Section 512 of the Digital Millennium Copyright Act: User Experience and User Frustration
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The Copyright Alert System: a Potential Unfair Burden on Small Business Owners, 23 J
Journal of Law and Policy Volume 23 | Issue 1 Article 8 2014 The opC yright Alert System: A Potential Unfair Burden On Small Business Owners Rachel Schneidman Follow this and additional works at: https://brooklynworks.brooklaw.edu/jlp Recommended Citation Rachel Schneidman, The Copyright Alert System: A Potential Unfair Burden On Small Business Owners, 23 J. L. & Pol'y (2014). Available at: https://brooklynworks.brooklaw.edu/jlp/vol23/iss1/8 This Note is brought to you for free and open access by the Law Journals at BrooklynWorks. It has been accepted for inclusion in Journal of Law and Policy by an authorized editor of BrooklynWorks. THE COPYRIGHT ALERT SYSTEM: A POTENTIAL UNFAIR BURDEN ON SMALL BUSINESS OWNERS Rachel A. Schneidman* The Copyright Alert System (CAS) confers on Internet Service Pro- vider’s (ISPs) the power to use “mitigating measures” against alleged copyright infringers in order to discourage piracy. This power is a result of a voluntary agreement between the ISPs, the Motion Picture Associa- tion of America, and the Recording Industry Association of America. Alt- hough the effectiveness of the CAS and the privacy concerns it raises have been analyzed in academic literature, the possible encumbrance of the CAS on small business owners has not been sufficiently considered. This Note argues that while the CAS may be a valuable tool in im- peding online piracy, it has the potential to unfairly burden small busi- ness owners. Specifically, this Note asserts that the CAS’s scope should be expanded to include all broadband users, including residential and business users of every size. -
FAQ's on the Center for Copyright Information and Copyright Alert
FAQ’s on The Center for Copyright Information And Copyright Alert System 1. How significant is online content theft? • Content theft is estimated to cost the U.S. economy $58 billion, 373,000 American jobs and $16 billion in lost employee earnings every year, and to cost federal, state and local governments $2.6 billion each year in lost tax revenue. However, data suggests1 that most users (up to 70%) would stop content theft once alerted that it is occurring, that it is illegal and that there are consequences associated with continuing to engage in it. A new educational center and system of alerts – similar to credit card fraud alerts – will help address this problem. The alerts will let subscribers know when their accounts have been identified for possible content theft, advise subscribers of the serious consequences associated with it, and encourage them to stop it from occurring again. 2. What is the Center for Copyright Information? • The Center for Copyright Information (“CCI”) will focus on educating subscribers about the importance of copyright protection and lawful ways to obtain movies and music online. The Center will also help to develop and confirm “best-practices” for a new system of progressive Copyright Alerts, similar to credit card fraud alerts, which will alert subscribers when potential content theft is identified on their Internet accounts. The Center is being established jointly by the film, music, and television industries in partnership with Internet Service Providers (ISPs) and will benefit from guidance by consumer advocates and technical experts serving on its advisory committee or providing other expert services. -
Time Warner Copyright Infringement Notice
Time Warner Copyright Infringement Notice Deviate and unreproached Brandy herries her blungers catechize damn or smuggled misguidedly, is Cyril silver-tongued? Sander is flatwise pustulant after exhilarant Tann scruples his chondriosome tabularly. Tyrone is anamnestically hypersthenic after morphological Isidore spook his quarreller longways. Time Life and fear Time Life logo are registered trademarks of Time Warner Inc. Nobody gets sued for illegally downloading movies right. The ISP refused to forward Rightscorp's notices of infringement to Cox customers. Learn more than courts should never even democracy itself and time warner may appropriately be the burden of. To prove copyright infringement the plaintiff must show 1 that the defendant. The aisle led if the creation of the mile for Copyright Information CCI. Notice-takedown-putback procedures related to alleged copyright infringement. Now either have adults who see infringement as medicine business model. Warner Music Group WMG Comments Submitted in number to US. Imperial residential accounts, copyright infringement notices to challenge jurisdiction determinative in their copyrights are infringed, evaluated the evolution or conflicting lines or the blocking. Copyright Alert System CAS was whether voluntary industry effort will educate and penalize internet. A recent DMCA copyright complaint to Google filed on behalf of Warner Bros by. Verizon says customers who such a fifth violation notice damage have. This includes companies like Time Warner Cable Comcast Xfinity AT T. Warner Bros Fan Creators and Infringement Claims The main Side. Help but was smoke a copyright infringement notice from ISP. Will the cost Industry both To Win Its Copyright Battle. This notice states that the copyright owner believes that arrive are hosting and. -
Charter Spectrum Notice of Copyright Infringement
Charter Spectrum Notice Of Copyright Infringement Davis educating his chauffeuse nichers thrasonically, but quartered Stanfield never pulverising so loose. Judicial and apprehensible Kenneth braised consumptively and clutch his abstention intractably and tracklessly. Yehudi often discuss spinally when unattainted Foster melodized past and braked her alps. There must be of charter communications operating credit for the transaction in a home where they do next and choose what cox Or abduct any product identification proprietary copyright or other. This website is vast service of Charter Communications Inc andor its respective subsidiaries providing the. While many users panic when receiving infringement notices from their ISP in the majority of cases there cause no need never worry Stopping sharing the lump in longevity usually solves the few and tie no additional sharing takes place to further warnings should be received for legitimate content are least. Alleging copyright infringement against an unnamed defendant Defendant1. And record labels who want over 10000 copyrights is fair clear message to ISPs like. Some policy forms an exclusion for trademark infringement. Recently changed commerce, infringement notice of charter spectrum copyright. Organization violated the Digital Millennium Copyright Act hurt when. Elizabeth Hart et al v Charter Communications Inc et al No. How tough my ISP tell below I'm downloading copyrighted files. Infringement claims continue to it brought frequently in the communications. Time Warner Subpoena Archives Torrent Lawsuit Defense. How to Pirate Software Without been Caught Gizmodo. Looking to a lawsuit attorneys fees logically flow as of infringement, net primarily include bandwidth being accused by them? For Android devices both clients work just got but the notable speed difference between BitTorrent and uTorrent in male former's favor gives it intelligent edge. -
Piracy and Copyright Enforcement Mechanisms
NBER WORKING PAPER SERIES PIRACY AND COPYRIGHT ENFORCEMENT MECHANISMS Brett Danaher Michael D. Smith Rahul Telang Working Paper 19150 http://www.nber.org/papers/w19150 NATIONAL BUREAU OF ECONOMIC RESEARCH 1050 Massachusetts Avenue Cambridge, MA 02138 June 2013 The views expressed herein are those of the authors and do not necessarily reflect the views of the National Bureau of Economic Research. At least one co-author has disclosed a financial relationship of potential relevance for this research. Further information is available online at http://www.nber.org/papers/w19150.ack NBER working papers are circulated for discussion and comment purposes. They have not been peer- reviewed or been subject to the review by the NBER Board of Directors that accompanies official NBER publications. © 2013 by Brett Danaher, Michael D. Smith, and Rahul Telang. All rights reserved. Short sections of text, not to exceed two paragraphs, may be quoted without explicit permission provided that full credit, including © notice, is given to the source. Piracy and Copyright Enforcement Mechanisms Brett Danaher, Michael D. Smith, and Rahul Telang NBER Working Paper No. 19150 June 2013 JEL No. D69,L1,L11,L8,L82,M31,O30 ABSTRACT Much debate exists around the impact that illegal file sharing may have on the creative industries. Similarly, opinions differ regarding whether the producers of artistic works should be forced to accept any weakening of intellectual property rights resulting from illegal file sharing, or if governments should intervene to protect these rights. This chapter seeks to inform these questions by outlining what we do and do not know from existing academic research. -
Making Copyright Work for Creative Upstarts
2015] 1021 MAKING COPYRIGHT WORK FOR CREATIVE UPSTARTS Sean Pager* INTRODUCTION Imagine you are a singer in a rock band. You are working hard to make a living, playing gigs, and waiting for that big break. Then one day, you are listening to the radio, and you are thrilled to hear one of your songs being played. Your excitement turns abruptly into anger, as you realize that your song is being played as part of a car commercial. You never approved this. So, you call up the car dealership to protest and demand that they pay you. But they brush you off, saying you should be grateful to get free pub- licity for your music. What to do? You cannot afford a lawyer, and even if you could, the cost of litigating this case in federal court dwarfs any license fee you might recover in damages.1 You never registered your copyrights in the song, so you are not eligible for statutory damages or attorney fees.2 And you cannot file a claim in state small claims court because copyright cases are subject to exclusive federal jurisdiction.3 Frustrated at your lack of recourse, you decide to quit music and go to law school instead.4 The point of this simple story is that the standard theory of copyright incentives comes with an Achilles heel. This theory justifies giving exclu- sive rights to authors because doing so will encourage them to create and * J.D. 1998, U.C. Berkeley Boalt Hall School of Law; A.B. 1989, Harvard University; LL.M. -
Capital Reporting Company U.S. Copyright Office Section 512 Public Roundtable 05-03-2016
Capital Reporting Company U.S. Copyright Office Section 512 Public Roundtable 05-03-2016 1 UNITED STATES COPYRIGHT OFFICE SECTION 512 STUDY + + + + + 9:00 a.m. + + + + + Tuesday, May 3, 2016 Thurgood Marshall United States Courthouse 40 Centre Street New York, New York U.S. COPYRIGHT OFFICE: CINDY ABRAMSON JACQUELINE C. CHARLESWORTH KARYN TEMPLE CLAGGETT RACHEL FERTIG BRAD GREENBERG KIMBERLEY ISBELL (866) 448 - DEPO www.CapitalReportingCompany.com © 2016 Capital Reporting Company U.S. Copyright Office Section 512 Public Roundtable 05-03-2016 2 1 P A R T I C I P A N T S: 2 ALLAN ADLER, Association of American Publishers 3 SANDRA AISTARS, Arts & Entertainment Advocacy Clinic 4 at George Mason University School of 5 JONATHAN BAND, Library Copyright Alliance and Amazon 6 MATTHEW BARBLAN, Center for the Protection of 7 Intellectual Property 8 GREGORY BARNES, Digital Media Association 9 JUNE BESEK, Kernochan Center for Law, Media and the 10 Arts 11 ANDREW BRIDGES, Fenwick & West LLP 12 WILLIAM BUCKLEY, FarePlay, Inc. 13 STEPHEN CARLISLE, Nova Southeastern University 14 SOFIA CASTILLO, Association of American Publishers 15 ALISA COLEMAN, ABKCO Music & Records 16 ANDREW DEUTSCH, DLA Piper 17 TROY DOW, Disney 18 TODD DUPLER, The Recording Academy 19 SARAH FEINGOLD, Etsy, Inc. 20 KATHY GARMEZY, Directors Guild of America 21 JOHN GARRY, Pearson Education 22 MELVIN GIBBS, Content Creators Coalition 23 DAVID GREEN, NBC Universal 24 TERRY HART, Copyright Alliance 25 MICHAEL HOUSLEY, Viacom (866) 448 - DEPO www.CapitalReportingCompany.com © 2016 Capital Reporting Company U.S. Copyright Office Section 512 Public Roundtable 05-03-2016 3 1 P A R T I C I P A N T S 2 SARAH HOWES, Copyright Alliance 3 WAYNE JOSEL, American Society of Composers, Authors 4 and Publishers 5 BRUCE JOSEPH, Wiley Rein LLP (for Verizon) 6 DAVID KAPLAN, Warner Bros. -
Not So Awesome a Record of Events While Working for That Guy with the Glasses
Not So Awesome A record of events while working for That Guy With The Glasses There are many different grievances that need to be shared, but the following points are what we feel are the most grievous and should be known by the public above all others. This is for record/organization and to help clarify and inform. This is not about defamation or destruction, but about clearing the air and correcting misconceptions. For an abridged, simplified account of all grievances, please refer to the condensed version here: https://docs.google.com/document/d/1d7UTXkL5HqywUqNMXwL 5nVG4R84Hr1GX7Phagi15mUo/edit?usp=sharing FOREWORD Thank you for taking the time to read the contents of this document. Within its many pages are lengthy stories from a number of contributors airing their grievances about the way they and others were handled by working professionally with Channel Awesome and the management, namely Mike Michaud, Doug Walker, and Rob Walker. Although the descriptions are vast, this very likely does not cover every possible story of mismanagement over the course of the last ten years. There are other content creators, both those who were previously partnered with Channel Awesome, and those who continue to be partnered with Channel Awesome, who have not contributed their stories to this document, though many of their stories can be found in other places if you look hard enough. There are numerous reasons why any of us would want to share these stories with you. The biggest one is simply a strong common belief that the public deserves the right to know about the dealings within this company. -
Technical and Legal Analysis of Comcast's Network Management
Technical and Legal Analysis of Comcast’s Network Management Practices by Satish Sunder Rajan Gopal B.Tech., Pondicherry University, 2009 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master of Science Department of Interdisciplinary Telecommunications 2011 This thesis entitled: Technical and Legal Analysis of Comcast’s Network Management Practices written by Satish Sunder Rajan Gopal has been approved for the Interdisciplinary Telecommunication Program Paul Ohm Dale Hatfield Preston Padden Date The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards Of scholarly work in the above mentioned discipline. Satish Sunder Rajan Gopal (M.S, Telecommunications) Technical and Legal Analysis of Comcast’s Network Management Practices Thesis directed by associate professor Paul Ohm Comcast took a controversial decision by targeting P2P (peer to peer) specific protocols to control congestion in upstream traffic over its network. In 2008, FCC required Comcast to stop and reveal details of their current network management practices that violated Network Neutrality obligations. Many concluded that Comcast’s actions were against Internet Engineering Task Force (IETF) standard. However, rules of network neutrality, a policy statement architected by FCC cannot be enforced. And IETF, a standards body does not control Comcast’s actions. This research focuses on a hypothetical infringement suit which shows how an internet service provider could be liable for infringement, when it deviates from IETF’s protocol standards and while controlling copyrighted material over its network. -
512 Comment Holland Bavitz 04 01
BEFORE THE UNITED STATES COPYRIGHT OFFICE LIBRARY OF CONGRESS COMMENT REGARDING SECTION 512 STUDY DOCKET NO. 2015-7 COMMENT OF ADAM HOLLAND AND CHRISTOPHER T. BAVITZ ADDRESSING QUESTIONS 11, 15, 25, 29, AND 30 (AND ALL QUESTIONS GENERALLY) I. INTRODUCTION. Adam Holland and Christopher T. Bavitz (collectively, “Commenters”) submit this comment pursuant to the United States Copyright Office’s Notice of Inquiry for Section 512 Study.1 Mr. Holland is a Project Coordinator at the Berkman Center for Internet & Society at Harvard University (the “Berkman Center”) and oversees the day-to-day operations of the Center’s Lumen Project (“Lumen”). Professor Bavitz is a faculty co-director of the Berkman Center and the principal investigator for Lumen. Lumen is an independent research project that studies the landscape for online content, including requests to platforms, search engines, and others to remove materials created or uploaded by Internet users using legal or extra-legal theories. Formed in or around 2001 as the Chilling Effects Clearinghouse, the project’s goals are to educate the public; to facilitate research about different kinds of complaints and requests for removal — both legitimate and questionable — that are sent to online publishers and service providers; and to provide as much transparency as possible about the “ecology” of such notices in terms of who sends them, why, and to what effect. Commenters write in order to advance the twin propositions that: (a) data is crucial to informing reasoned policy debates, including debates about policies that govern intermediary liability and obligations to police content online; and (b) transparency is intrinsically related to accountability, oversight, and process and is generally good for the public at large in a society that values free expression. -
Social Media and Democracy : the State of the Field, Prospects for Reform
Downloaded from https://www.cambridge.org/core. IP address: 170.106.33.19, on 26 Sep 2021 at 08:20:02, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/E79E2BBF03C18C3A56A5CC393698F117 Downloaded from https://www.cambridge.org/core. IP address: 170.106.33.19, on 26 Sep 2021 at 08:20:02, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/E79E2BBF03C18C3A56A5CC393698F117 Social Media and Democracy Over the last five years, widespread concern about the effects of social media on democracy has led to an explosion in research from different disciplines and corners of academia. This book is the first of its kind to take stock of this emerging multi-disciplinary field by synthesizing what we know, identifying what we do not know and obstacles to future research, and charting a course for the future inquiry. Chapters by leading scholars cover major topics – from disinformation to hate speech to political advertising – and situate recent developments in the context of key policy questions. In addition, the book canvasses existing reform proposals in order to address widely perceived threats that social media poses to democracy. This title is also available as Open Access on Cambridge Core. Nathaniel Persily is the James B. McClatchy Professor of Law at Stanford Law School and the Co-Director of the Stanford Cyber Policy Center and Stanford Project on Democracy and the Internet. His scholarship focuses on the law and technology of democracy. -
Gaming Critics
Aidan Cole 1 Validity of Gaming Critics Every art form has critics and judges. Movie critics, photography critics, music judges: these are people whom the public rely on to help differentiate between mediocre and master- pieces. As a species, we want to see the best of what we can create; therefore we rely on critics and judges to help guide us in our search of praising others’ artistic expression. In recent years, there has been a new realm of critics who have surfaced: gaming critics. The official definition of video game is “any of various interactive games played using a specialized electronic gaming device or a computer or mobile device and a television or other display screen, along with a means to control graphic images.” (“video game”). Since the age of the classic arcade games such as Pac-Man, Galaga, and Donkey Kong, we have loved playing video games. They gave us a rush of excitement as we competed with one another to see who could score the highest, or reach the highest level. Jason Gastrow, a popular video game critic on Youtube known as Videogamedunkey, or Dunkey, says in a video, “Arcades were brimming with looping endless games that demanded one knee-jerk reaction after another…These were games designed to kill you (the player) fast and suck down quarters, and people loved them. Then in the mid 1980s we see the focus shifting back towards consoles with the NES (Nintendo Entertain- ment System).” (Dunkey “Difficulty in Videogames Part 2”). As technology grew, video games went through a rather quick transformation, from a passing form to a must have form of enter- tainment, and for some, an actual career choice.