Peer-To-Peer File Sharing As User Rights Activism Michael A
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Sistemas Distribuidos
+ Sistemas P2P Debate Rodrigo Santamaría + 2 Introducción Los sistemas P2P tienen una historia cruzada en la que se mezcla Informática Derecho Economía Política … Filosofía? + 3 P2P y Derecho Aspectos relevantes Primera generación P2P -> Juicio a Napster (1999) Culpable de ‘colaboración ilegal en la distribución de material con derechos de copia’ ‘La copia de productos comprados legalmente es ilegal si se realiza en masa/con ánimo de lucro’ Segunda generación P2P -> Juicio a Pirate Bay (2008) Culpable de ‘colaboración legal en la distribución de material con derechos de copia’ Casos tangenciales -> Megaupload (2012) Procesos legislativos -> Ley Sinde, ACTA, SOPA, PIPA + 4 P2P y Derecho Actualidad legal Directiva europea sobre derechos de copia1 – Art 15, “impuesto por enlace”: se impone un impuesto a los enlaces a contenidos con derecho de copia2 ● Antecedentes: tasa Google en España – Art 17, “filtro de subida” o “prohibición de memes”: se obliga a los servidores de implementar filtros para detectar infracciones del derecho de copia3, 4 Licencias con libertad de copia (copyleft): – Creative Commons, GPL 3.05 1 https://en.wikipedia.org/wiki/Directive_on_Copyright_in_the_Digital_Single_Market 3 Carta abierta a Axel Voss sobre el art. 15 (inicialmente 11): http://vis.usal.es/rodrigo/documentos/sisdis/seminarios/openLetterArt11.pdf 2 Opinión de Jaime Altozano (Youtuber) https://www.youtube.com/watch?v=ilEsBgbm7Fo 3 Carta abierta de Berners Lee et al. sobre el art. 17 (inicialmente 13): http://vis.usal.es/rodrigo/documentos/sisdis/seminarios/openLetterArt13.pdf 5 Declaración de Richard Stallman sobre GPL3.0 https://www.gnu.org/licenses/rms-why-gplv3.html + 5 P2P y Derecho Preguntas ¿Debe primar el derecho de copia/propiedad intelectual o el derecho de información/expresión? ¿Qué efectos tiene sobre ambos derechos la directiva sobre copyright de la UE (esp. -
Testimony of Authors Guild President Scott Turow Before the Senate
My name is Scott Turow. I’m the president of the Authors Guild, the largest society of published authors in the U.S., representing more than 8,500 book authors and freelance writers. Our members represent the broad sweep of American authorship, including literary and genre fiction, nonfiction, trade, academic, and children’s book authors, textbook authors, freelance journalists and poets.1 Guild members have won countless honors and all major literary awards, including the Nobel Prize for Literature.2 The Authors Guild promotes the professional interests of authors: we’re advocates for effective copyright protection, fair contracts, and free expression. It’s a pleasure and an honor to be here this morning. I’d like especially to thank this committee for recognizing the severity of the problem we all face and getting the ball rolling with COICA in the fall, which recognized this central and unavoidable truth: any serious attempt to address online piracy must address the third-party enablers of infringement. Anything that doesn’t address those enablers is, frankly, a pretend solution to a real problem. Our Copyright Policy Inadvertently Encourages Investments in Technologies and Services That Promote Trafficking in Stolen Books, Music, and Movies After 300 years as one of history's greatest public policy successes, copyright is coming undone. As we meet here this morning, our well-intended policy toward copyright online is 1 The Guild had its beginnings as the Authors League of America, which was founded in 1912 by a group of book authors (including Theodore Roosevelt, who served as the League’s founding vice president), short story writers, freelance journalists and a smattering of dramatists. -
Causes, Effects and Solutions of Piracy in the Computer Software Market
Review of Economic Research on Copyright Issues, 2006, vol. 4(1), pp. 63-86 CAUSES,EFFECTSANDSOLUTIONSOFPIRACYINTHE COMPUTER SOFTWARE MARKET AMY MARSHALL Abstract. Much literature has been devoted to exploring the protection of computer programs. The decreasing effectiveness of copyright and patents has been extensively examined and alternative forms of protection, both phys- ical and market-based, have been laid out. A large proportion of writings is dedicated to describing the significant network externalities that exist in thesoftwaremarket,andtheeffect that these have on the optimal level of protection. A large number of surveys have been undertaken to analyse the characteristics of software pirates and their incentives to pirate. This paper attempts to provide an overview of this literature. 1. Introduction The widespread incidence of unauthorised use and copying of computer software has had a devastating impact on the software industry in recent years. Significantly costly time and effort is invested by software programmers in developing a program and with software piracy preventing these developers from recouping remuneration from users, the incentives existing to produce new software may not be sufficient enough for any further development, causing the industry to stagnate. This would be costly to not only computer programmers but also to the government who would miss out on a significant amount of taxation revenue and society as a whole, whose software choices would be diminished. The traditional protector of intellectual property is copyright, defining the rights of ownership of creators and allowing for the enforcement of these rights. The basis behind copyright law is to provide the means for a creator to receive sufficient remuneration for development to occur. -
IIT Bombay X - Fdp101x Foundation Program in ICT for Education Course Journal
IIT Bombay X - FDP101x Foundation Program in ICT for Education Course Journal Prepared by S. Suneel Kumar Associate Professor, VJIT College of Engineer, Hyderabad, Telangana. Page 0 INDEX o INTRODUCTION TO FDP o WEEK-1: MOVING FROM PHYSICAL TO ONLINE CLASSROOMS o WEEK-2: WEB PRESENCE FOR TEACHERS o WEEK-3: LEARNING MANAGEMENT SYTEMS & FLIPPED CLASSROOM ACTIVITY, VISUAL PRESENTATION SKILLS o WEEK-4: CREATING YOUR OWN VIDEO RESOURCES o WEEK-5: PUTTING IT ALL TOGETHER o CONCUSION S. Suneel kumar Page 1 INTRODUCTION Teaching is a continual process to share the information to students or mentors through various processes like traditional teaching method using blackboard & chalk. As technology developed this type of traditional teaching may not reaching to brains of students. Now technical aspects of teaching required for students. For this teacher and students both should be technically skilled to teach and learn. This FDP on “Foundation program in ICT for Education” helpful for teacher to implement the Hybrid Technology in teaching. This course contents helpful in learning aspects related to basic computer applications utilization in preparation of contents, visual presentation skills, data storage and implementation through wordpress, course contents by using moodle and drupal, screen cast recording of video and creative contents preparation. This course helps in preparation of video to implementation of course for hybrid teaching process. S. Suneel kumar Page 2 1) INTRODUCTION TO FDP 1. Introduction by Prof. Deepak Phatak, the Principal Investigator of T10KT project at IIT bombay. 2. Introduction focused on reasons for technology education from conventional or tradition education as information provider to become learning facilitators. -
Electronic Evidence in Torrent Copyright Cases
ARTICLE: ELECTRONIC EVIDENCE IN TORRENT COPYRIGHT By Thomas M. Dunlap and CASES Nicholas A. Kurtz Introduction distribute copies of the registered copyrighted work.1 This article explores the methodology behind The Copyright Act further provides that anyone who obtaining electronic evidence of peer-to-peer users violates any of the exclusive rights of the copyright 2 and the use of that evidence in current copyright owner is an infringer of the copyright. infringement actions in United States Federal Courts. Pursuant to the Copyright Act, a plaintiff may elect Over the last year and a half, a number of lawsuits to recover statutory damages instead of actual have been filed on behalf of film copyright holders damages or the infringer’s profits. 17 U.S.C. § 504(c) seeking to enforce their rights against users of peer- provides: “the copyright owner may elect, at any time to-peer (P2P) torrent-type technologies used to before final judgment is rendered, to recover, instead unlawfully download and distribute films. of actual damages and profits, an award of statutory At the time of filing their complaints, the plaintiffs damages for all infringements involved in the action, have only been able to identify the Doe defendants by with respect to any one work ... in a sum of not less their internet Protocol (IP) address, the file hash, file than $750 or more than $30,000 as the court title, and the date and time of the alleged considers just.” Section 504(c) further provides that infringement. The only way that the plaintiffs can where an infringement is committed willfully, a court determine the defendants’ actual names is by has the discretion to increase the award of statutory 3 obtaining the information from the internet Service damages to $150,000. -
Online Piracy and Consumer Affect to Pay Or Not to Pay
Online Piracy and Consumer Affect To pay or not to pay Master Thesis Psychology: Consumer Behavior Matthias W. Kampmann Online Piracy and Consumer Affect 1 Running head: ONLINE PIRACY AND CONSUMER AFFECT Online Piracy and Consumer Affect: To pay or not to pay Matthias W. Kampmann University of Twente Master Thesis Psychology: Consumer Behavior Instructors: Dr. M. Galetzka & Dr. P.W. de Vries June 2010 Online Piracy and Consumer Affect 2 Abstract Online music piracy is a growing problem for the economy. Yet research on the underlying processes that govern online music piracy behavior is limited. This study addresses this shortcoming by combining insights from research on appraisal theory and consumer reactance into a conceptual framework. The results of an online survey study with N = 160 participants indicate that a price increase that leads to more profits for the music industry instead of more profits for young artists is seen as less fair and music files are perceived to have less value. Price affect could however not be confirmed as a significant predictor of consumer behavior. Ethical beliefs did not moderate the appraisal process but they have a strong negative influence on online piracy behavior. An adjusted model explains 35% of variance in the online piracy intention measure. Theoretical and managerial implications and possibilities for future research are discussed. Online Piracy and Consumer Affect 3 Online Piracy and Consumer Affect: To pay or not to pay Digital piracy has been a byproduct of the digitalized world since the early days of personal computers (Gopal, Sanders, Bhattacharjee, Agrawal, & Wagner, 2004). With the rise of the internet digital piracy has shifted from illegal copies of physical goods like floppy disks, CDs or DVDs towards the theft of intangible goods like music files, video files and computer software (Wall, 2005). -
Defense Against the Dark Arts of Copyright Trolling Matthew As G
Loyola University Chicago, School of Law LAW eCommons Faculty Publications & Other Works 2018 Defense Against the Dark Arts of Copyright Trolling Matthew aS g Jake Haskell Follow this and additional works at: https://lawecommons.luc.edu/facpubs Part of the Civil Procedure Commons, and the Intellectual Property Law Commons Defense Against the Dark Arts of Copyright Trolling Matthew Sag &Jake Haskell * ABSTRACT: In this Article, we offer both a legal and a pragmaticframework for defending against copyright trolls. Lawsuits alleging online copyright infringement by John Doe defendants have accounted for roughly half of all copyright casesfiled in the United States over the past threeyears. In the typical case, the plaintiffs claims of infringement rely on a poorly substantiatedform pleading and are targeted indiscriminately at noninfringers as well as infringers. This practice is a subset of the broaderproblem of opportunistic litigation, but it persists due to certain unique features of copyright law and the technical complexity of Internet technology. The plaintiffs bringing these cases target hundreds or thousands of defendants nationwide and seek quick settlements pricedjust low enough that it is less expensive for the defendant to pay rather than to defend the claim, regardless of the claim's merits. We report new empirical data on the continued growth of this form of copyright trolling in the United States. We also undertake a detailed analysis of the legal andfactual underpinnings of these cases. Despite theirunderlying weakness, plaintiffs have exploited information asymmetries, the high cost of federal court litigation, and the extravagant threat of statutory damages for copyright infringement to leverage settlementsfrom the guilty and the innocent alike. -
1 1 UNIVERSIDAD DE LOS ANDES FACULTAD DE CIENCIAS SOCIALES DEPARTAMENTO DE ANTROPOLOGÍA INTERFAZ HACK Lo Hacker Como Interfaz Y
1 UNIVERSIDAD DE LOS ANDES FACULTAD DE CIENCIAS SOCIALES DEPARTAMENTO DE ANTROPOLOGÍA INTERFAZ HACK Lo hacker como Interfaz y la Propiedad Intelectual como Fricción Trabajo de grado para optar por el título de Doctor en Antropología Por Rodulfo Armando Castiblanco Carrasco Código: 201123275 Director Doctor Pablo Jaramillo Salazar. Bogotá 26 de agosto de 2016 1 2 Para Amelia, la niña de las pestañas exorbitantes. 2 3 TABLA DE CONTENIDO INDICE DE ILUSTRACIONES ................................................................................................. 5 LISTADO DE ORGANIZACIONES .......................................................................................... 7 AGRADECIMIENTOS ................................................................................................................ 8 INTRODUCCIÓN. INTERFAZHACK .................................................................................... 10 CAPÍTULO 1. HACKING ......................................................................................................... 22 1.1 EXPERTICIAS ................................................................................................................... 23 1.1.1 La Esencia del Hacking: Buscar Caminos de Acceso ................................................. 26 1.1.2 Entre el disfrute y lo colectivo ..................................................................................... 38 1.2 AGENCIA POLÍTICA ........................................................................................................ 43 1.2.1 -
Selected Filmography of Digital Culture and New Media Art
Dejan Grba SELECTED FILMOGRAPHY OF DIGITAL CULTURE AND NEW MEDIA ART This filmography comprises feature films, documentaries, TV shows, series and reports about digital culture and new media art. The selected feature films reflect the informatization of society, economy and politics in various ways, primarily on the conceptual and narrative plan. Feature films that directly thematize the digital paradigm can be found in the Film Lists section. Each entry is referenced with basic filmographic data: director’s name, title and production year, and production details are available online at IMDB, FilmWeb, FindAnyFilm, Metacritic etc. The coloured titles are links. Feature films Fritz Lang, Metropolis, 1926. Fritz Lang, M, 1931. William Cameron Menzies, Things to Come, 1936. Fritz Lang, The Thousand Eyes of Dr. Mabuse, 1960. Sidney Lumet, Fail-Safe, 1964. James B. Harris, The Bedford Incident, 1965. Jean-Luc Godard, Alphaville, 1965. Joseph Sargent, Colossus: The Forbin Project, 1970. Henri Verneuil, Le serpent, 1973. Alan J. Pakula, The Parallax View, 1974. Francis Ford Coppola, The Conversation, 1974. Sidney Pollack, The Three Days of Condor, 1975. George P. Cosmatos, The Cassandra Crossing, 1976. Sidney Lumet, Network, 1976. Robert Aldrich, Twilight's Last Gleaming, 1977. Michael Crichton, Coma, 1978. Brian De Palma, Blow Out, 1981. Steven Lisberger, Tron, 1982. Godfrey Reggio, Koyaanisqatsi, 1983. John Badham, WarGames, 1983. Roger Donaldson, No Way Out, 1987. F. Gary Gray, The Negotiator, 1988. John McTiernan, Die Hard, 1988. Phil Alden Robinson, Sneakers, 1992. Andrew Davis, The Fugitive, 1993. David Fincher, The Game, 1997. David Cronenberg, eXistenZ, 1999. Frank Oz, The Score, 2001. Tony Scott, Spy Game, 2001. -
GLOBAL CENSORSHIP Shifting Modes, Persisting Paradigms
ACCESS TO KNOWLEDGE RESEARCH GLOBAL CENSORSHIP Shifting Modes, Persisting Paradigms edited by Pranesh Prakash Nagla Rizk Carlos Affonso Souza GLOBAL CENSORSHIP Shifting Modes, Persisting Paradigms edited by Pranesh Pra ash Nag!a Ri" Car!os Affonso So$"a ACCESS %O KNO'LE(GE RESEARCH SERIES COPYRIGHT PAGE © 2015 Information Society Project, Yale Law School; Access to Knowle !e for "e#elo$ment %entre, American Uni#ersity, %airo; an Instituto de Technolo!ia & Socie a e do Rio+ (his wor, is $'-lishe s'-ject to a %reati#e %ommons Attri-'tion./on%ommercial 0%%.1Y./%2 3+0 In. ternational P'-lic Licence+ %o$yri!ht in each cha$ter of this -oo, -elon!s to its res$ecti#e a'thor0s2+ Yo' are enco'ra!e to re$ro 'ce, share, an a a$t this wor,, in whole or in part, incl' in! in the form of creat . in! translations, as lon! as yo' attri-'te the wor, an the a$$ro$riate a'thor0s2, or, if for the whole -oo,, the e itors+ Te4t of the licence is a#aila-le at <https677creati#ecommons+or!7licenses7-y.nc73+07le!alco e8+ 9or $ermission to $'-lish commercial #ersions of s'ch cha$ter on a stan .alone -asis, $lease contact the a'thor, or the Information Society Project at Yale Law School for assistance in contactin! the a'thor+ 9ront co#er ima!e6 :"oc'ments sei;e from the U+S+ <m-assy in (ehran=, a $'-lic omain wor, create by em$loyees of the Central Intelli!ence A!ency / em-assy of the &nite States of America in Tehran, de$ict. -
An Exploration of Social Practices and Ad Hoc Labeling Standards in Online Movie Piracy
A Service of Leibniz-Informationszentrum econstor Wirtschaft Leibniz Information Centre Make Your Publications Visible. zbw for Economics Tietzmann, Roberto; Gross Furini, Liana Article Sharing without laws: an exploration of social practices and ad hoc labeling standards in online movie piracy Internet Policy Review Provided in Cooperation with: Alexander von Humboldt Institute for Internet and Society (HIIG), Berlin Suggested Citation: Tietzmann, Roberto; Gross Furini, Liana (2016) : Sharing without laws: an exploration of social practices and ad hoc labeling standards in online movie piracy, Internet Policy Review, ISSN 2197-6775, Alexander von Humboldt Institute for Internet and Society, Berlin, Vol. 5, Iss. 2, pp. 1-15, http://dx.doi.org/10.14763/2016.2.416 This Version is available at: http://hdl.handle.net/10419/214015 Standard-Nutzungsbedingungen: Terms of use: Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Documents in EconStor may be saved and copied for your Zwecken und zum Privatgebrauch gespeichert und kopiert werden. personal and scholarly purposes. Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle You are not to copy documents for public or commercial Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich purposes, to exhibit the documents publicly, to make them machen, vertreiben oder anderweitig nutzen. publicly available on the internet, or to distribute or otherwise use the documents in public. Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, If the documents have been made available under an Open gelten abweichend von diesen Nutzungsbedingungen die in der dort Content Licence (especially Creative Commons Licences), you genannten Lizenz gewährten Nutzungsrechte. -
Piracy Landscape Study
Piracy Landscape Study: Analysis of Existing and Emerging Research Relevant to Intellectual Property Rights (IPR) Enforcement of Commercial-Scale Piracy Prepared for the U.S. Patent and Trademark Office Solicitation Number: 1333BJ19Q00142004 Brett Danaher Michael D. Smith Rahul Telang Chapman University Carnegie Mellon University Carnegie Mellon University This Version: March 20, 2020 Table of Contents Executive Summary ...................................................................................................................... 3 1. The Piracy Ecosystem........................................................................................................... 4 1.1 Piracy of Physical Goods................................................................................................ 6 1.1.1 Manufacturing......................................................................................................... 7 1.1.2 Discovery ................................................................................................................ 7 1.1.3 Distribution ............................................................................................................. 8 1.1.4 Communication, Payment Processing and Fulfillment ......................................... 11 1.2 Piracy of Digital Goods ................................................................................................ 11 1.2.1 Sources.................................................................................................................. 12 1.2.2