main ingredients of global media piracy. If piracy is ubiquitous in most parts of the world, it is because these conditions are ubiquitous.”
  • When legitimate CDs, DVDs, and computer software are five to ten times higher (relative to local incomes) than they are in the US and Europe, simply ratcheting up copyright enforcement won't do enough to fix the problem. In the view of the report's authors, the only real solution is the creation of local companies that “actively compete on price and services for local customers” as they sell movies, music, and more.
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  • Some markets have local firms that compete on price to offer legitimate content (think the US, which has companies like Hulu, Netflix, Apple, and Microsoft that compete to offer legal video content). But the authors conclude that, in most of the world, legitimate copyrighted goods are only distributed by huge multinational corporations whose dominant goals are not to service a large part of local markets but to “protect the pricing structure in the high-income countries that generate most of their profits.”
  • This might increase profits globally, but it has led to disaster in many developing economies, where piracy may run north of 90 percent. Given access to cheap digital tools, but charged terrific amounts of money for legitimate versions of content, users choose piracy.
  • In Russia, for instance, researchers noted that legal versions of the film The Dark Knight went for $15. That price, akin to what a US buyer would pay, might sound reasonable until you realize that Russians make less money in a year than US workers. As a percentage of their wages, that $15 price is actually equivalent to a US consumer dropping $75 on the film. Pirate versions can be had for one-third the price.
  • Simple crackdowns on pirate behavior won't work in the absence of pricing and other reforms, say the report's authors (who also note that even "developed" economies routinely pirate TV shows and movies that are not made legally available to them for days, weeks, or months after they originally appear elsewhere).
  • The "strong moralization of the debate” makes it difficult to discuss issues beyond enforcement, however, and the authors slam the content companies for lacking any credible "endgame" to their constant requests for more civil and police powers in the War on Piracy.
  • piracy is a “signal of unmet consumer demand.
  • Our studies raise concerns that it may be a long time before such accommodations to reality reach the international policy arena. Hardline enforcement positions may be futile at stemming the tide of piracy, but the United States bears few of the costs of such efforts, and US companies reap most of the modest benefits. This is a recipe for continued US pressure on developing countries, very possibly long after media business models in the United States and other high-income countries have changed.
  • Weiye Loh on 14 Mar 11
     
    A major new report from a consortium of academic researchers concludes that media piracy can't be stopped through "three strikes" Internet disconnections, Web censorship, more police powers, higher statutory damages, or tougher criminal penalties. That's because the piracy of movies, music, video games, and software is "better described as a global pricing problem." And the only way to solve it is by changing the price.
Weiye Loh

gladwell dot com - something borrowed - 0 views

gladwell.com/...2004_11_25_a_borrowed.html

Copyright

shared by Weiye Loh on 19 May 11 - Cached
  • Intellectual-property doctrine isn't a straightforward application of the ethical principle "Thou shalt not steal." At its core is the notion that there are certain situations where you can steal. The protections of copyright, for instance, are time-limited; once something passes into the public domain, anyone can copy it without restriction. Or suppose that you invented a cure for breast cancer in your basement lab. Any patent you received would protect your intellectual property for twenty years, but after that anyone could take your invention.
  • You get an initial monopoly on your creation because we want to provide economic incentives for people to invent things like cancer drugs. But everyone gets to steal your breast-cancer cure—after a decent interval—because it is also in society's interest to let as many people as possible copy your invention; only then can others learn from it, and build on it, and come up with better and cheaper alternatives. This balance between the protecting and the limiting of intellectual property
  • Stanford law professor Lawrence Lessig argues in his new book "Free Culture": In ordinary language, to call a copyright a "property" right is a bit misleading, for the property of copyright is an odd kind of property. . . . I understand what I am taking when I take the picnic table you put in your backyard. I am taking a thing, the picnic table, and after I take it, you don't have it. But what am I taking when I take the good idea you had to put a picnic table in the backyard—by, for example, going to Sears, buying a table, and putting it in my backyard? What is the thing that I am taking then? The point is not just about the thingness of picnic tables versus ideas, though that is an important difference. The point instead is that in the ordinary case—indeed, in practically every case except for a narrow range of exceptions—ideas released to the world are free. I don't take anything from you when I copy the way you dress—though I might seem weird if I do it every day. . . . Instead, as Thomas Jefferson said (and this is especially true when I copy the way someone dresses), "He who receives an idea from me, receives instruction himself without lessening mine; as he who lights his taper at mine, receives light without darkening me."
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  • Lessig argues that, when it comes to drawing this line between private interests and public interests in intellectual property, the courts and Congress have, in recent years, swung much too far in the direction of private interests.
  • 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.
  • It also matters how Lavery chose to use my words. Borrowing crosses the line when it is used for a derivative work. It's one thing if you're writing a history of the Kennedys, like Doris Kearns Goodwin, and borrow, without attribution, from another history of the Kennedys. But Lavery wasn't writing another profile of Dorothy Lewis. She was writing a play about something entirely new—about what would happen if a mother met the man who killed her daughter. And she used my descriptions of Lewis's work and the outline of Lewis's life as a building block in making that confrontation plausible.
  • this is the second problem with plagiarism. It is not merely extremist. It has also become disconnected from the broader question of what does and does not inhibit creativity. We accept the right of one writer to engage in a full-scale knockoff of another—think how many serial-killer novels have been cloned from "The Silence of the Lambs." Yet, when Kathy Acker incorporated parts of a Harold Robbins sex scene verbatim in a satiric novel, she was denounced as a plagiarist (and threatened with a lawsuit)
  • Weiye Loh on 19 May 11
     
    Under copyright law, what matters is not that you copied someone else's work. What matters is what you copied, and how much you copied.
Jiamin Lin

Technological Freedom - 4 views

http://media.www.csucauldron.com/media/storage/paper516/news/2009/09/06/TheMeltingPot/Technological.Freedom-3759993.shtml Digital Rights Management (DRM) or should it be called "Digital Rights Mis...

started by Jiamin Lin on 16 Sep 09 no follow-up yet
Chen Guo Lim

POLICE & THIEF - 5 views

According to the readings, one reason why people do not consider illegal downloads as theft is that it does not deprive others of that item. When I download an mp3 file from, the file will not disa...

started by Magdaleine on 26 Aug 09 1 follow-up, last by Chen Guo Lim on 26 Aug 09
Weiye Loh

The Men Who Stole the World -TimeFrames- Printout - TIME - 0 views

www.time.com/...032304_2032746_2032903,00.html

Copyright Piracy

shared by Weiye Loh on 04 Dec 10 - No Cached
  • Weiye Loh on 04 Dec 10
     
    For Johansen as for all of the pirate kings, it was always about writing good code, and what good code does is give power to the people who use it. That's the real reason the pirate apocalypse never happened. The pirates never wanted music and movies and all the rest of it to be free - at least, not in the financial sense. They wanted it to be free as in freedom.
Weiye Loh

Hunch Blog | Blog Archive | You've got mail: What your email domain says about you - 0 views

blog.hunch.com/?p=34824

E-mail Stereotype

shared by Weiye Loh on 09 Mar 11 - No Cached
  • AOL users are most likely to be overweight women ages 35-64 who have a high school diploma and are spiritual, but not religious. They tend to be politically middle of the road, in a relationship of 10+ years, and have children. AOL users live in the suburbs and haven’t traveled outside their own country. Family is their first priority. AOL users mostly read magazines, have a desktop computer, listen to the radio, and watch TV on 1-3 DVRs in their home. At home, they lounge around in sweats. AOL users are optimistic extroverts who prefer sweet snacks and like working on a team.
  • Gmail users are most likely to be thin young men ages 18-34 who are college-educated and not religious. Like other young Hunch users, they tend to be politically liberal, single (and ready to mingle), and childless. Gmail users live in cities and have traveled to five or more countries. They’re career-focused and plugged in — they mostly read blogs, have an iPhone and laptop, and listen to music via MP3s and computers (but they don’t have a DVR). At home, they lounge around in a t-shirt and jeans. Gmail users prefer salty snacks and are introverted and entrepreneurial. They are optimistic or pessimistic, depending on the situation.
  • Hotmail users are most likely to be young women of average build ages 18-34 (and younger) who have a high school diploma and are not religious. They tend to be politically middle of the road, single, and childless. Hotmail users live in the suburbs, perhaps still with their parents, and have traveled to up to five countries. They mostly read magazines and contemporary fiction, have a laptop, and listen to music via MP3s and computers (but they don’t have a DVR). At home, Hotmail users lounge around in a t-shirt and jeans. They’re introverts who prefer sweet snacks and like working on a team. They consider themselves more pessimistic, but sometimes it depends on the situation.
  • ...1 more annotation...
  • Yahoo! users are most likely to be overweight women ages 18-49 who have a high school diploma and are spiritual, but not religious. They tend to be politically middle of the road, in a relationship of 1-5 years, and have children. Yahoo! users live in the suburbs or in rural areas and haven’t traveled outside their own country. Family is their first priority. They mostly read magazines, are almost equally likely to have a laptop or desktop computer, listen to the radio and cds, and watch TV on 1-2 DVRs in their home. At home, Yahoo! users lounge around in pajamas. They’re extroverts who prefer sweet snacks and like working on a team. Yahoo! users are optimistic or pessimistic, depending on the situation.
  • Weiye Loh on 09 Mar 11
     
    What your email domain says about you
Weiye Loh

Land Destroyer: Alternative Economics - 0 views

landdestroyer.blogspot.com/...alternative-economics.html

New Media Economics

shared by Weiye Loh on 20 Mar 11 - No Cached
  • Peer to peer file sharing (P2P) has made media distribution free and has become the bane of media monopolies. P2P file sharing means digital files can be copied and distributed at no cost. CD's, DVD's, and other older forms of holding media are no longer necessary, nor is the cost involved in making them or distributing them along a traditional logistical supply chain. Disc burners, however, allow users the ability to create their own physical copies at a fraction of the cost of buying the media from the stores. Supply and demand is turned on its head as the more popular a certain file becomes via demand, the more of it that is available for sharing, and the easier it is to obtain. Supply and demand increase in tandem towards a lower "price" of obtaining the said file.Consumers demand more as price decreases. Producersnaturally want to produce more of something as priceincreases. Somewhere in between consumers and producers meet at the market price or "marketequilibrium."P2P technology eliminates material scarcity, thus the more afile is in demand, the more people end up downloading it, andthe easier it is for others to find it and download it. Considerthe implications this would have if technology made physicalobjects as easy to "share" as information is now.
  • In the end, it is not government regulations, legal contrivances, or licenses that govern information, but rather the free market mechanism commonly referred to as Adam Smith's self regulating "Invisible Hand of the Market." In other words, people selfishly seeking accurate information for their own benefit encourage producers to provide the best possible information to meet their demand. While this is not possible in a monopoly, particularly the corporate media monopoly of the "left/right paradigm" of false choice, it is inevitable in the field of real competition that now exists online due to information technology.
  • Compounding the establishment's troubles are cheaper cameras and cheaper, more capable software for 3D graphics, editing, mixing, and other post production tasks, allowing for the creation of an alternative publishing, audio and video industry. "Underground" counter-corporate music and film has been around for a long time but through the combination of technology and the zealous corporate lawyers disenfranchising a whole new generation that now seeks an alternative, it is truly coming of age.
  • ...3 more annotations...
  • With a growing community of people determined to become collaborative producers rather than fit into the producer/consumer paradigm, and 3D files for physical objects already being shared like movies and music, the implications are profound. Products, and the manufacturing technology used to make them will continue to drop in price, become easier to make for individuals rather than large corporations, just as media is now shifting into the hands of the common people. And like the shift of information, industry will move from the elite and their agenda of preserving their power, to the end of empowering the people.
  • In a future alternative economy where everyone is a collaborative designer, producer, and manufacturer instead of passive consumers and when problems like "global climate change," "overpopulation," and "fuel crises" cross our path, we will counter them with technical solutions, not political indulgences like carbon taxes, and not draconian decrees like "one-child policies."
  • We will become the literal architects of our own future in this "personal manufacturing" revolution. While these technologies may still appear primitive, or somewhat "useless" or "impractical" we must remember where our personal computers stood on the eve of the dawning of the information age and how quickly they changed our lives. And while many of us may be unaware of this unfolding revolution, you can bet the globalists, power brokers, and all those that stand to lose from it not only see it but are already actively fighting against it.Understandably it takes some technical know-how to jump into the personal manufacturing revolution. In part 2 of "Alternative Economics" we will explore real world "low-tech" solutions to becoming self-sufficient, local, and rediscover the empowerment granted by doing so.
Weiye Loh

How Crowdsourcing Is Improving Global Communities - 0 views

mashable.com/...crowdsourcing-communities

Crowd-Sourcing

shared by Weiye Loh on 25 May 11 - No Cached
  • Weiye Loh on 25 May 11
     
    You can crowdsource almost anything these days - news, music videos, fashion advice, your love life or even your entire life. While these examples are all very useful (or just plain amusing), there are a plethora of examples of how innovative entrepreneurs and eager philanthropists are using crowdsourcing techniques to improve local and global communities in real, substantive ways.
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