Piracy Landscape Study
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Uila Supported Apps
Uila Supported Applications and Protocols updated Oct 2020 Application/Protocol Name Full Description 01net.com 01net website, a French high-tech news site. 050 plus is a Japanese embedded smartphone application dedicated to 050 plus audio-conferencing. 0zz0.com 0zz0 is an online solution to store, send and share files 10050.net China Railcom group web portal. This protocol plug-in classifies the http traffic to the host 10086.cn. It also 10086.cn classifies the ssl traffic to the Common Name 10086.cn. 104.com Web site dedicated to job research. 1111.com.tw Website dedicated to job research in Taiwan. 114la.com Chinese web portal operated by YLMF Computer Technology Co. Chinese cloud storing system of the 115 website. It is operated by YLMF 115.com Computer Technology Co. 118114.cn Chinese booking and reservation portal. 11st.co.kr Korean shopping website 11st. It is operated by SK Planet Co. 1337x.org Bittorrent tracker search engine 139mail 139mail is a chinese webmail powered by China Mobile. 15min.lt Lithuanian news portal Chinese web portal 163. It is operated by NetEase, a company which 163.com pioneered the development of Internet in China. 17173.com Website distributing Chinese games. 17u.com Chinese online travel booking website. 20 minutes is a free, daily newspaper available in France, Spain and 20minutes Switzerland. This plugin classifies websites. 24h.com.vn Vietnamese news portal 24ora.com Aruban news portal 24sata.hr Croatian news portal 24SevenOffice 24SevenOffice is a web-based Enterprise resource planning (ERP) systems. 24ur.com Slovenian news portal 2ch.net Japanese adult videos web site 2Shared 2shared is an online space for sharing and storage. -
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. -
Šta Znače Oznake CAM, WP, TS, SCR, TC, R5, DVDRIP, HDTV?
Šta znače oznake CAM, WP, TS, SCR, TC, R5, DVDRIP, HDTV? Ako vas zanima šta tačno označavaju skraćenice za kvalitet filmskog snimka: CAM, WP, TS, SCR, TC, R5, DVDRIP, HDTV, itd., pročitajte ovaj članak. Slijedi tabela kvaliteta filmskih snimaka, koja govori sa kog fizickog medija (kino snimak kamerom, original vhs kaseta, original dvd, itd) je film kopiran, u smjeru od najlošijeg kvaliteta ka najboljem. Tip Oznaka Rasprostranjenost Dosta čest format, mada se sve ređe Cam "CAM" pojavljuje, zbog postojanja DVD rip formata koji je daleko kvalitetniji Snimak filma napravljen kamerom u kinu, a zvuk je dobijen pomoću mikrofona na kameri, tako da se često vide i čuju i gledaoci u bioskopu. Ovaj kvalitet snimka se obično pojavi odmah nakon prve premijere filma u kinima Kvalitet video i audio zapisa je najčešće veoma loš. "WP" Workprint Vrlo rijedak "WORKPRINT" Kopija napravljena od nedovršene verzije filma. Uglavnom fale mnogi efekti i film može da se skroz razlikuje od konačne verzije filma. "TS" Telesync Vrlo čest "TELESYNC" Nasuprot popularnom vjerovanju, kvalitet kod TS video snimka ne mora da bude bolji od kvaliteta CAM snimka. Naziv Telesync ne označava bolji kvalitet VIDEO zapisa, nego bolji kvalitet AUDIO zapisa. Uglavnom je video snimak isti kao i CAM, a audio snimak bolji. Zbog toga se CAM veoma često brka sa TS. R5 "R5" Vrlo čest R5 Line je DVD verzija za region 5. Region 5 čine Istočna Evropa, (bivši SSSR), Indija, Afrika, Severna Koreja i Mongolija. Kvalitet R5 snimka se razlikuje od kvaliteta normalnog DVD-a po tome što je video snimak odličnog kvaliteta (kopiran sa DVD-a), a audio snimak je lošeg kvaliteta (kopiran sa Telecyne snimka, da bi se dobio zvuk originala, pošto je R5 DVD verzija obično prilagođena/sinhronizovana na jezik nekog od tih 5 regiona). -
Computer Game Mods, Modders, Modding, and the Mod Scene
Computer Game Mods, Modders, Modding, and the Mod Scene Walt Scacchi Institute for Software Research and Center for Computer Games and Virtual Worlds University of California, Irvine 92697-3455 USA March 2010 Abstract Computer games have increasingly been the focus of user-led innovations in the form of game mods. This paper examines how different kinds of socio-technical affordances serve to organize the actions of the people who develop and share their game mods. The affordances examined include customization and tailoring mechanisms, software and content copyright licenses, game software infrastructure and development tools, career contingencies and organizational practices of mod teams, and social worlds intersecting the mod scene. Numerous examples will be used to ground this review and highlight how such affordances can organize, facilitate or constrain what can be done. Overall, this study helps to provide a deeper understanding of how a web of associated affordances collectively serve to govern what mods get made, how modding practices emerge and flourish, and how modders and the game industry serve each others' interests, though not always in equivocal terms. Introduction Computer game mods are a leading form of user-led innovation in game design and game play experience. But modded games are not standalone systems, as they require the user to have an originally acquired or authorized copy of the unmodded game. Thus, there are questions of not only who creates what and who owns such modified games, but also whether or how the practice of game modding is controlled or governed by external parties to ultimately exploit the efforts of game modders. -
Tisch School of the Arts
18 Visible TISCH SCHOOL New York University EOFvidence THE ARTS August 11-14, 2011 NEW YORK, WELCOME EVER VIGILANT, IS THE CITY THAT never sleeps, a perfect setting for an international TO YOU ALL! conference on documentary film. We extend our thanks to Tisch School of the Arts, Cinema Studies Pro- WITHIN THE BROADER CONTEXT fessor, and Visible Evidence 18 Conference Director, Jon- of our Moving Image Archiving and Preservation Program athan Kahana for his energetic efforts to bring the confer- and Certificate Program in Culture and Media, the De- ence to the Big Apple. Professor Kahana has deployed his superb organizational skills to assemble an impressive set of partment of Cinema Studies at NYU is committed to sponsoring institutions and panelists over the four days of the developing both pedagogy and practice in the field conference and we are grateful to him and the legion of vol- of documentary. The fact that this year we are unteers and participating institutions who made hosting Visible Evidence 18 is a demonstra- this event possible. The Visible Evidence 18 Con- ference is a bittersweet occasion: we celebrate a tion of that commitment as well as a validation, great filmmaker, the “dean” of documentary film, as Jonathan Kahana writes, of documentary film-mak- George Stoney, Professor Emeritus in the Tisch ers’ long love affair with New York. I want to congratulate School’s Kanbar Institute of Film and Television, Professor Kahana for putting together this stellar conference and we pay tribute to our school’s beloved and renowned theorist and historian, the late Rob- and mobilizing such a wide range of institutional collabora- ert Sklar, Professor Emeritus in the department tors across the city. -
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 -
Online Software Copyright Infringement and Criminal Enforcement
Online Software Copyright Infringement and Criminal Enforcement Submitted: May 14, 2005 Randy K. Baldwin American University Washington College of Law What are Warez and Who Trades Them? This paper will discuss infringement of software copyrights with a focus on criminal ‘warez trading‘ of copyrighted software on the Internet. Warez are infringing electronic, digital copies of copyrighted works whose copy protection measures have been removed.1 Warez are most often ‘cracked’ software programs whose digital rights management (DRM) and copy control measures have been circumvented. Once DRM controls have been disabled, warez are subsequently distributed and traded on the Internet, usually without any direct financial gain to the distributors and traders.2 Distribution of warez usually starts as small-scale deployments from password- protected file transfer protocol (FTP) servers and encrypted and/or password-protected web sites run by warez groups. Warez are then traded on the Internet among broader groups via direct peer-to-peer (P2P) connections, and encrypted emails with warez attachments. Trading and downloading of warez is coordinated via closed, invite-only Internet Relay Chat (IRC) channels, Pretty Good Privacy (PGP) encrypted email, Instant Messaging (IM), private chat rooms, direct connect P2P networks, and messages posted to Usenet groups under pseudonyms.3 Servers and sites hosting warez and communications means used by warez traders are designed to avoid detection and identification by law enforcement.4 File and directory names are intentionally 1 Goldman, Eric, A Road to No Warez: The No Electronic Theft Act and Criminal Copyright Infringement. 82 Or. L. Rev. 369, 370-371 (2003). [hereinafter Road to No Warez], available at http://ssrn.com/abstract=520122 (last visited May 9, 2005) (on file with author) (Defines warez and warez trading. -
Histories of Internet Games and Play: Space, Technique, and Modality Teodor E
University of Wollongong Research Online Faculty of Law, Humanities and the Arts - Papers Faculty of Law, Humanities and the Arts 2017 Histories of internet games and play: space, technique, and modality Teodor E. Mitew University of Wollongong, [email protected] Christopher L. Moore University of Wollongong, [email protected] Publication Details Mitew, T. E. & Moore, C. L. "Histories of internet games and play: space, technique, and modality." The Routledge companion to global internet histories. Ed.G. Goggin & M. J. McLelland. London, United Kingdom: Routledge, 2017, 448-460. Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Histories of internet games and play: space, technique, and modality Keywords space, play, histories, games, modality, internet, technique Disciplines Arts and Humanities | Law Publication Details Mitew, T. E. & Moore, C. L. "Histories of internet games and play: space, technique, and modality." The Routledge companion to global internet histories. Ed.G. Goggin & M. J. McLelland. London, United Kingdom: Routledge, 2017, 448-460. This book chapter is available at Research Online: https://ro.uow.edu.au/lhapapers/3657 HISTORIES OF INTERNET GAMES AND PLAY: SPACE, TECHNIQUE, AND MODALITY Teodor Mitew and Christopher Moore Introduction It would be a daunting task to attempt an authoritative history of the Internet and play, and it is not our intention to sketch such an account, in the singular, even if the space allowed for it. Rather, we have undertaken a preliminary mapping of those elements which, we argue, should participate in the telling of the histories of Internet games. -
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. -
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. -
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. -
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).