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Wednesday, September 24, 2008 DF welcomes Arts + Labs initiative to “Encourage Development and Dissemination of Legal, Safe and Innovative Content on the Internet" The following statement can be attributed to Maura Corbett, spokesperson for the Digital Freedom Campaign"The Digital Freedom Campaign welcomes Arts + Labs to the discussion of critical issues involving artists, consumers, and new digital technologies. We are encouraged by the Coalition's stated focus on building compelling business models, rather than limitations and lawsuits. We look forward to joining them to promote innovative digital distribution systems that preserve the rights of consumers. We hope to work with this coalition to create a 21st century IP system that empowers and compensates artists, while enabling innovative applications like Pandora to survive and thrive." Labels: copyright, fair use, Filtering, net neutrality posted by Digital Freedom Campaign # 3:03 PM 0 Comments Friday, August 22, 2008 Of Dancing Babies and Overzealous Takedowns: When "fair use is hard!" doesn't cut it Posted by Sherwin Siy of Public Knowledge, a Digital Freedom PartnerYesterday, a federal district court in San Jose refused to dismiss a suit brought against Universal Music for improperly demanding that YouTube remove a home video from its site. In this case, Stephanie Lenz was sent a takedown notice for posting a home video on YouTube. Lenz had made a video of her toddler stumbling through her kitchen, then hearing and bobbing to Prince’s “Let’s Go Crazy,” which was playing tinnily in the background on a countertop stereo. Despite the obvious fair use of the work, Universal sent a takedown notice to YouTube anyway. YouTube took the video down and notified Lenz that she had been accused of infringing copyright. After Lenz consulted a lawyer and issued a counter-notice, the video was put up again some six weeks later. After this, Lenz sued Universal. There are provisions of the DMCA that let people like Lenz sue the sender of a takedown notice if the sender “knowingly materially misrepresents…that the material is infringing.” In return, Universal moved to dismiss the suit, saying that, even if the clip was fair use, notice-senders aren’t under any obligation to check and see if a use might be fair before sending a notice. All they have to do, says Universal, is see that their work was used somehow. Fortunately, the court rejected this argument. But I want to take this opportunity to discuss one of the points that Universal raised in support of its position. The last time I mentioned the Lenz case on this blog was in reference to Universal’s assertion that fair uses were infringements—just excused ones. This time, I want to talk about Universal’s assertion—one that is often echoed—that looking for fair use is asking too much of notice senders, because fair use is an inherently fuzzy concept. It’s a mantra in copyright circles: fair use is a fact-specific, case-by-case inquiry. Whether or not a particular use of a copyrighted work is fair depends a lot upon the specific circumstances of the case; broad categories aren’t generally going to cut it. For instance, even though “educational uses” are listed as a particular example of a fair use, not every educational use (for instance, copy shops making course packs) has been ruled fair. That’s as it should be. However, there’s a tendency to go too far. Lawrence Lessig has famously said that “fair use is the right to hire a lawyer.” But too often, that’s read as a statement of the law, and not for the wry, pessimistic joke that it is. “Fact-specific” and “case-by-case” don’t mean that we must assume a naive ignorance of the doctrine until a court stamps a verdict on a particular use. While there’s a large gray area in fair use, there are areas off in the ends of that scale that we can unequivocally designate as black or white. Lenz is a good example. The obvious defense to Universal’s allegation of infringement is fair use. Although part of the song was reproduced and performed as part of a new (derivative) work, it took a tiny, nearly unrecognizable portion of the song, was a small part of the larger whole of the clip, was used in a completely noncommercial setting, and would in no way whatsoever harm the market for Prince’s work. It would take someone with a complete disregard of the realities of copyright law to consider this infringing. Yet that’s exactly what someone at Universal did. Someone identified this clip and proceeded to engage in a legal process that would result in Lenz’s work being removed from its home on the net. What were they thinking? The likely answer was that they weren’t thinking at all. The most likely scenario I can think of was that Universal was using some automated system that searched YouTube and other hosting sites for content that resembled their own. Given that Lenz had named the video clip “Let’s Go Crazy #1,” a text-based search might have found it. An audio recognition algorithm might have been able to pick the song from its fuzzy background. And what then, after the posted video had been flagged? Did human eyes review it before the takedown notice, with its attendant legal threats and ramifications, went out? The simple fact that this notice was sent shows a failure on Universal’s part—either a failure to review the clip, or to have it reviewed sensibly. Instead, the notice was sent despite all indications that the clip was not only harmless, but legal. Why? Likely because, in someone’s calculation, it was considered cheaper and easier to send out these takedown notices willy-nilly (after all, what’s the cost of one more email) than to risk there possibly being an infringing video out there, which might result in a loss of revenue—perhaps a dollar’s worth from iTunes, multiplied by the percent chance that it was actually an infringement. It would cost more to have a knowledgeable person review the clips that they were accusing of infringement, but if sending out a notice that shouldn’t have gone out doesn’t cost anything, why go to the expense of another review? Universal’s arguments against looking at fair use admit as much—they argued that taking fair use into account when sending notices would be too expensive for their purposes. Part of that expense stems from the fuzzy nature of fair use, since dealing with complex issues of context, purpose of use, and substantiality is something that requires a human brain—one with at least a bit of training, too. Dealing with fair use means that a copyright holder can’t automate the notice-and-takedown process without having a human in the loop—even if that means the process becomes more expensive to the copyright holder. That’s because the cost-benefit calculus of the copyright holder needs to be balanced against the costs and benefits imposed upon the rest of society—including people like Becky Lenz. What are the costs to society of having legal content removed? They’re harder to calculate economically, and furthermore, they implicate fundamental rights that, according to our founding documents, ought not, cannot, be sold. So the law creates a way for that balance to be taken into account—through provisions like the one Lenz used to sue Universal. Such safeguards help to right the balance of costs and benefits—if sending a false notice costs Universal very little, but—costs Lenz (in time, legal fees, and worry) a lot, there should be a means by which she can recoup those costs, if Universal was too cheap to prevent them from arising in the first place with a careless notice and takedown procedure. But the excuse that fair use is hard goes beyond the narrower confines of DMCA notice-and-takedown. A number of voices in the content industry continue to call for filters on networks that will look for and identify infringing content. Of course, what that really means is that the filters will look for and identify copyrighted content—but whether or not that content is infringing depends on a lot of other factors, including fair use. In such cases, the consequences could be far worse than an improper takedown notice. Without legal structures like the 512(c) procedures and 512(f) safeguards, the content could just disappear en route on the network, or infringement suits might result. But it’s not just automated filters—too often, you hear the argument that a use simply isn’t fair until a court says so. That’s far from true. While a court decision provides a definitive answer—at least as the law is interpreted in that court’s jurisdiction—a fair use is fair from the time of its making, through the lawsuit and trial, and after the opinion is published and reported. By the same token, an infringing use was infringing from its doing to after the decision. What changes isn’t the legal status of what happened—just how much people’s opinions differed. The facts of what happened happened—they remain the same. And until the law changes, the use was legal or not—not in some Schrodinger’s cat-like limbo, and certainly not assumed to be infringing unless proved otherwise. Obviously, a both sides on an infringement lawsuit are going to present their best arguments to a court, and to the court of public opinion. That means that you’re going to have dueling statements in briefs and in the press about how something is clearly an infringement or clearly fair use. And the interests of fairness require the judge to hear both sides, and the press to report them both as well. But that doesn’t absolve the parties involved—or anyone who has the necessary facts of the case—from making a fair and frank analysis of even that notoriously gray area of fair use. The fact that there are two sides to every issue doesn’t mean that one side isn’t wrong. And sometimes that’s more obvious than in others. Just because any number of ludicrous statements can be made before a court doesn’t mean that (a) they carry any weight, or (b) that they should ever have been made in the first place. (There’s any number of examples both on plaintiffs’ and defendants’ sides, that litigation reform advocates are likely to provide you with.) Yet chanters of the “fact-specific” mantra will insist that these cases must be filtered through a court before anyone can even point out how silly they are. And this is even sillier. It doesn’t take a finely-honed legal mind to see that Lenz’s use is fair, or that, after Sony, it’s clear that time-shifting, even of cable television, or in digital formats, is fair use. Yet these sorts of arguments too often lead to commentators giving up on fair use as a reliable protector of speech. If fair use is going to serve its purpose in allowing people to speak without prior legal restrictions, people have to be able to use it prospectively—consulting a lawyer, or hiring one, shouldn’t be a prerequisite free expression. Labels: copyright, fair use, intellectual property, Lenz, universal music posted by Digital Freedom Campaign # 10:03 AM 0 Comments Monday, June 30, 2008 Associated Press Declares War on Bloggers, Fair Use By Mehan Jayasuriya of Public Knowledge, a Digital Freedom PartnerI’ve been plying my trade as a blogger for quite a while—okay, well, “quite a while” in blog years, anyway. During that time, I’ve learned that the old guard print journalists and their scrappy web counterparts don’t always see eye-to-eye on matters of citation and attribution. On the web, the mantra has always been “share and share alike”: most bloggers generally quote and cite each other freely, returning the favor in the form of a link. This works because the Internet economy runs on page views, which are equally coveted by advertisers, writers and business folks alike. Unfortunately, some content producers with roots in the print world, most notably the large wire services, have failed to understand this unspoken code of conduct. I know that I’m not the only one who has worked for a web publication that received a stern letter from the likes of Reuters or Bloomberg, which essentially said “don’t cite, quote or link to our content”. Sure, this proved to be an inconvenience at times—sometimes the major wire services had exclusive stories that no one else had—but to avoid a legal squabble, the easiest thing to do was to simply stop linking to and quoting from the offended party. After all, if these services want to shoot themselves in the foot, why not simply let them? Here’s why: because rights holders, including the major wire services, do not get to decide what is and isn’t fair use under the law. As you probably know, the reason I’m bringing this up now is because of the Associated Press’ (AP) decision last week to go after parody news site Drudge Retort for linking to and printing short quotes from AP articles. Unlike some of the other wire services, the AP graciously allows bloggers and other Internet journalists to quote their articles—for a price. That’s right, if you want to quote an AP article in your blog post, you’ll be paying by the word for the privilege. What’s more, in order to purchase a license to quote AP content, you’ll have to agree to a Terms of Use agreement, which states, among other things, that you may not criticize either the AP or the author of the article in your post or article. If you do, the AP reserves the right to revoke the license granted. The problem with the AP’s licensing structure is that it ignores existing fair use rights, which clearly state that a short quotation from any news story is fair game. “Sure, the AP has a copyright in its articles and can prohibit blogs from reposting those articles,” Greg Beck over at Public Citizen writes. “But the AP has no right to impose a tax on brief quotations from AP news stories for the purpose of referencing, discussing, or criticizing those stories and their authors. The right to quote a reasonable amount from a news story for purposes of commentary or criticism is guaranteed by the right of fair use in the Copyright Act, and by the First Amendment.” Luckily, the blogosphere isn’t taking this one sitting down. Michael “one of the most famous people on the Internet” Arrington over at TechCrunch issued a call to arms, which resulted in an almost instantaneous boycott of AP stories on the web. In response, the AP announced that it would “rethink its policies toward bloggers.” While that's nice and all, there really isn't much here to think about. As Greg Beck points out, the AP still seems to be operating under the assumption that “it has the right to decide how much of its stories bloggers can use.” Fair Use rights apply to all news stories, with or without the AP’s blessing--end of story. For better or for worse, that doesn’t seem to be a concept that the AP is willing to understand. So, here’s something they should understand: an invoice. Blogger Michelle Malkin decided to calculate, using the AP’s licensing structure, how much the AP owes her for quotations it has used from her blog posts in recent months (it’s also worth noting that the AP did not link to her blog in the articles where these quotes were used). By Malkin’s count, the AP owes her somewhere in the neighborhood of $132,125. “And there are a few other bloggers quoted recently by AP who should consider sending joke bills, too,” Malkin writes. Is there any chance that the AP will start paying bloggers? For the answer to that question, I’ll refer you to the image above. Thanks to gapingvoid for the dinosaur cartoon and to our own Alex Curtis, who pointed me in its direction. Labels: copyright, fair use, Public Knowledge posted by Digital Freedom Campaign # 2:46 PM 0 Comments Monday, June 9, 2008 Happy Anniversary to you ... Congratulations to The Copyright Alliance from the Digital Freedom Campaign on its one year anniversary and its launch of the “one voice” campaign. We welcome ‘one voice” to join us in the very important mission of educating and advocating individuals and artists in the creative community about the importance of their voices to the issue of copyright in the Digital Age. The Digital Freedom Campaign has been out in the field for close to two years on a mission to protect and educate artists and consumers, spreading the word at concerts, festivals, forums, and conferences across the country. We are proud to already count thousands of artists, bands and independent labels, as well as education institutions and consumer groups among our partners. We represent 290 million Americans who lawfully record, listen, enjoy and create digital content in the times and places of their choosing, while enjoying the extraordinary benefits of the digital age. We also represent the interests of the eleven million Americans whose livelihoods depend on the principle of copyright, whose industry will thrive if and when they provide consumers reasonable and convenient access to authorized content.We’ll look forward to seeing “one voice” on the road - perhaps we can even share travel expenses! Labels: copyright, copyright alliance, digital freedom posted by Digital Freedom Campaign # 2:46 PM 1 Comments Friday, April 25, 2008 KIDZ IN THE HALL MAKE A STOP AT DA’ HOUSE BEFORE THEY HIT THE STAGE WITH GYM CLASS HEREOS AT COLLEGE CAMPUSES UP AND DOWN THE EAST COAST.
Posted by Digital Freedom Band Kidz in the Hall: We live a very free lifestyle making music and traveling the world but walking through the halls of the Rayburn building made us realize how important it is for bands like ours to speak out about our Digital Freedoms. The same way we fight to get our messages out through words and beats of our music we will continue to fight this cause as well. Yesterday was an introductory chapter of a long book that hopefully has a great ending. Dialogue is necessary and it is a good start for us to make a few visits to the Hill. But we didn’t even put a dent in this issue in order to make these congressmen become fully aware of this issue and the digital music revolution. It is daunting when you run into walls when you speak with someone who doesn’t understand how much work you put into something and they have the power to take it all away. Speaking with people who had adverse opinions to some of our ideas has made it even more worthwhile for us to get our message out, if everyone agreed with us and nothing happened then we would feel even worse. We need to talk to more people who don’t hold the same ideas as we do about sharing music and reforming copyright on the internet It’s a good thing for us that the days of naïveté are over (for artists). We understand the business, the issues and we are willing to fight for our rights. Major artists have lost connection with the fan and for us that connection is crucial for our success. Most independent artists are more hands on and understand the importance of their digital rights. It is easy to care about Digital Freedom when these issues pay for your life. Labels: capitol hill, copyright, d.c., digital freedom, gym class hereos, hip hop, kidz in the hall, washington posted by Digital Freedom Campaign # 5:32 AM 0 Comments |
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