Lemley and Reese’s UDRP for Infringement

Earlier, I discussed Mark Lemley and R. Anthony Reese’s Stopping Digital Copyright Infringement Without Impeding Innovation, in which they suggest several ways to deal with P2P infringement instead of secondary liability for technology providers.  One of the solutions was a sort of quick infringement lawsuit process modeled after the UDRP. At the time, I was a little skeptical of it, mostly because of how they made it optional.  In a new paper (via Prof Solum), Lemley and Reese provide a much more detailed proposal and suggest Congress impose the process for certain copyright infringement over P2P.  Hopefully I’ll have comments on it later.

Notice and Takedowns for All

Frank points to news of Comcast’s sending letters to customers who MGM says are infringing.  Pretty routine, right?  What’s interesting is that they frame it as a legally-compelled DMCA notice and takedown for P2P users.


As I’ve discussed before, notice and takedown does not apply to 512(a) providers, and P2P falls under 512(a) just as it did in Verizon.  However, many ISPs may still feel the need to pursue takedowns because of 512(i), which requires disconnection for “repeat infringement.”  Comcast’s actions are but one example that the practice is continuing after Verizon.


The letter sent to the BitTorrent user also notes Comcast’s Acceptable Use Policy.  Usually, whether Comcast chooses to follow its policy would be a matter between it and the user.  Because 512(i) requires that ISPs “adopt and reasonably implement” repeat infringer policies, choosing not to follow whatever the Policy says might be a problem for Comcast; MGM could say they’re no longer implementing the Policy.  The Policy only says that Comcast will take action as the DMCA requires, so it might not be a problem, but it is another factor in the mix.

The Activist’s Breakfast

“Pansmall”
(click for larger)


Made by John Horton, in Rapid City, SD, upon seeing my hat.   He was one of many great breakfast partners throughout my cross-country trek, now more or less over as I rest at my mom’s in Las Vegas before heading to San Francisco for the summer.  I seem to have missed much excitement around here, so I’ll be doing some catching up, and then I’ll get back to posting on my (irregular) summer schedule.

Hiatus

Regular readers may have noticed the irregularity in my postings recently. As I mentioned, I’ve been out of school for the last two months, doing some research for Berkman and planning a road trip that will begin this Saturday. I’ll be on the road until early May, doing parts of the southern and northern routes, including stops in Orlando, the Everglades, New Orleans, Memphis, St. Louis, Chicago, the Badlands and Black Hills, Yellowstone, Zion and Bryce, the Grand Canyon, and Las Vegas. For the first week, I’ll be with my girlfriend, but from then on it’ll mostly be just me. Though I won’t be doing any blogging, I’m sure this is going to give me plenty to write about.

I will end up in San Francisco, where I’ll be for the summer. My summer schedule will also involve a slightly slower posting schedule (more offline reading and writing, less on the fly commentary on news, same as last summer). For of those you in the physical vicinity, I hope we can have another EFF MeetUp get together. Looking forward to seeing (and meeting) you all.

Keep Your Eye There

Along with the blogroll, keep your eye on the Digital Media Project site.  Some work from the Fall will be up within the coming days (the work I’ve been doing more recently is a follow-up project).  The Speed Bumps conference is also right around the corner.  Stay tuned.

Pot to Kettle: You are Black

I don’t get it. How can Real possibly criticize Apple for its tying the iPod to its own proprietary DRM? Sean Ryan pulled the same crap at the Digital Music Forum.  Real is introducing its own proprietary Helix DRM into the market – they’re pursuing the exact same strategy.  Sounds like it’s just sour grapes that they didn’t get to the market first.

Lessig, Kahle, and Co. Challenging Copyright Extension Again

First, Lessig and Co survived the Golan motion to dismiss. Now check this out.  Very exciting and, most of all, very ambitious.  I have no ability right now to speak to the possibility for success.  At the least, it will further explore the “traditional contours” aspect of Eldred.  See previous discussion here and here.

An intro to DRM

Public Knowledge’s Mike Godwin wrote an interesting citizen’s guide to DRM.  The most interesting bit for me was the semi-technical explanations of different techniques, how they work, why they might be infeasible, etc.  Overall, it’s a good intro to the various issues involved with DRM. 


One criticism: take a close look at his concluding section and suggestions – they didn’t make much sense to me. He discusses how content holders could release more content into the public domain, or sell public domain content without DRM restrictions, so that “consumers become educated that it’s not [in his example]e-books or digital-media formats that are inherently limited – it’s that the limitations have been insisted upon by particular publishers or artists.”  Do consumers not get that?  What evidence does he have that this is a core problem?  Doesn’t the high traffic over P2P and usage of MP3 players suggest that consumers know fully well that digital-media formats are not “inherently limited”?  Don’t consumers already prefer less restricted content, and isn’t that already obvious from iTunes doing well and from survey data? His particular example deals with e-books, and he suggests that market isn’t succeeding because of DRM restrictions – but isn’t it a bigger problem that consumers still are not accustomed to digital reading devices (and that such devices are not yet of a high enough quality)?


What does he mean that this will lead to a more “rational market”?  He suggests that this will lead to “humane DRM” but he never really defines what this would be.  He says that this will lead to less restrictive and thus more humane DRM, but not what would be optimal.


And given all the time Godwin spends discussing why DRM won’t prevent infringement, I’m left wondering why DRM is a good idea at all.  What does he mean by “The question before us, then, is how to harness both the technical ingenuity behind DRM and the human drive to share the works that we enjoy in a way that leverages the best from both”?  Might a better solution simply be no DRM at all?

Light Weight DRM?

That’s what Fraunhofer is calling their new project.  See this fawning Wired article (gotta be a stringer) for the dumbed down version – the site is pretty straightforward.


The basics: Light Weight DRM (LWDRM) itself does not directly impede the manipulation and copying of copyrighted content.  Instead, to make certain uses (as determined by copyright holders), users will have to include a certificate, provided by a third party, that both links the file to the user and includes the necessary decryption key. In addition, Fraunhofer intends to implement watermarks, though this seems like a minor part of LWDRM.  Regardless, the point is to allow copyright holders to identify the origin of content distributed in an infringing manner.  Those users could then be sued for infringement.  LWDRM accepts and expects that infringement will still occur on a small scale, alongside perfectly legitimate copying for family and friends.  Fraunhofer only expects that LWDRM will help stop large scale infringement, particularly over P2P networks.


Notably, Fraunhofer says that this will encourage people to share only with trustworthy parties – sound a lot like Clay Shirky’s File-Sharing Goes Social (in addition to those saying “share with friends not with strangers”).


Sounds good, at least at the outset, but it’s got problems.  Some may be technical – though I’m no expert, I know that at least watermarking is difficult (see summary in this interesting doc).  The public key infrastructure part seems plausible and interesting, but everything is evadable (see Darknet paper).  I can’t imagine being much harder to evade than your typical music store’s DRM.  There are also some privacy issues, though Fraunhofer intends the key signing to be pseudonymous and all done with a “trusted” third party.


I’m also not sure how much it will actually achieve its aim. LWDRM’s tries to stop infringement before the fact by enhancing the after infringement threat of a lawsuit.  Just like other DRM, it does nothing to actually stop the spread of the copy once its on P2P; the only difference between this and other DRM is that LWDRM actually lets you spread a functioning copy over P2P.  With this in mind, does this add anything to the current threat of lawsuits?  Does the possibility of having downstream infringements traced back to you really add to people’s fears?  Moreover, it is unclear to what extent LWDRM would make it more likely that one could be successfully sued.  Some uses that involve sharing with friends will be perfectly legitimate.  If the first user’s sharing is legitimate, but the receiving second user decides to share the file, it doesn’t help that you know where the copy originated – the initial sharing could still be legit.  There’s room for some plausible deniability.  Even if the first sharing was infringing, that does not necessarily make the the first user responsible for the second person’s infringement, and thus LWDRM won’t necessarily lead to enhanced penalties.

A Killer Blog

It’s attack of the killer blob … I mean, blog!  The new Copyfight blog has consumed Donna, Elizabeth, Ernest, Jason, Wendy, and Aaron.  Their collective wisdom will make for most convenient, one-stop copyfight reading (though they’ll still maintain their own pages, too).  Good luck to all, and update your blog rolls accordingly.

Sony to Continue Self-Defeating Music Strategy

Even though I’m behind on posting once again, gotta post on this because I haven’t seen anyone else point here: Sony music download service to launch in June.  I think my headline is more accurate.


Sony’s inability to sort out how to get its music foot in step with its technology foot has been discussed at length.  This is but one example.  Sony isn’t licensing to some Euro stores before it releases its Connect service.  From the looks of this article, they might not even be adding other major labels to Connect’s catalog.  Apparently, Sony hasn’t learned from Pressplay (which Sony invested in) and Musicnet that it’s advantageous to license widely, outsourcing storage and distribution to a better-equipped, dare I say smarter company. 


But Sony likes to think of itself as a smart technology company. So smart, in fact, that it’s releasing music in the ATRAC3 format, wrapped in – you guessed it – Sony’s own DRM.  It used to be called OpenMG X, but they must’ve thought the X was too silly, so it’s now just called Open Magic Gate (OpenMG).   Maybe it’s name of the something you do in a video game, but I have no clue what makes this proprietary DRM “open” or “magic.”


“Gate”, I’ll give to them, because it sure does fence you in.  Apparently, Sony is still interested in proving that this whole iPod thing is just a fad.  ATRAC3 is the format for Sony’s MiniDisc players, and songs can only be transferred to “secure” Sony products.  I’ve got some friends who love their MiniDisc players.  Those friends also swear they can hear the difference betwen ATRAC and 128 kbps MP3s, and I’d say they’re just as loony as Sony.  MiniDisc has never and will never be the wave of the music future.  With all the great, tiny flash memory and hard drive portable MP3 players, I don’t see how building the business around these removable media players is worth it. (For the short run, the players should still do alright – I’m still buying a cheap MP3/CD player instead of an iPod. But the other players are going to come down in price soon enough. … Did I mention that Sony’s CD players only play MP3 and ATRAC as well? No AAC, OGG, WMA, etc.)


And be ready for Sony to move to the domestic market soon enough, bringing more incompatability fun with it.  I thought Sony was working with Phillips on DRM that anyone could license – a Phillips executive even said: “The electronics industry recognizes that Microsoft is a formidable player, but consumer electronics makers do not want to become dependent on Microsoft. They need an interoperable and independent system, DRM is an accelerator which will boost digital sales of media, because it will convince media companies their content is protected. It should not be a competitive weapon.” Sony doesn’t seem to actually buy that.  They’re trying to set the standard, and they want control over the devices.


Well good for Sony, but I ain’t going to buy its players, its music services, even its cameras (with proprietary Sony memory).  To me, it’s a total waste. (See also some previous posts on this matter).


Update: Adam Thomas makes a good comment with which I have little disagreement.  See here for my comments.

Hearing on Section 115

Update, June 6, 2006: A draft bill to reform Section 115 would do serious damage to fair use – take action now to stop this dangerous proposal!
Today (March 11), the House Judiciary Committee’s Subcommittee on Courts, the Internet, and Intellectual Property held a hearing on “Section 115 of the Copyright Act: In Need of Update?” (View Webcast). Section 115 is the compulsory license for making and distributing phonorecords and a thorny issue for digital music services. Testimony was given by:

DiMA‘s Jonathan Potter – arguing that mechanical licensing process is insufficient on several levels. Section 115 licensing is inefficient, with complicated notification requirements, an incomplete database of music, per-work penny-rate rather than percentage of revenue fees. He suggests changes on all levels. It is unclear whether streaming services and servier copies require mechanical licenses, and whether the latter as well as tethered downloads fall under the compulsory. Potter suggests that streams should be treated as performances, downloads as copying for distribution with temporary or incidental copies included with in the compulsory fee. He considers the Harry Fox Agency insufficient, as it only represents 60-65% of musicians; he also criticizes the Agency for demanding mechanical licenses for uses beyond download services and for a lack of transparency and fairness in its licensing practices. Finally, he suggests turning section 115 into a blanket license, with similar records and payment procedures as with ASCAP, BMI, and Soundexchange. (See also Potter’s speech at the Digital Music Forum).Register of Copyrights Marybeth Peters – described many of the same issues. She notes that the Copyfight Office is going to consider several proposals to streamline the compulsory licensing process. While she didn’t argue for any particular policy option, she outlined the different directions that could be taken. She also reaffirmed her previous argument that incidental copying for streaming is fair use, or at least should be treated in parallel as such copying for sound recordings.

National Music Publishers Association’s Carey Ramos – argued that there is no need for legislative change, pointing to the recent success of iTunes and related services. Ramos disagreed with Peters’ assessment of incidental copying. He also noted that mechanical royalties were needed in addition to performance royalties to make up for displaced record sales, and that the line between temporary and permanent copies might be difficult to assess.

RIAA’s Cary Sherman – argued that section 115 is deficient and may need to be changed, but hopeful that some problems could be resolved by the relevant industry parties. He mainly focused on impediments to dual-session CDs, licensing artists not working through the Harry Fox Agency, and the per-work penny-rate fees. He also lauded the subscription service agreement reached with Harry Fox in 2001, which Potter extensively criticized.

It’s amazing that this is the same law that came in response to player pianos and functions as a compulsory covers license. Hurray for copyright law’s complexities.

Pay-Per-Download v. Subscription

Ernest points out some of the challenges of pay-per-download (PPD) stores.  I generally agree that the subscription services will eventually be market leaders.  But, in the near term, I doubt it’s gonna happen.  The prices, summed over a year, are still substantially above average consumer spending on music (~120 v. 71).  It might take some time to get portability figured out, especially considering all the interop issues in the current PPD stores.  The sooner the better for the subscription services on that front.  (BTW, it  appears I was wrong earlier when I said that Napster 2.0 allowed premium service tethered downloads to be moved to portable players. I remember reading it in the terms and conditions when it launched, but I think the terms have been updated, and this press release makes it pretty clear that porting can’t happen.)


Meanwhile, in the long run, PPD stores might actually be able to reduce their prices.  As volume goes up the credit card payments will be more manageable, and there will be a little more flexibility in pricing.  Bulk pricing rates would have a similar effect. However, given that people are using the PPD stores now because they don’t have to buy in bulk, I’m not sure how successful this will be; if they want bulk, they’ll go to the subscription services, so long as the portability issues are resolved.


Finally, I’m not sure the iPods are actually going to change expectations too much in the near term.  If you have enough cash to spend 500 bucks on a 40 GB iPod, you’re probably an adult, who has already accumulated large CD collections. Large enough to fill 40 GBs?  Probably not.  But adults also are not the primary P2P downloaders, so it’s not like buying the iPod is going to drive more people away to P2P.  Of course, as Ernest pointed out to me over email, kids are getting the the iPods as gifts, so that will work against this hypothesis.

Remix Construction Sets, and a Little Story

Ernest wrote a great post about how artists could release remix construction sets – “the bits and parts used to create the work,” that could enable people to remix it themselves.  Notably, many Magnatune artists already do this, with no additional charge for non-commercial uses. 


Ernest’s post also gives me the opportunity to tell a little personal story.  A couple months back, my step-father gave me a copy of his redone version of Yes’ Tales from Topographic Oceans.  Many consider Yes in general pomp prog rock crap, but even among those who appreciate their music, Tales is widely panned. It’s one of those wacky concept pieces, something that might blow your mind but too often ends up totally overblown.  With its four songs all intentionally recorded to fit on one side of an LP each (four 20+ min songs), much of it seems unnaturally stretched.  But it also has many redeemable moments.  So, my step-father carved out some of the excess, just enough to fit it on one CD and to make the album much more listenable.


First, I think this is a neat example of what would be even easier using what Ernest’s talking about.  Second, note that it couldn’t be done under even iTunes’ relatively permissive DRM. (Oh, wait, you can’t find Tales in their catalog anyway, but that’s for another post).  Third, to those who trumpet artistic integrity as demanding incredibly restrictive derivatives rights, I hope this makes the issue a little tougher.  Here’s a fan of the artist – yes, he’s mucking with the “purity” of the album as it was made, but he’s also enjoying interacting with one of his fave bands.  Is that an experience we really want to stifle?


(P.S. – he also gave me a copy of the original album, so with first sale and fair use, this might even have been legal. Maybe.)

Brief Commentary and a Tangent to EFF VCL Discussion

There’s been some nice commentary out there about the EFF VCL proposal.  I largely agree with these criticisms/suggestions.   Unless it sacrifices some flexibility (e.g., licensing to particular services rather than to individuals) then compliance is going to be a more tricky issue.  Compliance will be a key issue in general, for, at bottom, the model assumes (hopes?) that this offering can ensure compliance by being an appealing option for consumers.


The current online music stores hope for the same thing – why can’t they be enough without shifting to this licensing solution?  They certainly could be enough, but there are reasons to believe that this solution is more likely to sustain and stabilize the industries. There would be greater cost savings from reducing storage servers and credit card transactions.  Because licensing would be consolidated and simpler, it too would be less costly. These savings could then lead to the lower price that the EFF suggests.  The plan would more easily support the creation of a deep catalog and the convenience consumers have come to expect.  Indeed, by working within consumers preferred downloading environments, convincing them to pay will be easier.


Will that be enough?  One could argue that it isn’t.  I’m optimistic.


A tangent: The EFF points out that this plan will aid independents; similar sentiments were expressed at the Digital Music Forum.  I certainly agree, but I think that the current online music stores will also help indies.


In brick-and-mortar stores, indies are often forced to back-racks, if placed at all.  Through “cooperative advertising agreements,” labels pay to ensure that record stores prominently featured certain artists.  The need for radio promotion – and thus forms of payola – harms those with lesser marketing budgets.


P2P can help level the playing field.  As distribution becomes much cheaper, indie artists will be able to reach far greater audiences.   Their songs can now be found on P2P alongside major label recordings.  Shared folders can lead people to serendipitously find indie artists in their file searches.


But many similar things can be said of the Internet generally and the current online music stores. The limits of server space are much smaller than the limits of a physical store. Apple has already offered all indie labels the exact same deal it has with the majors.  Recommendation systems can help users find artists they normally would not.  Such systems could be run by the stores, but they could also be bottom-up collaborative filters.  Webcasting and other similar promotional avenues will aid P2P distribution as much as distribution through the store.


The online stores certainly could mimic the physical ones’ promotion of major label artists over indies.  But, first, I’m not sure why it’d necessarily be to their advantage to do so – it costs them hardly anything to add another aritst to their server, while, given users demonstrated interest to buy broadly (see note on Apple here), the upside is quite large.  Second, the same could be true of P2P systems – see KaZaA putting Altnet artists at the top of search requests.


Again, I’m not arguing against the EFF’s assessment of how VCLs would help indies, nor their implied assessment that this would be superior to any help the stores will provide – having this revenue stream open will probably be superior to selling copies through the online stores.  Just saying that the online music stores can aid indies, too.

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