Post Intellectual Protectionism

Future of Intellectual Protectionism and not much Innovation Policy

Wednesday, May 23rd, 2012

I read all of the pieces selected for a „Future of copyright” anthology resulting from a contest run by the Modern Poland Foundation (apparently the winner of a small cash prize will be announced tomorrow; I highly recommend all of the pieces below and commend the judges for their selections):

7 are fiction (the 3 exceptions are me, Spitzlinger, and Togi). 5 of these are dystopian (exceptions: Binns, Mansoux), 4 of which (exception: Å»yÅ‚a) involve some kind of fundamental loss of personal control as a result of intellectual protectionism (even more fundamental than drug war style enforcement involves, which Å»yÅ‚a’s does concern). 3 of these (exception: Eddie) involve extrapolations of DRM, 2 of which (exception: Melin) involve DRM implants.

I’d like to see versions of the dystopian stories written as IP propaganda, e.g., recast as RIAA/MPAA pieces from the future (several of the stories have funnily named future enforcement organizations in that vein). Such could be written as satire, apology, or even IP totalist advocacy (utopian rather than dystopian).

Of the dystopian stories, Solís is probably most dystopian, Eddie most humorous, and Betteridge overall best executed. Å»yÅ‚a needs a bit of development — the trend posited is incongruous and unexplained — but maybe due to an unknown factor to be suggested by fictional future freakonomics, or perhaps I just missed it. Melin ends with some hope, but annoys me for contemporary reasons — why would the recipient of a body part artificially grown with “open” methods be constrained in the disposition of that part by a “Creative Commons license” on those methods? Another reason to discourage use of CC licenses for hardware design.

The two non-dystopian stories take the form of a “letter from the future” in which various “open” movements and “models” win (Binns; if I had to bet on a winner of the contest, I’d put my money on this one) and an allegory for the history and projected future of copyright (Mansoux; probably the piece I enjoyed reading most).

Of the 3 non-fiction pieces, Togi is most non-standard — a rant in the form of lemmas — and fun, though briefly goes off the rails in asserting that “those entities which represent the greatest tax gain will be preferred by government.” If that were the case, all that is prohibited would instead be taxed. Statements about “revenue” leave little wiggle room, but I suppose a charitable interpretation would include in “tax gain” all rents to those influencing power, be they bootleggers, baptists, or those directly obtaining tax revenue. Spitzlinger accepts the stories my piece rejects and suggests something like the Creative Commons Attribution-NonCommercial-ShareAlike license be the default for new works, with the possibility of additional temporary restriction (a one-year usufruct, perhaps?).

All of the pieces evince unhappiness with the current direction of information governance. Of those that reveal anything about where they stand on the reform spectrum (admitting that one dimension makes for an impoverished description of reform possibilities; that’s one of the points I hoped to communicate in my piece) I’d place Binns, Melin, and Spitzlinger away from abolition, and me, Mansoux, and Togi toward abolition.

I expect the contest and anthology to be criticized for only representing reform viewpoints. Sadly, no maximalist pieces were submitted. The most moderate reform submission didn’t follow contest rules (not a new piece, no license offered). More than alternate perspective versions of IP dystopias, I’d like to see attempts to imagine future systems which increase private returns to innovation, perhaps looking nothing like today’s copyright, patent, etc., and increase overall social welfare — I’m dubious, but please try.

Update 20120524: The two most fun and non-standard entries wonMansoux, with an honorable mention to Togi. I now must also congratulate the judges on their good taste. Read those two, or the whole anthology (pdf).

[e]Book escrow

Thursday, May 10th, 2012

I had no intention of writing yet another post about DRM today. But a new post on Boing Boing, Libraries set out to own their ebooks, has some of the same flavor as some of the posts I quoted yesterday and is a good departure (for making a few more points, and not writing any more about the topic for some time).

Today’s Boing Boing post (note their Day Against DRM post from last week) says a library in Colorado is:

buying eBooks directly from publishers and hosting them on its own platform. That platform is based on the purchase of content at discount; owning—not leasing—a copy of the file; the application of industry-standard DRM on the library’s files; multiple purchases based on demand; and a “click to buy” feature.

I think that’s exactly what Open Library is doing (maybe excepting “click to buy”; not sure what happened to “vending” mentioned when BookServer was announced). A letter to publishers from the library is fairly similar to the Internet Archive’s plea of a few days ago. Exceprt:

  • We will attach DRM when you want it. Again, the Adobe Content Server requires us to receive the file in the ePub format. If the file is “Creative Commons” and you do not require DRM, then we can offer it as a free download to as many people as want it. DRM is the default.
  • We will promote the title. Over 80% of our adult checkouts (and we checked out over 8.2 million items last year) are driven by displays. We will present e-content data (covers and descriptions) on large touch screens, computer catalogs, and a mobile application. These displays may be “built” by staff for special promotions (Westerns, Romances, Travel, etc.), automatically on the basis of use (highlighting popular titles), and automatically through a recommendation engine based on customer use and community reviews.
  • We will promote your company. See a sample press release, attached.

I did not realize libraries were so much like retail (see “driven by displays”). Disturbing, but mostly off-topic.

The letter lists two concerns, both financial. Now: give libraries discounts. Future: allow them to sell used copies. DRM is not a concern now, nor for the future. As I said a couple days ago, I appreciate the rationale for making such a deal. Librarian (and Wikimedian, etc) Phoebe Ayers explained it well almost exactly two years ago: benefit patrons (now). Ok. But this seems to me to fit what ought to be a canonical definition of non-visionary action: choosing to climb a local maximum which will be hard to climb down from, with higher peaks in full view. Sure, the trails are not known, but must exist. This “vision” aspect is one reason Internet Archive’s use of DRM is more puzzling than local libraries’ use.

Regarding “owning—not leasing—a copy of the file”, I now appreciate more a small part of the Internet Archive’s recent plea:

re-format for enduring access, and long term preservation

Are libraries actually getting books from publishers in formats ideal for these tasks? I doubt it, but if they are, that’s a very significant plus.

I dimly recall source code escrow being a hot topic in software around 25 years ago. (At which time I was reading industry rags…at my local library.) I don’t think it has been a hot topic for a long time, and I’d guess because the ability to run the software without a license manager, and to inspect, fix, and share the software right now, on demand, rather than as a failsafe mechanism, is a much, much better solution. Good thing lots of people and institutions over the last decades demanded the better solution.

DRM and BookServer/Internet Archive/Open Library commentary review

Wednesday, May 9th, 2012

After posting DRM and the Churches of Universal Access to All Knowledge’s strategic plans I noticed some other mentions of DRM and BookServer/Internet Archive/Open Library. I’m dropping them here with a little bit of added commentary.

First there’s my microcarping at the launch event (2009-10-29, over 2.5 years ago). Fran Toolan blogged about the event and had a very different reaction:

The last demonstration was not a new one to me, but Raj came back on and he and Brewster demonstrated how using the Adobe ACS4 server technology, digital books can be borrowed, and protected from being over borrowed from libraries everywhere. First Brewster demonstrated the borrowing process, and then Raj tried to borrow the same book but found he couldn’t because it was already checked out. In a tip of the hat to Sony, Brewster then downloaded his borrowed text to his Sony Reader. This model protects the practice of libraries buying copies of books from publishers, and only loaning out what they have to loan. (Contrary to many publishers fears that it’s too easy to “loan” unlimited copies of e-Books from libraries).

As you’ll see (and saw in the screenshot last post) a common approach is to state that some Adobe “technology” or “software” is involved, but not say DRM.

A CNET story covering the announcement doesn’t even hint at DRM, but it does have a quote from Internet Archive founder Brewster Kahle that gives some insight into why they’re taking the approach they have (in line with what I said previous post, and see accompanying picture there):

“We’ve now gotten universal access to free (content),” Kahle added. “Now it’s time to get universal access to all knowledge, and not all of this will be free.”

A report from David Rothman missed the DRM entirely, but understands it lurks at least as an issue:

There’s also the pesky DRM question. Will the master searcher provide detailed rights information, and what if publishers insist on DRM, which is anathema to Brewster? How to handle server-dependent DRM, or will such file be hosted on publisher sites?

Apparently it isn’t, and Adobe technology to the rescue!

Nancy Herther noted DRM:

Kahle and his associates are approaching this from the perspective of creating standards and processes acceptable to all stakeholders-and that includes fair attention to digital rights management issues (DRM). […] IA’s focus is more on developing a neutral platform acceptable to all key parties and less on mapping out the digitization of the world’s books and hoping the DRM issues resolve themselves.

The first chagrined mention of DRM that I could find came over 8 months later from Petter Næss:

Quotable: “I figure libraries are one of the major pillars of civilization, and in almost every case what librarians want is what they should get” (Stewart Brand)

Bit strange to hear Brand waxing so charitable about about a system that uses DRM, given his EFF credentials, but so it goes.

2011-01-09 maiki wrote that a book page on the Open Library site claimed that “Adobe ePUB Book Rights” do not permit “reading aloud” (conjure a DRM helmet with full mask to make that literally true). I can’t replicate that screen (capture at the link). Did Open Library provide more up-front information then than it does now?

2011-03-18 waltguy posted the most critical piece I’ve seen, but closes granting the possibility of good strategy:

It looks very much like the very controlled lending model imposed by publishers on libraries. Not only does the DRM software guard against unauthorized duplication. But the one user at a time restriction means that libraries have to spend more money for additional licences to serve multiple patrons simultaneously. Just like they would have to buy more print copies if they wanted to do that.

[…]

But then why would the Open Library want to adopt such a backward-looking model for their foray into facilitating library lending of ebooks ? They do mention some advantages of scale that may benefit the nostly public libraries that have joined.

[…]

However, even give the restrictions, it may be a very smart attempt to create an open-source motivated presence in the commercial-publisher-dominated field of copyrighted ebooks distribution. Better to be part of the game to be able to influence it’s future direction, even if you look stodgy.

2011-04-15 Nate Hoffelder noted concerning a recent addition to OpenLibrary:

eBooks can be checked out from The Open Library for a period of 2 weeks. Unfortunately, this means that Smashwords eBooks now have DRM. It’s built into the system that the Open Library licensed from Overdrive, the digital library service.

In a comment, George Oates from Open Library clarified:

Hello. We thought it might be worth correcting this statement. We haven’t licensed anything from Overdrive. When you borrow a book from the Open Library lending library, there are 3 ways you can consume the book:

1) Using our BookReader software, right in the browser, nothing to download,
2) As a PDF, which does require installing the Adobe Digital Editions (ADE) software, to manage the loan (and yes, DRM), or
3) As an ePub, which also requires consumption of the book within ADE.

Just wanted to clarify that there is no licensing relationship with Overdrive, though Overdrive also manages loans using ADE. (And, if we don’t have the book available to borrow through Open Library, we link through to the Overdrive system where we know an Overdrive identifier, and so can construct a link into overdrive.com.)

This is the first use of the term “DRM” by an Internet Archive/Open Library person in connection with the service that I’ve seen (though I’d be very surprised if it was actually the first).

2011-05-04 and again 2012-02-05 Sarah Houghton mentions Open Library very favorably in posts lambasting DRM. I agree that DRM is negative and Open Library positive, but find it just a bit odd in such a post to promote a “better model” that…also uses DRM. (Granted, not every post needs to state all relevant caveats.)

2011-06-25 the Internet Archive made an announcement about expanding OpenLibrary book lending:

Any OpenLibrary.org account holder can borrow up to 5 eBooks at a time, for up to 2 weeks. Books can only be borrowed by one person at a time. People can choose to borrow either an in-browser version (viewed using the Internet Archive’s BookReader web application), or a PDF or ePub version, managed by the free Adobe Digital Editions software. This new technology follows the lead of the Google eBookstore, which sells books from many publishers to be read using Google’s books-in-browsers technology. Readers can use laptops, library computers and tablet devices, including the iPad.

blogged about the announcement, using the three characters:

The open Library functions in much the same way as OverDrive. Library patrons can check out up to 5 titles at a time for a period of 2 weeks. The ebooks can be read online or on any Device or app that supports Adobe DE DRM.

2011-07-05 a public library in Kentucky posted:

The Open Library is a digital library with an enormous ammount of DRM free digital books. The books are multiple formats, ranging from PDF to plain text for the Dial-up users out there. We hope you check them out!

That’s all true, Open Library does have an enormous amount of DRM-free digital books. And a number of restricted ones.

2011-08-13 Vic Richardson posted an as far as I can tell accurate description for general readers.

Yesterday (2012-05-08) Peter Brantley of the Internet Archive answered a question about how library ebook purchases differ from individual purchases. I’ll just quote the whole thing:

Karen, this is a good question. Because ebooks are digital files, they need to be hosted somewhere in order to be made available to individuals. When you buy from Amazon, they are hosting the file for the publisher, and permit its download when you purchase it. For a library to support borrowing, it has to have the ebook file hosted on its behalf, as most libraries lack deep technical expertise; traditionally this is done by a service provider such as Overdrive. What the Internet Archive, Califa (California public library consortium), and Douglas County, Colorado are trying to do is host those files directly for their patrons. To do that, we need to get the files direct from the publisher or their intermediary distributor — in essence, we are playing the role of Amazon or Barnes & Noble, except that as a library we want people to be able to borrow for free. This sounds complicated, and it is, but then we have to introduce DRM, which is a technical protection measure that a library ebook provider has to implement in order to assure publishers that they are not risking an unacceptable loss of sales. DRM complicates the user experience considerably.

My closing comment-or-so: Keep in mind that it is difficult for libraries to purchase restricted copies when digesting good news about a publisher planning to drop DRM. The death of DRM would be good news indeed, but inevitable (for books)? I doubt it. My sense is that each step forward against DRM has been matched by two (often silent) steps back.

DRM and the Churches of Universal Access to All Knowledge’s strategic plans

Friday, May 4th, 2012

img_1825.jpg

Over 2.5 years ago (2009-10-19) the Internet Archive celebrated its move into a former church (I know it’s a cheap shot, but my immediate reaction was “yay, monument to ignorance made into a monument to knowledge; more like that please (if we must have monuments)!”) and to launch BookServer. The latter was described as “like the web, but for books” illustrated with a slide featuring a cloud in the middle surrounded by icons representing various devices and actors (see the same or similar image at the previous link). I was somewhat perplexed — if a less credible entity had described their project as “like the web, but for Foo” as illustrated by a picture of a cloud labeled “FooServer”, by bullshit alarm would’ve been going crazy.

For the remainder of the event a parade of people associated in some way with books endorsed the project on stage. I only remember a few of them. One was Adam Hyde, who recently drafted a book called A Webpage is a Book. Somewhere in the middle of this parade someone stood out — tall and slick, salesperson slick — and gave a spiel about how Adobe was excited about BookServer and using technology to maximize getting content to consumers. In any case, it was obvious from what the Adobe person said that BookServer, whatever it was, would be using DRM. I nearly fell out of my seat, but I don’t think anyone else noticed — everyone just clapped, same as for all other endorsers — and the crowd was filled with people who ought to have understood and been alarmed.

Over the past couple years I occasionally wondered what became of BookServer and its use of DRM, but was reminded to look by Mako Hill’s post in March concerning how it often isn’t made clear whether a particular offer is made with DRM. I didn’t see anything on the Internet Archive site, but a few days ago Peter Brantley’s writeup of a Digital Public Library of America meeting included:

Kahle announced his desire to broaden access to 20th Century literature, much of it still in copyright, by digitizing library collections and making them available for a 1-copy/1-user borrowing system, such as that provided by the Internet Archive’s Open Library, in concert with State libraries.

Right, OpenLibrary in addition to book metadata (“one web page for every book”; do we obtain recursion if we take Hyde literally? a mere curiosity, as we probably shouldn’t) now offers downloading, reading, and borrowing in various combinations for some books. Downloading includes the obvious formats. Reading is via the excellent web-based Internet Archive BookReader, and is available for books that may be downloaded as well as a borrowing option. In the borrowing case, only one person at a time may read a particular book on the OpenLibrary site. The other digital borrowing option is where DRM comes in — Adobe Digital Editions is required. (This is for books that can be borrowed via OpenLibrary; some may be borrowed digitally from traditional libraries via OverDrive, which probably also uses DRM.)

This and screens leading up to this are clear to me, but I don’t know about most people. That there’s DRM involved is just not deemed to be pertinent; some particular software is needed, that’s all. For myself, the biggest improvement not involving a big policy change would be to split up the current “Show only eBooks” search option. Maybe “Show only downloadable eBooks”.

img_1823.jpg

OpenLibrary is looking to expand its ebook “lending” offerings according to a post made just two days ago, We want to buy your books! Internet Archive Letter to Publishers:

We currently buy, lend, and preserve eBooks from publishers and booksellers, but we have not found many eBooks for sale at any price. The Internet Archive is running standard protection systems to lend eBooks from our servers through our websites, openlibrary.org and archive.org. In this way, we strive to provide a seamless experience for our library patrons that replicates a traditional library check-out model, but now with eReaders and searching.

By buying eBooks from you, we hope to continue the productive relationship between libraries and publishers. By respecting the rights and responsibilities that have evolved in the physical era, we believe we will all know how to act: one patron at a time, restrictions on copying, re-format for enduring access, and long term preservation.

Rather than begging to buy books with restrictions, I’d prefer the Internet Archive, and indeed everyone, to demand books without restrictions, software or legal (of course they’re mixed given current malgovernance — anticircumvention laws). But that’s a different strategy, possibly requiring a lower discount rate. I can appreciate the Internet Archive’s dedication to being a library, and getting its patrons — everyone — access to knowledge, right now.

Still, it would be nice if libraries were to participate (even more, I know many librarians do) in anti-DRM activism, such as a Day Against DRM, which is today. Also see my Day Against DRM post from last year.

Speaking of different strategies, Creative Commons licenses so far include a regulatory clause prohibiting distribution with DRM. Some people have been dissatisfied with this clause since the beginning, and it is again being debated for version 4.0 of the licenses. I still don’t think the effectiveness (in promoting the desired outcome, a more free world; enforcement, enforceability, etc, all ought be subsidiary) of the options has really been discussed, though I did try:

I suspect that anyone who has or will bother to participate in discussions about CC and DRM is a bitter opponent of DRM (I can say this with certainty about most of the participants so far). My guess is that the disagreement comes from not one or other set of people hating or misunderstanding freedom or accepting DRM, but from different estimations of the outcomes of different strategies.

Keeping or strengthening the DRM prohibition fights DRM by putting DRM-using platforms at a disadvantage (probably not significant now, but could become substantial if more CC-licensed works become culturally central and significant enforcement efforts commence) and by putting CC’s reputation unambiguously against DRM, making the license an expression of the world we aspire to live in, and giving policy advocates a talking point against mandating DRM anywhere (“it breaks this massive pool of content”).

Weakening through parallel distribution or removing altogether the DRM prohibition fights DRM indirectly, by removing a barrier (probably small now, given widespread non-compliance) to CC-licensed works becoming culturally central (ie popular) and thus putting DRM-using platforms at a disadvantage – the defect being useless to gain access to content, thus being merely a defect.

Personally, I find the second more compelling, but I admit it is simply the sort of story that usually appeals to me. Also, I find it congruent with the conventional wisdom a broad “we” tell to people who just don’t get it, supposedly: obscurity is a bigger threat than piracy. But I don’t expect anyone to change their minds as a result. Especially since this is in concept more or less what Evan Prodromou was saying in 2006 http://evan.prodromou.name/Free_content_and_DRM :-)

I do think that expression is important, and whatever gets baked into 4.0, CC could do more in a couple ways:

1. Communicate the DRM prohibition especially on license deeds (where applicable, at least in < =3.0); suggested by Luis Villa in http://lists.ibiblio.org/pipermail/cc-licenses/2012-January/006663.html 2. Make anti-DRM advocacy a bigger part of CC's overall message; a bit at http://creativecommons.org/tag/drm but IIRC something like Day Against DRM has never been featured on the home page.

Day Against DRM is featured on the CC home page today.

Future of Copyright

Monday, April 30th, 2012

“Copyright” (henceforth, copyrestriction) is merely a current manifestation of humanity’s malgovernance of information, of commons, of information commons (the combination being the most pertinent here). Copyrestriction was born of royal censorship and monopoly grants. It has acquired an immense retinue of administrators, advocates, bureaucrats, goons, publicists, scholars, and more. Its details have changed and especially proliferated. But its concept and impact are intact: grab whatever revenue and control you can, given your power, and call your grabbing a “right” and necessary for progress. As a policy, copyrestriction is far from unique in exhibiting these qualities. It is only particularly interesting because it, or more broadly, information governance, is getting more important as everything becomes information intensive, increasingly via computation suffusing everything. Before returning to the present and future, note that copyrestriction is also not temporally unique among information policies. Restriction of information for the purposes of control and revenue has probably existed since the dawn of agriculture, if not longer, e.g., cults and guilds.

Copyrestriciton is not at all a right to copy a work, but a right to persecute others who distribute, perform, etc, a work. Although it is often said that a work is protected by copyrestriction, this is strictly not true. A work is protected through the existence of lots of copies and lots of curators. The same is true for information about a work, i.e., metadata, e.g., provenance. Copyrestriction is an attack on the safety of a work. Instead, copyrestriction protects the revenue and control of whoever holds copyrestriction on a work. In some cases, some elements of control remain with a work’s immediate author, even if they no longer hold copyrestriction: so-called moral rights.

Copyrestriction has become inexorably more restrictive. Technology has made it increasingly difficult for copyrestriction holders and their agents to actually restrict others’ copying and related activity. Neither trend has to give. Neither abolition nor police state in service of copyrestriction scenarios are likely in the near future. Nor is the strength of copyrestricition the only dimension to consider.

Free and open source software has demonstrated the ethical and practical value of the opposite of copyrestriction, which is not its absence, but regulation mandating the sharing of copies, specifically in forms suitable for inspection and improvement. This regulation most famously occurs in the form of source-requiring copyleft, e.g., the GNU General Public License (GPL), which allows copyrestriction holders to use copyrestriction to force others to share works based on GPL’d works in their preferred form for modification, e.g., source code for software. However, this regulation occurs through other means as well, e.g., communities and projects refusing to curate and distribute works not available in source form, funders mandating source release, and consumers refusing to buy works not available in source form. Pro-sharing regulation (using the term “regulation” maximally broadly to include government, market, and others; some will disbelieve in the efficacy or ethics of one or more, but realistically a mix will occur) could become part of many policies. If it does not, society will be put at great risk by relying in security through obscurity, and lose many opportunities to scrutinize, learn about, and improve society’s digital infrastructure and the computing devices individuals rely on to live their lives, and to live, period.

Information sharing, and regulation promoting and protecting the same, also ought play a large role in the future of science. Science, as well as required information disclosure in many contexts, long precedes free and open source software. The last has only put a finer point on pro-sharing regulation in relation to copyrestriction, since the most relevant works (mainly software) are directly subject to both. But the extent to which pro-sharing regulation becomes a prominent feature of information governance, and more narrowly, the extent to which people have software freedom, will depend mostly on the competitive success of projects that reveal or mandate revelation of source, the success of pro-sharing advocates in making the case that pro-sharing regulation is socially desirable, and their success in getting pro-sharing regulation enacted and enforced (again, whether in customer and funding agreements, government regulation, community constitutions, or other) much more so than copyrestriction-based enforcement of the GPL and similar. But it is possible that the GPL is setting an important precedent for pro-sharing regulation, even though the pro-sharing outcome is conceptually orthogonal to copyrestriction.

Returning to copyrestriction itself, if neither abolition nor totalism are imminent, will humanity muddle through? How? What might be done to reduce the harm of copyrestriction? This requires a brief review of the forces that have resulted in the current muddle, and whether we should expect any to change significantly, or foresee any new forces that will significantly impact copyrestriction.

Technology (itself, not the industry as an interest group) is often assumed to be making copyrestriction enforcement harder and driving demands for for harsher restrictions. In detail, that’s certainly true, but for centuries copyrestriciton has been resilient to technical changes that make copying ever easier. Copying will continue to get easier. In particular the “all culture on a thumb drive” (for some very limited definition of “all”) approaches, or is here if you only care about a few hundred feature length films, or are willing to use portable hard drive and only care about a few thousand films (or much larger numbers of books and songs). But steadily more efficient copying isn’t going to destroy copyrestriction sector revenue. More efficient copying may be necessary to maintain current levels of unauthorized sharing, given steady improvement in authorized availability of content industry controlled works, and little effort to make unauthorized sharing easy and worthwhile for most people (thanks largely to suppression of anyone who tries, and media management not being an easy problem). Also, most collection from businesses and other organizations has not and will probably not become much more difficult due to easier copying.

National governments are the most powerful entities in this list, and the biggest wildcards. Although most of the time they act roughly as administrators or follow the cue of more powerful national governments, copyrestriction laws and enforcement are ultimately in their courts. As industries that could gain from copyrestriction grow in developing nations, those national governments could take on leadership of increasing restriction and enforcement, and with less concern for civil liberties, could have few barriers. At the same time, some developing nations could decide they’ve had enough of copyrestriction’s inequality promotion. Wealthy national governments could react to these developments in any number of ways. Trade wars seem very plausible, actual war prompted by a copyrestriction or related dispute not unimaginable. Nations have fought stupid wars over many perceived economic threats.

The traditional copyrestriction industry is tiny relative to the global economy, and even the U.S. economy, but its concentration and cachet make it a very powerful lobbyist. It will grab all of the revenue and control it possibly can, and it isn’t fading away. As alluded to above, it could become much more powerful in currently developing nations. Generational change within the content industry should lead to companies in that industry better serving customers in a digital environment, including conceivably attenuating persecution of fans. But it is hard to see any internal change resulting in support for positive legal changes.

Artists have always served as exhibit one for the content industry, and have mostly served as willing exhibitions. This has been highly effective, and every category genuflects to the need for artists to be paid, and generally assumes that copyrestriction is mandatory to achieve this. Artists could cause problems for copyrestriction-based businesses and other organizations by demanding better treatment under the current system, but that would only effect the details of copyrestriction. Artists could significantly help reform if more were convinced of the goodness of reform and usefulness of speaking up. Neither seems very likely.

Other businesses, web companies most recently, oppose copyrestriction directions that would negatively impact their businesses in the short term. Their goal is not fundamental reform, but continuing whatever their current business is, preferably with increasing profits. Just the same as content industries. A fundamental feature of muddling through will be tests of various industries and companies to carve out and protect exceptions. And exploit copyrestriction whenever it suits them.

Administrators, ranging from lawyers to WIPO, though they work constantly to improve or exploit copyrestriciton, will not be the source of significant change.

Free and open source software and other constructed commons have already disrupted a number of categories, including server software and encyclopedias. This is highly significant for the future of copyrestriction, and more broadly, information governance, and a wildcard. Successful commons demonstrate feasibility and desirability of policy other than copyrestriction, help create a constituency for reducing copyrestriction and increasing pro-sharing policies, and diminish the constituency for copyrestriction by reducing the revenues and cultural centrality of restricted works and their controlling entities. How many additional sectors will opt-in freedom disrupt? How much and for how long will the cultural centrality of existing restricted works retard policy changes flowing from such disruptions?

Cultural change will affect the future of copyrestriction, but probably in detail only. As with technology change, copyrestriction has been incredibly resilient to tremendous cultural change over the last centuries.

Copyrestriction reformers (which includes people who would merely prevent additional restrictions, abolitionists, and those between and beyond, with a huge range of motivations and strategies among them) will certainly affect the future of copyrestriction. Will they only mitigate dystopian scenarios, or cause positive change? So far they have mostly failed, as the political economy of diffuse versus concentrated interests would predict. Whether reformers succeed going forward will depend on how central and compelling they can make their socio-political cause, and thus swell their numbers and change society’s narrative around information governance — a wildcard.

Scholars contribute powerfully to society’s narrative over the long term, and constitute a separate wildcard. Much scholarship has moved from a property- and rights-based frame to a public policy frame, but this shift as yet is very shallow, and will remain so until a property- and rights-basis assumption is cut out from under today’s public policy veneer, and social scientists rather than lawyers dominate the conversation. This has occurred before. Over a century ago economists were deeply engaged in similar policy debates (mostly regarding patents, mostly contra). Battles were lost, and tragically economists lost interest, leaving the last century’s policy to be dominated by grabbers exploiting a narrative of rights, property, and intuitive theory about incentives as cover, with little exploration and explanation of public welfare to pierce that cover.

Each of the above determinants of the future of copyrestriction largely hinge on changing (beginning with engaging, in many cases) people’s minds, with partial exceptions for disruptive constructed commons and largely exogenous technology and culture change (partial as how these develop will be affected by copyrestriction policy and debate to some extent). Even those who cannot be expected to effect more than details as a class are worth engaging — much social welfare will be determined by details, under the safe assumption that society will muddle through rather than make fundamental changes.

I don’t know how to change or engage anyone’s mind, but close with considerations for those who might want to try:

  • Make copyrestriction’s effect on wealth, income, and power inequality, across and within geographies, a central part of the debate.
  • Investigate assumptions of beneficent origins of copyrestriction.
  • Tolerate no infringement of intellectual freedom, nor that of any civil liberty, for the sake of copyrestriction.
  • Do not assume optimality means “balance” nor that copyrestriction maximalism and public domain maximalism are the poles.
  • Make pro-sharing, pro-transparency, pro-competition and anti-monopoly policies orthogonal to above dimension part of the debate.
  • Investigate and celebrate the long-term policy impact of constructed commons such as free and open source software.
  • Take into account market size, oversupply, network effects, non-pecuniary motivations, and the harmful effects of pecuniary motivations on creative work, when considering supply and quality of works.
  • Do not grant that copyrestriction-based revenues are or have ever been the primary means of supporting creative work.
  • Do not grant big budget movies as failsafe argument for copyrestriction; wonderful films will be produced without, and even if not, we will love whatever cultural forms exist and should be ashamed to accept any reduction of freedom for want of spectacle.
  • Words are interesting and important but trivial next to substance. Replace all occurrences of “copyrestriction” with “copyright” as you see fit. There is no illusion concerning our referent.

This work takes part in the and is published under the CC BY-SA 3.0 license.

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Intellectual Protectionism’s regressive double taxation of the real economy

Sunday, April 29th, 2012

How Apple Sidesteps Billions in Taxes:

Almost every major corporation tries to minimize its taxes, of course. For Apple, the savings are especially alluring because the company’s profits are so high. Wall Street analysts predict Apple could earn up to $45.6 billion in its current fiscal year — which would be a record for any American business.

For anyone slightly concerned about inequality, this record ought to raise another red flag concerning the effect of copyright and patent monopolies. (Similarly, review a list of the wealthiest individuals.)

Apple serves as a window on how technology giants have taken advantage of tax codes written for an industrial age and ill suited to today’s digital economy. Some profits at companies like Apple, Google, Amazon, Hewlett-Packard and Microsoft derive not from physical goods but from royalties on intellectual property, like the patents on software that makes devices work. Other times, the products themselves are digital, like downloaded songs. It is much easier for businesses with royalties and digital products to move profits to low-tax countries than it is, say, for grocery stores or automakers. A downloaded application, unlike a car, can be sold from anywhere.

The growing digital economy presents a conundrum for lawmakers overseeing corporate taxation: although technology is now one of the nation’s largest and most valued industries, many tech companies are among the least taxed, according to government and corporate data. Over the last two years, the 71 technology companies in the Standard & Poor’s 500-stock index — including Apple, Google, Yahoo and Dell — reported paying worldwide cash taxes at a rate that, on average, was a third less than other S.& P. companies’. (Cash taxes may include payments for multiple years.)

First tax: monopoly pricing. Second tax: burden shifted to entities less able to move profits. Remove monopolies for much good, then resume debate about all aspects of taxation per usual, as you wish.

Caveats:

  • Real economy usually refers to non-financial sector. Suggestions welcome for non-IP sector.
  • I may be double counting: without copyright and patent, “real” economy share of profits would increase, tax burden concomitantly.
  • Not all profits that are easy to move result from copyright and patent, e.g., I suspect a small proportion of Google’s profits are even indirectly resulting from such.
  • There are more non-IP than IP-related entities on record wealth and profit lists, in particular natural resource entities. I don’t claim IP is the dominant source of inequality — but surely an increasing one — and more easily mitigated than natural resource entities, or for that matter, dictators and other state entities, which I wish were included on rich lists.

no copyright law in the universe is going to stop me [from demanding compliance with various UN human rights and cultural diversity declarations]

Saturday, March 3rd, 2012

Currently the first autocompletion result upon typing “no copyright” into YouTube’s search is “no copyright law in the universe is going to stop me”, which is apparently a string used in the description of 108 videos on YouTube, and the title of at least one. It seems this phrase is primarily an anti-SOPA expression rather than an admonition to not take down whatever video is described.

Andy Baio pointed out late last year that disclaimers of intent to infringe others’ copyrights and claims of fair use frequently appear in the descriptions of videos on YouTube. He noted 489,000 and 664,000 results for the queries "no copyright" and "copyright" "section 107". Those numbers may have grown significantly in the last nearly 3 months, but should be taken with a huge grain of salt. Yesterday for me, “no copyright” obtained 906,000, while today YouTube has said both 972,000 and 3,850,000 to the same query. For “copyright” “section 107”, yesterday 771,000, today 418,000. I don’t know how many videos were on YouTube 3 months ago, but yesterday an empty query claimed 567,000,000; today I’ve seen 537,000,000 and 550,000,000 — maybe on the order of 1% of videos have some sort of copyright disclaimer. But there are variations that might not be picked up by the queries Baio used, including for example two of the descriptions I posted a few days ago.

Although they’re probably completely useless in preventing automated takedowns and in court (though it’s not entirely clear they ought be useless in either case), as expression they’re at the very least interesting, and perhaps more. Though they can be seen as “voodoo charms”, so can the ubiquitous “all rights reserved”, and even meaningful public copyright licenses can be seen as such to the extent they are misunderstood or totemic. My main objection to the disclaimers Baio brought attention to is that they’re clutter to the extent they crowd out writing or reading other information about works; and just about anything else is more useful, from provenance to expressions of appreciation, eg “In my opinion, one of the greatest songs of the ’80s.”

But my first reaction to such disclaimers is the wish that they would be more expressive, even substantial. Regarding the latter, in many cases the uploader has added something to or rearranged the work in question — e.g., where the work is a song, the addition of images, or the performance of a cover. How often does the uploader grant permissions to use whatever expression they’ve added? (I don’t know; one aggregate tool for exploring such might be the addition of &creativecommons=1 to the aforementioned queries, which will limit results to those marked as CC-BY.) One fairly well known case of something like this is Girl Talk’s All Day:

All Day by Girl Talk is licensed under a Creative Commons Attribution-Noncommercial license. The CC license does not interfere with the rights you have under the fair use doctrine, which gives you permission to make certain uses of the work even for commercial purposes. Also, the CC license does not grant rights to non-transformative use of the source material Girl Talk used to make the album.

Too bad with the NonCommercial condition, and I really don’t like Girl Talk’s music (for something kind of similar that I prefer aesthetically and in terms of permissions granted, check out xmarx), but otherwise that’s a great statement.

Over the past few months someone or some people have made me aware of another example, one that replaces disclaimers with demands. You can see some of this on my English Wikipedia user talk page (start at “Common IP” — unfortunately webcitation.org doesn’t pass through internal links, so you’ll have to scroll down). It may appear that my correspondent is religious and communicating poorly through automated translation between Russian and English, but there’s a kernel of something interesting there. If I understand correctly, they think that without listening to the Beatles, one cannot develop morally (that comes from elsewhere, not on my talk page) and that per a variety of United Nations declarations concerning human rights and especially cultural diversity, anyone has the legal right and moral duty to share Beatles material. As far as I know they started this campaign at beatles1.ru and moved on to other sites, including Wikipedia. It is pretty clear that they’re not looking for links to beatles1.ru or some other site they control — I think they’re sincerely promoting something they believe in, not a money-making scam.

The flaws in their campaign are legion, not least of which is that there could hardly be a worse body of work than that of the Beatles around which to plead for rights to share in the name of cultural diversity. As the Beatles are one of if not the most popular acts ever, the most obvious conclusion is that more Beatles exposure must lower global cultural diversity. On the related issue of cultural preservation, super-famous material like that of the Beatles is going to survive for a long time in spite of copyright restrictions, even vigorously enforced (see James Joyce).

As to their persistent requests for some kind of permission from me to proceed with their campaign, I say two things:

  1. As far as the copyright regime is concerned, the permissions I have to grant to you are nil.
  2. As far as demands made in the name of human rights, no human requires permission from any other to pursue those. Godspeed to you, or perhaps I should say, Beatlespeed!

I want to thank my correspondent for causing me to look at the and subsequent documents. The way they address “intellectual property”, to the extent that they do, is more curious than I would’ve thought. I leave that to a future post.

p.s. My favorite Beatles.

Black March→Freedom March

Wednesday, February 29th, 2012

ASCAP/BMI

In 1939 and 1940, the American Society of Composers, Authors and Publishers (ASCAP) greatly increased its licensing fees. Broadcasters for a time played only music in the public domain and that licensed from Broadcast Music, Inc. (BMI), a competitor to ASCAP they set up. ASCAP’s monopoly was broken, some genres that had been ignored obtained airplay. I’ve also seen this described as a failed ASCAP boycott of the broadcasters. I have not read beyond sketches to know the best characterization, but there were a small enough number of entities on both sides that either or both could hold out, and effectively “boycott” for a higher or lower price.

Open Access

A new pledge to not do one or more of publishing in, reviewing for, or doing editorial work for journals published by Elsevier has gotten a fair amount of notice. 7,671 researchers have signed, which has probably already led to some Elsevier concessions and a drop in their share price.

Academics are not nearly as concentrated as U.S. radio broadcasting in 1940, but hopefully, and just possibly this boycott will lead to lasting change (the share analyst quoted in link above does not think so). But pledges to not contribute to non-Open Access journals are nothing new — 34,000 scientists (pdf; has anyone counted how many have stuck with the publication part of the pledge?) signed one in 2001

but the publishing landscape remained largely unchanged until PLoS became a publisher itself to affect change. PLoS therefore reinvented itself as a publisher in 2003 to show how open access publishing could work.

Black March

Copied from black-march.com, but of unknown provenance/Anonymous:

With the continuing campaigns for Internet-censoring litigation such as SOPA and PIPA, and the closure of sites such as Megaupload under allegations of ‘piracy’ and ‘conspiracy’, the time has come to take a stand against music, film and media companies’ lobbyists.

The only way to hit them where it truly hurts… Their profit margins.

Do not buy a single record. Do not download a single song, legally or illegally. Do not go to see a single film in cinemas, or download a copy. Do not buy a DVD in the stores. Do not buy a videogame. Do not buy a single book or magazine.

Wait the 4 weeks to buy them in April, see the film later, etc. Holding out for just 4 weeks will lave a gaping hole in the media and entertainment companies’ profits for the 1st quarter. An economic hit which will in turn be observed by governments worldwide as stocks and shares will blip from a large enough loss of incomes.

This action can give a statement of intent:
“We will not tolerate the Media Industries’ lobbying for legislation which will censor the internet.”

Nice sentiment. Not purely a tiresome rearguard action. But I don’t see how it can conceivably make a noticeable impact on copyright industry profit margins. Getting a fair number of people to contact their elected representative is noticeable, as usually few do it. A significant proportion of the world’s population pays something to the copyright industries. To make the stated difference, a much larger number of people would have to participate than have in SOPA and ACTA protests, and the participation would require a relatively sustained behavior change, not a few clicks.

Still, perhaps “Black March” will be useful as a consciousness-raising exercise; but of what?

Freedom March

I’ve seen some suggest (especially in Spanish, as the linked post is [Update 20120304: English translation]) that the “what” needs to include making, using, and sharing free works. I agree.

Pinterest Exclusion Protocol

Tuesday, February 28th, 2012
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<meta name="pinterest" content="nopin"/>

Weirdly vendor-specific and coarse at the same time. Will other sites follow this directive, which could mean something like “don’t repost images referenced in this page”, which does differ a bit from:

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<meta name="robots" content="noimageindex"/>

Not to mention actually using the Robots Exclusion Protocol, and perish the thought, POWDER, or even annotating individual images with microdata/formats/RDFa.

Then there’s the Spam Pinterest Spam Protocol, I mean “pin this” button. I have not been following web actions/activities/intents development beyond the headlines, but please rid us of the so-called NASCAR effect.

Not entirely orthogonal to these vendor-specific exclusion and beg-for-inclusion protocols, are images released under public licenses — not entirely orthogonal as nopin seems to be aimed at countering copyright threats (supplementing DMCA takedown compliance), which public licenses, at least free ones, waive conditionally; and releasing work under a public license is a more general invitation to include.

As far as I can tell Pinterest relies on no public license, and thus complies with no public license condition (ie license notice and attribution). As it probably should not, given its strategy appears to be relying on safe harbors and making it possible for those who want to make an effort to opt-out entirely to do so: public licenses are superfluous. Obviously Pinterest could have taken a very different strategy, and relied on public copyright licenses and public domain materials — at a very high cost: pintereters(?) would need to know about copyright, which is hugely less fun than pinning(?) whatever looks cool.

Each of these (exclusion, inclusion, copyright mitigation strategy) are fine examples of simple-ugly-but-works vs. general-elegant-but-but-but…

I’m generally a fan of general-elegant-but-but-but, but let’s see what’s good and hopeful about reality:

  • “Don’t repost images referenced in this page” is a somewhat understandable preference; let’s assume people get something out of expressing and honoring it. nopin helps people realize some of this something, using a <meta> tag is not ridiculous, and if widely used, maybe provides some in-the-wild examples to inform more sophisticated approaches.
  • I can’t think of anything good about site-specific “share” buttons. But of the three items in this list, I have by far the highest hope for a general-elegant mechanism “winning” in the foreseeable future.
  • Using copyright exceptions and limitations is crucial to maintaining them, and this is wholly good. Now it’d be nice to pass along the availability of a public license, even if one is not relying on such, as a feature for users who may wish to rely on the license for other purposes, but admittedly providing this feature is not cost-free. But I also want to see more projects services (preferably also free and federated, but putting that issue aside) that do take the strategy of relying on public licenses (which does not preclude also pushing on exceptions and limitations) as such have rather different characteristics which I think have longer-term and large benefits for collaboration, policy, and preservation.

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Pin It

Permissions are job 0 for public licenses

Saturday, February 25th, 2012

Copyright permission is the only mechanism that almost unambiguously is required to maximize social value realized from sharing and collaboration around intangible goods (given that copyright exists):

  • Some people think the addition of conditions that are in effect non-copyright regulation are also required, but others disagree, and given widespread ignorance about and noncompliance with copyleft regulation, I put in the class of probably important (is there anyone conducting serious research around this question?) rather than that of unambiguously required. In any case, current copyleft conditions would be nonsensical if not layered on top of permissions.
  • I’ve heard the argument made that no mechanism is needed: culture aided by the net will route around copyright and other restrictions, just ignore them. I can’t find a good example, but some exhortations and the like of copyheart and kopimi are a subset of the genre. But unless one can make the case that the participation of wealthy litigation targets (any significant organization, from IBM to Wikimedia) is a net negative (and that’s only the first hurdle for such an argument to clear), a mechanism for permissions that appear legally sound to the copyright regime seem unambiguously necessary.
  • There are lots of other real and potential restrictions that permission can and may be possible to grant around, but so much progress has been made with only copyright permissions explicitly granted, and how other restrictions will play out largely a matter of speculation, that I put other permissions also in the class of probably important rather than unambiguously required.

Each of these merit much more experimentation and critique, but while any progress on the first two will inevitably be controversial, progress on the third ought be celebrated and demanded. (For completeness sake, progressive changes in social policy must also be celebrated and demanded, but out of scope for this post.) I see few excuses for new licenses and dedications to not aggressively grant every permission that might be possible or needed, nor for new projects to use instruments that are not so aggressive (with the gigantic constraints that use of existing works and the non-existence of perfect instruments impose), nor for communities that vet instruments to give a stamp of approval to such instruments — indeed if politics and path dependencies were not an issues, such communities ought to push non-aggressive instruments to some kind of legacy status.

In this context I am happy with the outcome of the submission of CC0 to the Open Source Initiative for approval: due to not only lack of, but explicit exclusion of patent permissions, Creative Commons has withdrawn the submission. Richard Fontana’s and Bruce Perens’ contributions to the thread are instructive.

I still think that CC0 is the best thing Creative Commons has ever done — indeed I think that largely because of the above considerations; I don’t know of an instrument that makes as thorough attempt to grant permission around all copyright, related, and neighboring restrictions (patents aren’t in any of those classes) — and remain very happy that the Free Software Foundation considers CC0 to be GPL-compatible (I put GPL-incompatibility in a class of avoidable failure separate from but not wholly unlike not granting all permissions that may be possible, unless one is experimenting with some really novel copyleft regulation).

From the OSI submission thread, I also highly recommend Carl Boettiger’s plea for a public domain instrument appropriate for heterogeneous (code/data/other) products. It will (and ought to) take Creative Commons a long time to vet any potential new version of CC0, but fortunately as I’ve pointed out before, there is plenty of room for experimentation with public domain mechanisms, especially around branding (as incompatibility is less of an issue; compare with copyleft (although if one made explicit compatibility a requirement, there is plenty of potentially beneficial exploration to be done there, too)). An example of such that attempts to include a patent waiver is the Ampify Unlicense (background post).

I hope that the CC0/OSI discussion prompts a race to the bottom for public domain instruments, as new ones attempt to carve out every possible permission. This also ought beneficially affect future permissive and copyleft licenses, which also ought grant every permission possible, whatever conditions they layer on top. Note that adding one such permission — around sui generis database restrictions, is probably the most pressing reason for Creative Commons to have started working on version 4.0 of its licenses. I also hope that the discussion leads to increased collaboration and knowledge sharing (at the very least) across domains in which public licenses are used, taking into account Boettiger’s plea and the realities that such licenses are very often used across several domains (a major point of my recent FOSDEM talk, see especially slides 8-11) and that knowledge concerning commons governance is very thin in every domain.

But keep in mind that most of this post concerns very small potential gains relative to merely granting copyright permission (assuming no non-free conditions are present) and even those are quite a niche subject.☻