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Google's name.Big news from Google — their regular Transparency Reports will now include information about content takedown requests!

This means that it’s about to get a lot easier to see and talk about the costs of copyright restrictions.  Some background: under U.S. law, Google can protect itself from infringement claims by promptly handling so-called “takedown requests”.  A takedown request is when a copyright owner or their agent asks Google to remove content from its servers (or, in the case of the search engine, from being included in search results) because continuing to offer the content would violate the owner’s copyright, and continuing to link to it in search results could be considered contributory infringement.

But how often are such requests made?  Who makes them?  Unless you worked at Google or a similarly large information-gathering organization, you’d have no way of knowing.

Now Google’s going to tell us.  From their announcement:

Today we’re expanding the Transparency Report with a new section on copyright. Specifically, we’re disclosing the number of requests we get from copyright owners (and the organizations that represent them) to remove Google Search results because they allegedly link to infringing content. We’re starting with search because we remove more results in response to copyright removal notices than for any other reason. So we’re providing information about who sends us copyright removal notices, how often, on behalf of which copyright owners and for which websites. As policymakers and Internet users around the world consider the pros and cons of different proposals to address the problem of online copyright infringement, we hope this data will contribute to the discussion.

The answer, by the way, turns out to be about a quarter of a million takedown requests per week and counting (and remember, they’re starting with just their search engine, so this doesn’t include YouTube or their other major content-aggregation areas yet).  Just imagine the bureaucracy load on both sides for processing that kind of quanitity — and imagine all the more interesting things that money could be going to, if it weren’t processing disputes arising from state-granted monopolies on culture.

Unfortunately, the law that put in place the takedown request system forgot to build in any penalty for fraudulent or abusive requests, which do happen.  In today’s announcement, Google acknowledged that they deal with mistaken requests too:

At the same time, we try to catch erroneous or abusive removal requests. For example, we recently rejected two requests from an organization representing a major entertainment company, asking us to remove a search result that linked to a major newspaper’s review of a TV show. The requests mistakenly claimed copyright violations of the show, even though there was no infringing content. We’ve also seen baseless copyright removal requests being used for anticompetitive purposes, or to remove content unfavorable to a particular person or company from our search results. We try to catch these ourselves, but we also notify webmasters in our Webmaster Tools when pages on their website have been targeted by a copyright removal request, so that they can submit a counter-notice if they believe the removal request was inaccurate.

Their excellent FAQ offers more examples of incorrect requests they’ve received.  It’s not clear if they’ll be publishing statistics on that, but they do link to a 2006 third-party analysis that found a “surprisingly high incidence of flawed takedowns”.

Kudos to Google for shining a light where it has been dark for far too long!

Sample of Google Takedown Report home page.

As part of a project to create a non-DRM fixed media standard for high-definition video releases, Terry Hancock has launched a Kickstarter campaign which will produce two Lib-Ray video titles and player software to support them.

“Sita Sings the Blues” is the award-winning, feature-length animation by Question Copyright Artist-in-Residence Nina Paley, released under the Creative Commons Attribution-ShareAlike license. This will be a Creator Endorsed release, with a portion of funds going to Nina Paley herself after the minimum needed for the project is raised. This will be a beautiful edition in 1920×1080 HD video with lossless stereo audio, and it will be subtitled in over a dozen languages. This is the first time this film has been available in high-definition, due to Paley’s reluctance to use Blu-Ray with its DRM issues.

The “Blender Foundation Open Movie Collection” will be a single Lib-Ray release containing the three currently-complete Blender Foundation Open Movies: “Elephants Dream”, “Big Buck Bunny”, and “Sintel”. These will be in 1920×1080 HD video with lossless stereo and 5.1 surround soundtracks. These will also have a number of subtitle tracks and commentaries.

Unlike Blu-Ray, Lib-Ray releases do not support DRM, encryption, or region-coding options, and are intended for worldwide release. Thus the standard is designed with a highly-adaptable localization scheme, providing many more subtitles than are typically available on Blu-Ray or DVD regional releases.

The Lib-Ray standard will also incorporate metadata and cover art options to make them easier to cache in retrieval systems — an option intentionally blocked by the design of proprietary standards.

It is hoped that Lib-Ray will become a viable niche standard for free-culture and independent filmmakers to use for wider distribution of their films in high-definition format without the hassle, cost, and ethical issues surrounding proprietary DRM video standards.

Lib-Ray will be physically stored on high-capacity SD cards (SDHC media) which are more expensive than optical disks, but rapidly dropping in price. They are also a read-write medium, which allows for some additional features for producers, including easier short-run production and the possibility of publishing post-release patches (such as for additional subtitle tracks as they become available).

The funds will support the creation of these releases as well as player software to support Lib-Ray playback on computers, including Home Theater PCs. A manual will also be available, containing the full specification and tutorials on creating and using Lib-Ray releases.

Hancock says, “I recently realized that Lib-Ray will not get off the ground without developing player software and that all the pieces needed to create it were already available to me. I have the necessary coding experience for this (it will be written in Python, using the Gstreamer and Webkit library bindings), and so it’s really just a matter of time. It’s too much for me to do in my spare time, but if I can get the support to work on it full time for a short while, I should be able to make it all work smoothly.

“I’m a regular contributor to Free Software Magazine, and I’ve been documenting my progress on previous prototypes in my column there — ever since I discovered the DRM quagmire that is Blu-Ray publishing!

Gwenn Seemel self-portrait Second Face 2009Zinger quote from full-time artist (and QCO reader) Gwenn Seemel:

I’m fascinated by how artists say that their adherence to copyright is about money (even when they aren’t making a living with their work) but that when you dig a little deeper it comes out that it’s about fear.  It’s about the fear that someone will do what you’re doing but do it better than you ever did.

Thanks to reader Osama Khalid for telling us about another use of Nina Paley‘s Minute Meme Copying Is Not Theft on Al Jazeera — in this case, using it exactly as we hope the Minute Memes will be used: to set the frame or introduce the issues for a discussion. It’s played near the beginning, at about 2:30:


And it’s followed by a fantastic interview with Rick Falkvinge, in which he explains why Pirate Party resonates with so many people and why its political philosophy is deeply connected with civil liberties.

(This is not the first time that “Copying Is Not Theft” has appeared on Al Jazeera.)

The Copyright Flag of Canada.Any monopoly over public information is questionable, but we cast an especially gimlet gaze on attempts to monopolize publicly-funded information.  That’s what the government of Canada is doing to GeoCoder.ca right now (well, “doing to all Canadians” would be more accurate, but GeoCoder.ca is the lucky proximate target).

Canada Post is upset over GeoCoder’s freely-licensed database of Canadian postal codes.  Since 2004 GeoCoder has crowdsourced the creation of a geo-coded Canadian postal code database.  That is, members of the public have entered postal codes (public data) linked to location information (also public data).  The resultant dataset is useable by anyone, and saves people from having to pay Canada Post $5000 CAD for an official copy.

So what does Canada Post do?  Naturally, they sue.

(Plant face firmly in desk here.)

No, really.  It’s not April Fool’s Day anymore — we wouldn’t make this up.  Here’s a quote from Canada Post’s lawyer-gram:

  1. Canada Post is the owner of copyright in the CPC database as further defined herein;
  2. the Defendant has infringed Canada Posts’s copyright in the CPC database by producing and reproducing, without the consent of the Plaintiff, the CPC Database and substantial portions thereof in the course of the development, update, distribution and sale of the Defendant’s dataset products, including the Defendant’s Canadian Postal Code Geocoded Dataset (the “CPCG Dataset”) contrary to section 27(1) of the Copyright Act, R.S.C. 198, c.C-42 as amended (the “Copyright Act”); and
  3. the Defendant has infringed Canada Post’s copyright in the CPC Database by:
    1. selling or renting out;
    2. distributing to such an extent as to affect Canada Post prejudicially as owner of the copyright;
    3. by way of trade, distributing, exposing, offering for sale and exhibiting in public;
    4. possessing for the purposes of the activities described in subparagraphs (a) to (c) copies of the CDC Database and substantial portions thereof, including  the CPCG Dataset which the Defendant knew or should have known infringed the Plaintiff’s exclusive copyright, contrary to section 27(2) of the Copyright Act;

…I can’t really stand to type in any more of that (it’s from a PDF image; also, it’s offensive to reason), but you can see the whole complaint here: page 1, 2, 3, 4, 5, 6, 7, 8, 9.

You can donate to GeoCoder.ca to assist with their defense.  In their words: “Fighting for principle is expensive, and we will do it. Even against the odds, namely the foremost law firm in the country for IP litigation, hired by Canada Post to bring us down.”

Update 2012-04-28: there’s a terrific writeup by David Eaves about this now.

 

The new QCO headquarters.

Well, it’s been a long time coming: we moved into our new headquarters this weekend.  As you can see, at last there’s room for all our staff — no more doubling up at desks, no more working in shifts, no more waiting lists for parking spaces.  We’re really looking forward to finally being able to fit everyone at the all-hands meetings!

Many thanks to the recent donors who made this possible, especially the RIAA, MPAA, and Disney.  Without their steadfast support, we wouldn’t be where we are today.

Modern, state-of-the-art buildings like this don’t come cheap, of course.  Although we’re convinced the new headquarters is the right decision for the organization, we thought it would be wise to start a capital campaign now to cover grounds maintenance, heating and cooling, electricity, and, of course, the snack budget.  There’s a full kitchen on every floor — our dedicated associates will need fuel to fight for your freedoms effectively.

If you’d like to support us in our new home, please donate today!

Example of quilt designs from Leah Day.

There’s a terrific article by Leah Day entitled “Copyright Terrorism“, over at the Free Motion Quilting Project.

While we usually try to avoid the T-word over here at Question Copyright, so as not to inflate the language in an already loud debate, the substance of Day’s article is right on.  The growing problem she describes in quilting is the full-grown problem we already have in literature, music, and elsewhere:

Copyright issues seem to be cropping up with increasing frequency in the quilting world and I for one would like to try to stem this flow, or at least open your eyes, to the very real threat looming for our craft.

What is this threat?  Where is it coming from?

It is coming from within our own ranks. Quilters with a certain penchant for copyright and legal wrangling are turning our open, creative craft into a mine field of rules, regulations, licensing, attribution, and copyright lockdown that it’s enough to make anyone set down their rotary cutter and sell their sewing machine.

My favorite passage:

My question is this: is this the world we want to create? 

Is this the industry we want to build, where quilters who quilt for a living must live in fear that they will be sued for the designs they use?  That a blogger trying to teach and spread the love of free motion quilting can be threatened for using the wrong design? That quilters who quilt for show must credit every designer involved in their quilt, down to the fabric and thread manufacturer?

She then goes on to give an example, and points out the insidious positive feedback loop that happens once people start suing.

Read the whole thing.

Everything.Recently, I gave a Sita Sings the Blues talk to a roomful of 15-to-17-year-olds. Near the end I explained Free Culture and my stance against copyright, which led to some interesting discussion. Turns out most of them are manga fans, and familiar with publishers’ complaints about scanned and translated manga shared freely online. They all read them anyway (except one, who prefers to read entire manga in the bookstore). I asked them how they would choose to support artists they liked (once they had some disposable income) and they said:

 

  1. Donate buttons – with the qualification that they want to know as much as possible about where the donation is going. They said honesty and transparency are important.
  2. Kickstarter – They all knew about it (which was notable because none of them had heard of Flattr) and valued pitch videos that explained how the money would be used.
  3. Custom drawings
  4. Merch
  5. Physical copies
  6. Live Shared Experiences, including ballet, museum exhibits, and concerts. The event aspect was important; they wanted to be able to say, “Remember that one time when that awesome show was here…” They agreed seeing things in person is a more powerful experience than seeing things online, and worth spending more on. One said she would buy CD at a live show because “it reminds you of the show.”
  7. One said he would support artists by promoting their work to his friends.

Semi-related, I took an informal poll of how many would prefer to read a book on paper vs. an e-reader. The vast majority said paper, but what they really seemed to want was dual formats: paper copies to read comfortably and collect, and digital copies to search and reference. Makes sense to me. Only two of them had iPads, and none used them for “enhanced eBooks.”

My favorite quote of the afternoon, from a 15-year-old girl:

“We don’t want everything for free. We just want everything.

crossposted from ninapaley.com

QuestionCopyright.org’s pro bono General Counsel Karen Sandler took part in a panel this past Wednesday at the music conference of South by Southwest: Set Your Content Free (It’s Harder Than You Think).

Moderated by Michael Petricone of the Consumer Electronics Association, the panel also had Hank Shocklee (of Bomb Squad/Public Enemy fame), Julie Samuels of EFF, and Paul Geller of Grooveshark:

 

2012 SXSW Free Content panel participants.

 

Karen’s writeup is over at her GNOMG blog, so please check it out there (for the sake of keeping comments centralized in one place).

Many thanks to Karen for representing!  And note her awesome t-shirt: you can have one too.