Archive for the ‘Copyright’ Category

Emoji Dick

Monday, September 21st, 2009

I just launched a project on Kickstarter (an awesome NYC based startup that helps people fund their ideas) to translate Moby Dick into Emoji using Amazon Mechanical Turk. I’m calling it Emoji Dick:

This project will fund the production, via crowd sourcing, of a never-before-released translation of Herman Melville’s classic Moby Dick in Japanese emoji icons.

Here’s an example of an Emoji sentence from Moby Dick:

Each of Moby Dick’s 6,438 sentences will be translated 3 times by different Amazon Mechanical Turk workers. Those results will then be voted on by another set of workers, and the most popular version of each sentence will be selected for inclusion in the book.

I’m trying to reach $3,500, and you can give at the $5, $10, $20, $40, and $200 levels and get different awesome rewards, like their name included in the book, a CC BY-SA licensed PDF, the raw data, and either a softcover black and white copy or a limited edition color version.

If you want to support the project, just visit the page here. Thanks!

Copyright Commerce and Culture Blog Roll

Thursday, August 6th, 2009

Here’s a list of blogs that I’ll be requiring (suggesting?) my students to read:

A Copyfighter’s Musings
Copyfight
copyrighteous
Copyrights & Campaigns
Creative Commons
EFF: Breaking News
EFF: Deep Links
Free Culture @ NYU
Free Culture @ NYU List Serv (requires membership)
Freedom to Tinker
John Palfrey
LawGeek
Lessig Blog
Public Knowledge – Blogging, Events, and Action Alerts
Recording Industry vs The People
Slashdot
Techdirt
The Public Domain
Wendy Seltzer’s Blog

Please let me know if you have any suggestions. You can read the whole feed here live via Google Reader, or download the OPML file here, which you can then import as a folder into any RSS reader.

DeCSS and (My) Radicalization

Thursday, July 23rd, 2009

Philosophy Club Poster

I made this poster for a meeting of the Philosophy Club at Wilton High School. Admittedly, my definition of “philosophy” was pretty loose and this poster’s point was pretty incoherent (apologies to MLK), but I had found myself talking about the 2600 DeCSS case Universal v. Reimerdes so much with my friends, that I figured it might be good to found a club where we could keep similar conversations going. Since our school didn’t have a debate club at the time (there were rumors about an ill-fated trip involving a school bus sinking in the Norwalk River), we didn’t really have any other venues to do this besides study hall.

Luckily, my father happened to be a working philosophy of science professor and had enough spare time to help us get the club off the ground. I think I organized the first session and ranted about the DeCSS case, but we later moved onto more academic subjects and discussions. The club was a high point in what was mostly a difficult period in my life and school. I think I still have some photos that we intended to submit to the yearbook and if those turn up I’ll try and post them. Unfortunately the club never survived after our class’s graduation as we were unable to find a faculty adviser or enough student interest. I would later use the skills I developed to launch Free Culture @ NYU, so I suppose I was on the right track.

The polemical writings of Emannuel Goldstein, editor in chief of 2600 and the main defendant in the case, about the magazine’s choice to publish DeCSS had galvanized me. Goldstein articulated that the issues at hand in the suit were really ones of freedom, source code, and speech, not piracy and profits. As an early adopter of Linux (Slackware 3.3 anyone?) as well as a kid who loved movies and was incredibly excited about the potential of DVDs, the practicalities of the case were quite clear to me: why shouldn’t I be able to run whatever software I wanted to play my own DVDs? Who says I can’t read *that* source code? Jon Johansen, the teenager hacker who cracked the DVD encryption scheme, CSS (not to be confused with the other CSS), played the role of sympathetic hacker who I, not incidentally, looked up to.

Free speech on the internet, heck, freedom itself, appeared to be at stake, threatened by a very bad part of a very new law that sounded like it was bought and paid for by the exact interests suing our magazine.

During the case’s 2nd Circuit Court of Appeals trial in May of 2001, I wore a t-shirt featuring the censored source code while sitting in the audience. The Wall Street Journal interviewed me that day and it wasn’t until last year that I discovered my quote actually made it into the article in the paper:

Looking back, I now realize my interest and involvement in this case marks my early foray into the world of radical online free speech activism and copyright reform. I knew the 2600 case was important (clearly, I spent a disproportionate amount of time thinking about it, debating it, and following it closely), but I did not estimate how much these issues would continue to shape and influence my life and career. I’ve now been involved in this community for almost a decade, and it’s only beginning to get really interesting.

Obviously, I was not alone. This case and these issues not only radicalized a generation of free software developers and enthusiasts, but also trained them with a set of skills necessary to successfully navigate these issues in the future.

My friend and now colleague at NYU, Gabriella Coleman has written an article about our story called “Code is Speech: Legal Tinkering, Expertise, and Protest among Free and Open Source Software Developers“  published in the academic journal Cultural Anthropology. Biella’s paper is one of the best overviews of the conditions that precipitated the birth of a generation of internet and free speech activists. Biella concludes by arguing this type of political activism and legal autodidacticism represents a new kind of engagement with democracy, which of course, I completely agree with and am proud to be part of.

Download the PDF of her paper here, or look for it in your copy of Cultural Anthropology.

Best Downfall Remix Ever.

Thursday, May 28th, 2009

Obviously, this is written by someone with a deep understanding of copyright and the Internet: Brad Templeton, chairman of the board of the EFF. Congrats Brad, this video beats the rest of them.

Brad explains the video here, but you can also read more about about Downfall remixes here.

The Staggering Hypocrisy of the MPAA

Thursday, May 7th, 2009

MPAA shows how to videorecord a TV set from timothy vollmer on Vimeo.

This video is shot by my friend Timothy Vollmer at the current DMCA exemption hearings. The issue is whether Congress should allow educators and students the rights to rip DVDs for educational purposes. Peter Decherney succeeded in establishing this right for film historians working at universities, and is now seeking to broaden it to all educators and students.

In the video, a representative from the MPAA is demonstrating that it is “easy” to access and compile content from a DVD without the need to rip it using decryption software. Their suggested technique? A camcorder pointed at a flatscreen hooked into the audio signal.

This is evil and hypocritical a number of reasons. First, the MPAA has positioned themselves against camcording movies. Here, they’re showing how easy it is to do. They’re also one of the main organizations which have successfully lobbied for criminal penalties against people bringing camcorders into movie theaters.

Second, the software used in the presentation is VLC. VLC disables the MPAA’s price fixing scheme known as region encoding and can also decrypt DVDs, providing yet another example of where the MPAA thinks their own rules don’t apply to them.

Third, the MPAA has been leading the pack in attempts to close the “analog hole” through legislation and collusion with hardware manufacturers. The analog hole is precisely the phenomenon demonstrated in this video; since audio and visual data needs to be broadcast into an analog signal eventually (our brains are not capable of decrypting 1s and 0s into images and audio yet), there will always be a avenue in which to record media so long as our computers obey us.

Closing the analog hole” refers to forcing manufactures to cripple hardware so that it is incapable of broadcasting analog signals and also incapable of recording them. It is the stuff of a dystopian science fiction plot not technical reality.

Ultimately this video demonstrates the insidiousness of the MPAA’s strategy: they want to force educators to use a technique that they’re simultaneously lobbying to prohibit.

End result? The precise strategy suggested by the MPAA, the analog hole, gets legislated away by the MPAA, and educators are left wasting money and time on multiple copies of crippled media.

UPDATE: Another way I’m thinking about this video: it proves that the MPAA knows closing the analog hole is impossible, thus exposing their attempts at legislation as disingenuous.

Props go to Tim for posting such a illustrative video (not to mention the nerve to post clips of Harry Potter under fair use!)

RiP: A Remix Manifesto Screening with Me & Aram

Thursday, April 30th, 2009

This Sunday UnionDocs is hosting one of the first screenings in NYC of the new Girl Talk documentary RiP: A Remix Manifesto. I’ll be part of the discussion afterward with my friend Aram Sinnreich.

Email bodega@uniondocs.org for reservations.
7:30pm, May 3rd 2009
322 Union Ave in Williamsburg.
L train to Lorimer / G to Metropolian / J,M,Z to Hewes.
Suggestion Donation: $5
Reservations will only be held until 6:55 pm.

Here’s the trailer:

I hope to see you there!

We Are One if You Are HBO

Thursday, January 22nd, 2009

photo by jurvetson

photo by jurvetson on flickr

Techdirt is reporting that Against Monopoly is reporting that HBO is sending take down notices to people who have uploaded their own recordings of the Inaugural Concert: We Are One.  I haven’t been able to verify this, but if it is indeed the case, it would seem that HBO is misunderstanding their rights under copyright law. Note that I am not a lawyer, so this is not legal advice.

Since HBO merely owns the copyright to their recording of the concert, they can’t control what other people were doing with their own recordings from their own cameras. This is because a work is not entitled to copyright protection unless it is fixed. The actual performance that happened that evening wasn’t fixed or copyrighted until it ended up on HBO’s tapes (or hard drives).

If the content of the concert was in the public domain or free (e.g., The Star-Spangled Banner is in the public domain since it was created prior to 1923), then any audience member who recorded it had the right to make a recording of it and distribute that recording since they owned the copyright to the video. Putting aside questions of anti-bootlegging laws (which are arguably unconstitutional and not relevant to DMCA takedown notices), it is not clear that HBO can prevent distributions of privately filmed performances of public domain works that were performed in a public venue, which, if the Against Monopoly report is correct, is what part of what they’re trying to do.

However, according to the Wikipedia page, a lot of non-public-domain non-free content was performed.

Which means that by recording and distributing a live performance of say, a Bruce Springsting song, an audience member might be infringing on the boss’ copyright, but probably not HBO’s copyright. Does anyone know more about bootlegging laws and how they might or might not apply here?

So what right does HBO have to send takedown notices for other people’s works? Sending fraudelent DMCA takedown notices is itself a violation of the DMCA, so if you’ve been threatened by HBO for posting videos you recorded at the inaugural concert, you probably have the right to file a putback, and perhaps take action against HBO.

There are bigger questions, however, about the inaugural committee’s right to leverage tax payer money and support to sell off exclusive rights of a public event to a private entity such as HBO. I’m not clear on whether their status as a legal entity would entitle them to do this.

Anyway, while I would like to see HBO put the concert into the public domain along with other works of the federal government, that is probably impossible as the recording contains works that are in copyright, such as Bruce Springsting songs.

There is the possibility that HBO could put the video but not the audio into the public domain, but I do not think there is an easy work around for including both the audio and video. This is not to say, however, that HBO is justified in sending nasty letters to citizens interested in helping celebrate an important event.

I sympathize with the inaugural committee’s desire to produce and execute a fantastic recording of a historic moment in American history. I know that this kind of production costs money and there must be incentives for creating it. But I think the conflicts between HBO and citizens indicate that copyright is not the proper incentive here. It alienates too many citizens interested in documenting their own version of history, and given the context and content of our current president’s administration, sets the wrong precedent for sharing that history. HBO should be ashamed of themselves.

Progressive Music

Tuesday, January 6th, 2009

More history being made this week for the music industry. First, NIN topped the Amazon MP3 charts with a CC licensed instrumental album.

Today, Apple promised to go DRM free on iTunes by the end of Q1 2009.

In October of 2006, I organized the first DRM protests in the states while a student activist in Free Culture @ NYU. A year later, we protested the midtown Apple store after Tower Records went out of business (Tower was our second target after Virgin Megastore in Union Square.)

A couple of months after the Apple protest, Steve Jobs wrote his famous anti-DRM letter to the music industry. Since then Apple has ostensibly been negotiating variable pricing and removing DRM entirely from the store. Jobs probably sacrificed the one-size-fits all $.99 price per song so that he could get DRM completely out of the store.

There are still things to be done, however, before victory is declared. The iPod supporting truly free formats would be nice (I’m becoming increasingly interested in collecting FLAC music), at least until the various patents controlling MP3 expire. Also, native CC licensing built into music stores like Amazon and iTunes would be nice too.

But as Voltaire said, “The perfect is the enemy of the good.”

The WSJ Gets it Wrong Again and/or The RIAA Lies Once Again

Sunday, December 21st, 2008

The RIAA Logo.

It turns out the Wall Street Journal’s sloppy journalism cuts both ways. On Friday I blogged about how the WSJ was reporting that the RIAA had ceased filing lawsuits against individual file sharers. Stupidly, I didn’t really think about their source or attempt to verify the claims myself. Neither did the Associated Press.

Ray Beckerman (who had skeptically acknowledged these reports when the WSJ article first surfaced) has discovered that the RIAA filed another round of lawsuits against individuals just last week, a discovery that directly conflicts with the WSJ piece.

The WSJ’s article suffers from exactly the same flaws as its piece on network neutrality; high on conjecture, low on meaningful facts about the get of the article. The lead establishes that the RIAA is “set to drop its legal assault” but goes on to describe the negotiations the RIAA is establishing with the ISP industry. Noticeably missing from the rest of the article is any evidence demonstrating that the RIAA is actually stopping its legal assault.

So we only have ourselves to blame — we read what we wanted to read and without Ray Beckerman’s excellent sleuthing, we might still be giving the RIAA credit for coming to its senses.

Whether it was the RIAA lying to reporters (which Ray seems to believe is the case) or the WSJ trying to see a story where there wasn’t one, this was a case of not thinking critically enough about sources and evidence based reporting. Either way, if the network neutrality article didn’t give you enough reason to distrust the WSJ’s technology reporting, this incident should. This also leads me to believe that the WSJ has under-critical technology reporters rather than a malicious agenda to purposely misunderstand technology topics.

There’s a lot to be cleared up in this situation and there is probably some truth to the RIAA winding down their lawsuits, but I don’t think we should hold our collective breath or consider this the victory we initially did.

The RIAA’s Loss

Friday, December 19th, 2008

The RIAA has announced that they have stopped suing individual file sharers for copyright infringement.

The suits were based on the questionable notion that making files available in directories through peer-to-peer software like KaZaa was a violation of the copyright of the owner of the works. The RIAA was not going after people downloading music, or even people who had sent a file to someone else, but rather the set of people who had shared directories with files that looked like music and were available for public perusal.

This was problematic because the copyright statute doesn’t actually say anything about “making available.” The right to control who distributes one’s work is one of the rights granted to authors by the statute, but the RIAA had no evidence that file sharers had actually distributed the files, just that they had made them available and that the files could potentially be distributed.

Consequently, the RIAA had to argue that “making available” was actually part of the copyright statute when it wasn’t. When the handful of suits (out of 35,000) made it to court, some Judges started to realize this, and through the selfless and amazing work of Ray Beckerman, the legal community slowly turned against the prosecution.

All in all, the RIAA’s campaign to sue their own customers was a disaster. CD sales continued to plummet and filesharing’s popularity only increased. This is not to mention the public relations catastrophe the industry now faces. Musicians hate being associated with large corporations that the public perceives as evil, and more substantively, musicians have not seen any of the settlement monies the RIAA has been collecting on their behalf.

THE RIAA TOOK MY MUSIC AWAY

The RIAA is claiming that the campaign “was successful in raising the public’s awareness that file-sharing is illegal” which is demonstrates a gross misunderstanding of the law and technology.

So what is next? The RIAA claims that they will be making deals with ISPs to institute something roughly similar to a 3-strikes and you’re out policy against file sharers. The terms and details of these agreements are not flushed out (and will probably never be made available to the public), but on some level, this is a less vicious form of negotiation with the technical realities their industry is facing.

But there is already evidence of ISPs acting in haste to dismantle legal file sharing outfits. TorrentFreak has a story about an open source software tracker having their service revoked by their ISP because they were accused of hosting an illegal torrent of the game Command and Conquer. YouTube already engages in auto-take-downs of videos that are supposedly infringing.

I’m a huge fan of the site LegalTorrents.com and have used it for distributing the uncompressed (~1gb) versions of two Creative Commons videos, A Shared Culture and Media That Matters: A CC Case Study. Because everything on LegalTorrents is free to share (under an appropriate CC or similar public license), it is the perfect counterexample to the RIAA’s claim that file sharing is inherently illegal.

Put another way, file sharing in and of itself is not illegal (just as crowbars in and of themselves are not illegal) and sites like LegalTorrents demonstrate this. We should not let the RIAA use the fact that they’ve abandoned their campaign as a positive cover to privately intimidate ISPs into breaking the Internet.

More importantly, we should keep the pressure on ISPs about preserving network neutrality. When used on the public net and ISPs, deep packet inspection filtering and application layer filtering are violations of network neutrality and if the RIAA is successful in pushing these technologies as “solutions” to the file sharing problem, we are going to have a much larger problem on our hands than 35,000 dispersed lawsuits.


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