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Illegal P2P File Sharing on College Campuses – What's the Solution? Antionette D
College of William & Mary Law School William & Mary Law School Scholarship Repository Student Award Winning Papers Student Publications and Awards 2008 Illegal P2P File Sharing on College Campuses – What's the Solution? Antionette D. Bishop Repository Citation Bishop, Antionette D., "Illegal P2P File Sharing on College Campuses – What's the Solution?" (2008). Student Award Winning Papers. 4. https://scholarship.law.wm.edu/awardwinning/4 Copyright c 2008 by the authors. This article is brought to you by the William & Mary Law School Scholarship Repository. https://scholarship.law.wm.edu/awardwinning Illegal P2P File Sharing on College Campuses—What’s the Solution? Antionette D. Bishop* TABLE OF CONTENTS I. THE MUSIC INDUSTRY’S RESPONSE TO ILLEGAL P2P FILE SHARING............................................................................. 517 II. COLLEGE–STUDENT RELATIONSHIP .......................................... 518 III. PUBLIC POLICY CONCERNS ........................................................ 519 A. Efficient Use of College Funds ............................................ 519 B. Academic Freedom............................................................... 520 IV. ALTERNATIVE PROPOSED SOLUTION: COLLECTIVE LICENSING .................................................................................. 521 V. CONCLUSION............................................................................... 522 Since the introduction of Napster in 1999, illegal peer-to-peer (P2P) file sharing1 has been a continuously growing problem for -
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Antifragile White Paper Draft 3.Pages
Piracy as an Antifragile System tech WP 01/2015 July 2015 Executive Summary Attacks on the piracy economy have thus far been unsuccessful. The piracy community has not only shown resilience to these attacks, but has also become more sophisticated and resilient as a result of them. Systems that show this characteristic response to ex- ternal stressors are defined as antifragile. Traditional centralized attacks are not only ineffective against such systems, but are counter-productive. These systems are not impervious to attacks, however. Decentralized attacks that warp the connections between nodes destroy the system from within. Some system-based attacks on piracy have been attempted, but lacked the technology required to be effec- tive. A new technology, CustosTech, built on the Bitcoin blockchain, attacks the system by turning pirates against each other. The technology enables and incentivizes anyone in the world to anonymously act as an informant, disclosing the identity of the first in- fringer – the pirate uploader. This internal decentralized attack breaks the incentive structures governing the uploader-downloader relationship, and thus provides a sus- tainable deterrent to piracy. Table of Contents Introduction to Antifragility 1 Features of Antifragile Systems 1 Piracy as an Antifragile System 2 Sophisticated Pirates 3 Popcorn Time 5 Attacking 5 Antifragile Systems 5 Attacking Piracy 5 Current Approaches 6 New Tools 6 How it Works 7 Conclusion 7 White paper 01/2015 Introduction to Antifragility Antifragility refers to a system that becomes bet- ter, or stronger, in response to shocks or attacks. Nassim Taleb developed the term1 to explain sys- tems that were not only resilient, but also thrived under stress. -
Stream-Ripping: Its Role in the UK Music Piracy Landscape Three Years On
Stream-ripping: Its role in the UK music piracy landscape three years on September 2020 PRS for Music Foreword Stream-ripping: its role in the UK music piracy landscape three years on builds on research we published with the Intellectual Property Office three years ago. The initial research, Stream-ripping: How it works and its role in the UK music piracy landscape, came at a time when little work had been done to understand the size of problem posed by stream-ripping. The previous report allowed us to map the landscape of online music piracy and to gain insight into the functioning and the business model of stream-ripping services. We found evidence to support our assumption that stream-ripping was on course to become the dominant mode of online infringement. This second wave of research shows that our expectation is now the reality: stream-ripping services account for more than 80% of the top 50 music specific piracy sites. We can see that the services are becoming more sophisticated, offering better quality downloads, evolving their revenue streams, and becoming more adept at operating beneath the radar, with many using the popular content delivery network Cloudflare to obfuscate the location of their servers. But what we can also see is that concerted efforts by the industry do work: a reduction of more than 50% of BitTorrent sites can be attributed to increased geo-blocking and enforcement efforts over the past three years. Since this research was conducted, the world has changed beyond what anyone could have imagined. Amidst the massive societal changes, the almost global lockdown caused by the COVID-19 pandemic has also accelerated the acculturation of digital services. -
UK Blocking-2015-12-07-Brd
THE EFFECT OF PIRACY WEBSITE BLOCKING ON CONSUMER BEHAVIOR Brett Danaher‡ [email protected] Michael D. Smith† [email protected] Rahul Telang† [email protected] This Version: November 2015 Acknowledgements: This research was conducted as part of Carnegie Mellon University’s Initiative for Digital Entertainment Analytics (IDEA), which receives unrestricted (gift) funding from the Motion Picture Association of America. Danaher acknowledges support from an NBER Economics of Digitization research grant. This research was conducted independently without any oversight or editorial control. The authors presented this paper at the December 2014 Workshop on Information Systems and Economics and to seminar participants at the University of Arizona’s Eller School of Management and thank participants for their helpful feedback. All findings and errors are entirely our own. ‡ Department of Economics, Wellesley College, Wellesley, MA, 02481 † School of Information Systems and Management, Heinz College, Carnegie Mellon University, Pitts- burgh, PA, 15213. THE EFFECT OF PIRACY WEBSITE BLOCKING ON CONSUMER BEHAVIOR ABSTRACT Understanding the relationship between copyright policy and consumer behavior is an in- creasingly important topic for participants in digital media markets. In this paper we seek to study how consumer behavior changes when Internet Service Providers are required to block access to major piracy websites. We do this in the context of two court-ordered events affecting consumers in the UK: The blocking order directed at The Pirate Bay in May 2012, and blocking orders directed at 19 major piracy sites in October and November 2013. Our results show that blocking The Pirate Bay only caused a small reduction in total pira- cy — instead, consumers seemed to turn to other piracy sites or Virtual Private Networks that allowed them to circumvent the block. -
You Are Not Welcome Among Us: Pirates and the State
International Journal of Communication 9(2015), 890–908 1932–8036/20150005 You Are Not Welcome Among Us: Pirates and the State JESSICA L. BEYER University of Washington, USA FENWICK MCKELVEY1 Concordia University, Canada In a historical review focused on digital piracy, we explore the relationship between hacker politics and the state. We distinguish between two core aspects of piracy—the challenge to property rights and the challenge to state power—and argue that digital piracy should be considered more broadly as a challenge to the authority of the state. We trace generations of peer-to-peer networking, showing that digital piracy is a key component in the development of a political platform that advocates for a set of ideals grounded in collaborative culture, nonhierarchical organization, and a reliance on the network. We assert that this politics expresses itself in a philosophy that was formed together with the development of the state-evading forms of communication that perpetuate unmanageable networks. Keywords: pirates, information politics, intellectual property, state networks Introduction Digital piracy is most frequently framed as a challenge to property rights or as theft. This framing is not incorrect, but it overemphasizes intellectual property regimes and, in doing so, underemphasizes the broader political challenge posed by digital pirates. In fact, digital pirates and broader “hacker culture” are part of a political challenge to the state, as well as a challenge to property rights regimes. This challenge is articulated in terms of contributory culture, in contrast to the commodification and enclosures of capitalist culture; as nonhierarchical, in contrast to the strict hierarchies of the modern state; and as faith in the potential of a seemingly uncontrollable communication technology that makes all of this possible, in contrast to a fear of the potential chaos that unsurveilled spaces can bring. -
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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 -
KPMG FICCI 2013, 2014 and 2015 – TV 16
#shootingforthestars FICCI-KPMG Indian Media and Entertainment Industry Report 2015 kpmg.com/in ficci-frames.com We would like to thank all those who have contributed and shared their valuable domain insights in helping us put this report together. Images Courtesy: 9X Media Pvt.Ltd. Phoebus Media Accel Animation Studios Prime Focus Ltd. Adlabs Imagica Redchillies VFX Anibrain Reliance Mediaworks Ltd. Baweja Movies Shemaroo Bhasinsoft Shobiz Experential Communications Pvt.Ltd. Disney India Showcraft Productions DQ Limited Star India Pvt. Ltd. Eros International Plc. Teamwork-Arts Fox Star Studios Technicolour India Graphiti Multimedia Pvt.Ltd. Turner International India Ltd. Greengold Animation Pvt.Ltd UTV Motion Pictures KidZania Viacom 18 Media Pvt.Ltd. Madmax Wonderla Holidays Maya Digital Studios Yash Raj Films Multiscreen Media Pvt.Ltd. Zee Entertainmnet Enterprises Ltd. National Film Development Corporation of India with KPMG International Cooperative (“KPMG International”), a Swiss entity. All rights reserved. entity. (“KPMG International”), a Swiss with KPMG International Cooperative © 2015 KPMG, an Indian Registered Partnership and a member firm of the KPMG network of independent member firms affiliated and a member firm of the KPMG network of independent member firms Partnership KPMG, an Indian Registered © 2015 #shootingforthestars FICCI-KPMG Indian Media and Entertainment Industry Report 2015 with KPMG International Cooperative (“KPMG International”), a Swiss entity. All rights reserved. entity. (“KPMG International”), a Swiss with KPMG International Cooperative © 2015 KPMG, an Indian Registered Partnership and a member firm of the KPMG network of independent member firms affiliated and a member firm of the KPMG network of independent member firms Partnership KPMG, an Indian Registered © 2015 #shootingforthestars: FICCI-KPMG Indian Media and Entertainment Industry Report 2015 Foreword Making India the global entertainment superpower 2014 has been a turning point for the media and entertainment industry in India in many ways. -
Steal These Policies: Strategies for Reducing Digital Piracy
THE INFORMAtiON TECHNOLOGY & INNOVAtiON FOUNDAtiON Steal These Policies: Strategies for Reducing Digital Piracy BY DANIEL CASTRO, RICHARD BENNETT AND SCOTT ANDES | DECEMBER 2009 We need to open a broad Executive Summary dialogue that engages all stakeholders, including he rise of broadband Internet access and cheap storage, along government, content with the growth of digital content, has enabled digital pi- owners, website racy to flourish around the world. Piracy enables the unau- operators, technolog y T thorized distribution of music, movies, television programs, software, developers, and ISPs video games, books, photos, and periodicals quickly and easily, to the and other intermediaries, detriment of creative artists and legitimate rights holders. These prac- on how to improve the global response to piracy. tices threaten not only the robust production of digital content in the future, but U.S. jobs in the present. Unfortunately, many advocates, believing that information should be free, would have government not only turn a blind eye to digital piracy, but actively tie the hands of companies who seek to limit digital piracy. This report makes the case that digital piracy is a serious problem with significant ramifica- tions for the U.S. economy, that a number of approaches, including technical solutions such as content identification, are needed to reduce piracy, and that governments should support legitimate industry ef- forts to reduce digital piracy, including those that focus on the revenue streams of those engaging in piracy. There is no “silver bullet” that will solve controls such as locks, closed-circuit the piracy problem—no single technical TV, and anti-theft packaging as well or legislative proposal will completely as a government-funded system of law solve such a complex issue—but there enforcement, digital piracy requires a are many “lead bullets” that can help coordinated approach. -
Music Piracy and the Audio Home Recording Act
MUSIC PIRACY AND THE AUDIO HOME RECORDING ACT In spite of the guidance provided by the Audio Home Recording Act1 (AHRA) of 1992, music companies are once again at odds with consumer electronics manufacturers. This time around, the dispute is over certain information technology products that enable consumers to copy digital music and transfer them to different formats, or exchange them over the Internet. This article will discuss anti-piracy measures being taken by digital content owners and the United States legislature to combat piracy and evaluate them in light of the AHRA. The Promulgation of Music Piracy Over the last two years, the music industry has fed the media stark statistics about “piracy,” the act of copying digital music content to a blank CD, or uploading or downloading it on the Internet. According to various newspaper articles, an estimated 3.6 billion songs are illegally downloaded each month in the United States.2 In 1999, the music industry estimated that one in four compact discs of new music was actually an unauthorized copy.3 By the end of 2001, it was estimated that as many CDs were burned and copied as were bought.4 In Europe, blank CDs are outselling recorded CDs (although these blank CDs might have also been purchased for legitimate reasons, such as to back-up personal computer files).5 And since 1999, ownership of CD burners has nearly tripled.6 This trend of consumers sharing their music rather than purchasing it may be attributable to many factors, including the slow economy. However, the music industry seems to believe that the most likely culprit in this trend is the rise of digital music,7 i.e., free online file sharing, and the growing popularity of CD burners.8 In an act of self-defense, the largest record companies are developing anti-piracy technology to protect their copyrighted music against the information technology industry’s 1 17 U.S.C. -
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