Showing posts with label copyright. Show all posts
Showing posts with label copyright. Show all posts

Sunday, November 2, 2008

The Intellectual Property War: A Turn of The Tide?

      Captain Copyright, From a ludicrous and short-lived pro-copyright campaign by the Canadian version of the RIAA - Yes this is real
Two developments in the US legal system last week may indicate a turn of the tide in the Intellectual Property (IP) wars.  The first was a significant Federal Court ruling limits what can be patented and invalidates thousands of questionable existing patents.  The second was a novel and very persuasive constitutional challenge to the Recording Industry Association of America (RIAA) lawsuit campaign against individual file sharers.  As they play out, these two events should mark a significant change in the legal landscape for IP world-wide.

When it comes to IP law, the US leads the world.  This is due to several factors.  First, the US is by far the biggest exporter of IP.  Second, the technology that has changed the nature of IP mostly origionated in the US.  Until recently, US internet traffic has been greater than the rest of the world combined.  Third, Americans tend to settle things through litigation rather than legislation.  So there is always lots of action on the IP front.  Lastly, IP is one of the fault lines in the macro development of the post-national world.  Briefly, the nation state is becoming obsolete due to globalization.   The nation state will not disapear, but it is evolving.  There are two competing models to replace it: the EU regional state approach, and the American corporate state approach.   IP is a key point of conflict because it represents the tension between corporate and public ownership.  Companies want to extend their control over products past the point where consumers make the purchase.  Consumers want the opposite (which is ok) and whatever they can get for free via digital distribution (less ok).  The ideal world for content creators is when the consumer pays every time they access a particular peice of content.  They want content to stay live and open-ended (licensed like software) rather than dead and purchased like a book.  The stakes are immense in terms of revenue.  But technology so far has trumped the political and legal weapons of content owners.

There are three types of intellectual property under US law, and each is rife with litigation.  Trademarks are commercial property and give a company a monopoly on the use of a term in a particular business.  I can't start a computer company called Apple.  But I can start a tire company called Apple.  Apple has trademarked the term for use in the computer business.  This is a sensible law that protects both companies and consumers from fraud by third parties.  Unfortunately, trademark is now widely used by companies trying to surpress use of names outside their industry, or by people saying things about the company that they don't like.  For example, Monster Cables routinely sues anyone that starts any business in the US with "monster" in the name.  The test for a trademark infringement is the "idiot in a hurry".  Would an idiot in a hurry think your company A is really company B with a similar name?  Or would an idiot in a hurry think your effort that mentions company B is actually sanctioned by company B?  If so, you are probably infringing.  But real trademark infringements are rare, usually restricted to counterfeiters deliberately trying to fool consumers.

Patents are the second type of IP protected by US law.  Patents are a time-limited monopoly on the design of devices.  Patents are specific and require detailed description.  You can't patent an idea.  The law has traditionally required devices to be 1) novel, and 2) non-obvious before they can be patented.  Patents are granted by a government agency, the Patent Office.  One must apply for a patent, providing all the relevant paperwork and support material.  A patent examiner goes through the application and either grants or denies the patent.  The process is supposed to be difficult because a patent amounts to a government enforced monopoly.  Monopolies are good for monopolists, but bad for the public.  That's why monopolies like the gas company are heavily regulated.  The rationale for patents is that a limited-time monopoly is necessary to encourage the resources needed to invent new technology.  Most countries have a very similar regime to the US.

Unfortunately, several things happened to distort US patents.  The first was creation of a special court to deal with patent cases.  This should have been a good thing, but it didn't work out that way.  Some questionable rulings were made, and because the patent court had limited oversight by the rest of the judicial branch, it was difficult to challenge these.  Second, one of these rulings was that patents could be granted out not only for devices, but for methods.  This ruling allowed patents on software, algorithms, genes and other intangibles.  Lastly, the US patent office was underfunded and unable to deal with the flood of patent applications created by the methods ruling.  Examiners lacked the expertise to deal with software and the time to look for prior art.  So they just granted most applications and let the courts sort out which ones were correct.  The result was chaos.  It is now widely accepted that the US patent system has broken to the detriment of economic performance.  There are so many dubious patents that it is becoming difficult to bring new products to market.  It has happened before with the US aircraft industry.  It took WW2 to clear the logjam.

Techdirt summarizes last week's Federal Appeals court ruling on the original case that legitimized business concept patents:
The summary is that the court has said that there's a two-pronged test to determine whether a software of business method process patent is valid: (1) it is tied to a particular machine or apparatus, or (2) it transforms a particular article into a different state or thing. In other words, pure software or business method patents that are neither tied to a specific machine nor change something into a different state are not patentable.
Emphasis in original. This is an extremely important ruling.  Battles are currently raging in several countries, and the EU over software patents.  This ruling will take the wind out of the sails proponents.  A significant argument they were making was that local companies would be at a disadvantage if they could not patent things that were patentable in the US.  In addition, this should be the end of patent trolls.  Companies that buy up patents and sue everyone  making something even theoretically similar.  Patent law is remote from consumers, being something litigated between companies.  However, the number of dubious patents and the aggressiveness of patent holders in the courts has had an enormous impact on product development in the US. This chilling effect has not only retarded development in high-tech.  It has had a very dramatic impact in medical, pharmaceutical and biotechnology industries.

The last type of IP covered by US law is the most familiar.  Copyright is the limited ability for a content creator to control their creation.  It protects the expression of an idea.  A story about teenage wizards cannot be copyrighted.  A story about a teenage wizard named Harry Potter who attends a school called Hogwarts can.  When someone in the US downloads a song or a movie from the Internet, they are infringing copyright.  Note that copyright infringement and theft are not the same thing, despite their frequent conflation.  Theft deprives the owner of an object, copyright infringement does not.  Infringement denies the owner a sale, assuming that the infringer would have purchased the item had they been unable to acquire it illegally.  

Obviously, the Internet and digital file-formats have dramatically changed content distribution.    Remember when a copy of a copy of a videotape was lousy?  That was analogue, every digital copy is exactly the same as the original.  The Internet gives people the means to distribute these perfect copies between themselves.  The problem for content owners like music companies is that their business model is based on scarcity.  If you wanted a song, you had to buy a copy from the record company.  They were the only ones who had original high-quality content.  Now, everything is different.  Rather than adapt to the new situation, the US content industries tried to impose the existing business model on the new world.  They successfully lobbied for new IP laws and have used the power granted by these laws to prosecute individuals for infringement.  The RIAA has sued over 30,000 individuals in the US.  Most settle out of court for some thousands of dollars rather than incur the legal fees required to fight.  However, the legal basis for the RIAA's actions is questionable, as are the methods they use to acquire information on individuals they want to sue.  In cases that have gone to trial, the RIAA has lost all but one, and that ruling was subsequently put aside by the judge who declared a mistrial.   Many in the US legal community are unhappy with the way the RIAA has used the legal system as a bludgeon and look forward to a reckoning.

Apart from the legal problems, the RIAA's approach has been suicidal from a business point of view.  Not only have they had zero impact on the number of files being shared, but have covered themselves in negative publicity.  That negative publicity on its own has reduced their revenues and created enemies throughout the technology industry.  Two years ago, the RIAA switched tactics and began to sue Universities who failed to stop file sharing on their internal networks.  This was a promising avenue because students are big file sharers and Universities are unlikely to risk huge fines to protect them.  Unfortunately for the RIAA, they are as inept at law as they are at business.  Some Universities successfully fought back based on privacy concerns and the questionable tactics of the RIAA at collecting evidence.

Notable among high-profile schools, Harvard has never been sued.  This has occasioned comment.  The tech press speculated that the RIAA was afraid of their potential counter-attack.  They were right to be.  Harvard law professor Charles Nesson got tired of waiting and has intervened in an unrelated RIAA action against an individual, Joel Tannenbaum.  Nesson has made a novel and devastating constitutional challenge to the entire RIAA legal strategy.  The law gives the RIAA a statutory penalty much greater than the market price of the infringed music.  They can collect as much as $150,000 for a song that sells for $0.99 at the iTunes store.  Typically, they settle out of court for between $500 and $1500 per song.  The counter-argument Nesson advances is that the legislation enabling these suits is unconstitutional.  It amounts to a criminal law being run by a private entity for its own profit.
Imagine a statute which, in the name of deterrence, provides for a $750 fine for each mile-per-hour that a driver exceeds the speed limit, with the fine escalating to $150,000 per mile over the limit if the driver knew he or she was speeding. Imagine that the fines are not publicized, and most drivers do not know they exist. Imagine that enforcement of the fines is put in the hands of a private, self-interested police force, that has no political accountability, that can pursue any defendant it chooses at its own whim, that can accept or reject payoffs in exchange for not prosecuting the tickets, and that pockets for itself all payoffs and fines. Imagine that a significant percentage of these fines were never contested, regardless of whether they had merit, because the individuals being fined have limited financial resources and little idea of whether they can prevail in front of an objective judicial body.  
Yikes.  If you have any interest, its worth reading the whole thing.  Nesson goes on to eloquently demand compensation for Tannenbaum and others targeted by the RIAA based on their abuse of the courts.  That could amount to a half a billion dollars.  Not something the RIAA's money losing members would care to contemplate.  If successful, the argument would also derail the Motion Picture Association of America (MPAA) legal strategy.  The MPAA has been far more judicious in their use of the courts, but their aims have been similar.  Both met the Internet revolution with a counter-revolution via the Congress and the Courts.  This may be at an end.

Together, these two legal developments promise to revolutionize the landscape for IP law in the US.  Many fundamental legal issues remain to be settled, but we can hope that the tide is turning.

Wednesday, October 22, 2008

Pix

Why, an attentive reader might wonder, are most of the pictures you post either old or from space?  Copyright is the answer.  This blog is hosted on a Google server in the USA, so anyone who wants to take it down can do so via a DMCA complaint to Google.  I don't want to violate the law unnecessarily, and I do want to give proper credit to photographers.  In practice, that means a reliance on images 1) created by the US Government or its agencies, 2) from Wikipedia where the copyright status is clear, 3) images old enough to be out of copyright, or 4) photos published online in places like Flickr where I can link back directly to their post.  Some of these can still be dodgy, but you have to take some chances or don't post at all.  For political stories, I'd love to use images from AP or Getty, and would happily pay to get high quality and legal photos.  But their licensing schemes are aimed at commercial use.  A single photo of the size I like to use would cost hundreds of dollars.  This is too bad as I'd probably spend $100 a month with Getty if each picture cost $10.  But that's not how they want to run their business, so I don't use commercial photos if I can avoid it.  The only exceptions are photos so widely reproduced that my usage is unlikely to attract attention, or where I alter the image sufficiently to make a fair use claim.  So readers can get a preview of upcoming photo posts by trawling NASA , Wikimedia or Flickr.

Friday, August 8, 2008

Memo to EB: STFU


Edgar Bronfman; scion of a bootlegging fortune, would-be media mogul, serial idiot.  I won't call him Mr. Bronfman, that title is reserved for his father, who I respect.  By all accounts, Edgar is a nice guy. But he's an unfortunately bone-headed businessman.  He has made tons of money for various partners over the years, but managed to destroy billions of his own family's wealth.  The sad tale is too long and complex to list here.  You can look it up if you like. He also looks uncomfortably like Seth Green playing a billionaire.

Edgar has made headlines in the past for peevish statements that betray fundamental misunderstanding of the entertainment and technology industries.  For example, he famously whined about the iPod: "We are selling our songs through iPod, but we don’t have a share of iPod’s revenue. We want to share in those revenue streams. We have to get out of the mindset that our content has promotional value only." I would have liked to be there when Steve Jobs heard that.  That's like McDonald's demanding a share of GM's revenue because drive-thrus make automobiles more valuable.

Techdirt reports that Edgar is at it again.  This time, he's upset about the phenomenally successful Guitar Hero and Rock Band games.  These games have invented a new mini-industry.  Bands are clamouring to get in.  Its better than advertising because the customers get really engaged with your music.  They can even buy MP3s through an embedded online store.  And the game companys pay you to include your music.  Bands are enthusiastic.  Metallica is releasing its new album via Guitar Hero the same day it goes on sale at retail. 

But that's not good enough for Edgar.  He said, "The amount being paid to the music industry, even though their games are entirely dependent on the content we own and control, is far too small." Or what?  Warner will pull its artists?  I think Edgar is getting a bunch of STFU memos from his artists today.

Techdirt sums it up nicely:
The industry simply assumes that, if something makes use of their content, all of the value is in the content. That's incorrect. Yes, the content is a part of the value, but it's the game that's making that content valuable. [snip] Until the recording industry recognizes that this isn't a zero sum game, and someone out there promoting your content is helping to make it more valuable, the industry is never going to figure out how to really adapt.
The idea of copyright as zero-sum game is fundamental to the problems with intellectual property. This is a powerful point to remember when evaluating any of the numerous policy issues currently on the table. But that's another post.

Saturday, July 26, 2008

RANT: Bill C-61 Canada's Copyright Cave-in - Update

photo: AADL.org
If blacksmiths had been as well organized and connected as the music industry, horses would still be a common sight and automobiles a tightly controlled rarity.

I don't like Bill C-61 (Canada's proposed new copyright law). Some form of copyright update is certainly due, this bill is entirely the product of lobbying by US multi-nationals and the Bush administration. The bill's shortcomings have been widely condemned. Three things, in particular, have drawn criticism. First, Industry Minister Jim Prentice promised public consultations before a bill was introduced. The only consultations he actually had time for were with the US Ambassador and several content ownership lobbyists. Second, the consumer "rights" introduced in the law are inadequate for the way people use purchased content. Lastly, the "rights" themselves are overruled by any Digital Rights Management (DRM) introduced by the content owners. The anti-circumvention clause makes it lllegal to break DRM, or to posess the tools to break DRM regardless of purpose or intent. So you can enjoy your right to rip a CD for your iPod, as long as the record label doesn't include DRM on the CD to prevent ripping. It is also worth noting that many Canadian artists and artist's associations are against this law. Bill C-61 was formulated to protect the interests of multi-nationals, not artists.

Critics have also pointed at messy clauses that make compliance nearly impossible. For example, not only uploading copyrighted material becomes illegal, mearly "making available" files for digital distribution would also be illegal. You don't have to actually commit the crime of infringement, you only have to capable of it. Also, it will be legal to use tools that protect your privacy, but illegal to distribute such tools. WTF does that mean? Jim Prentice doesn't know. He brushes off such questions as "too technical". Many legitimate and (currently) legal software programs used by Canadian consumers contain tools to circumvent DRM. You probaly have such programs on your computer.

Besides these objections, two more things really bother me. First, the bill assumes that whoever puts the DRM on the content is always right, and the customer always wrong. That amounts to a get out of jail free card when it comes to Provincial Consumer protection. Product doesn't work as advertised? Too bad, its a DRM issue. You must have broken the DRM rules, that's why it doesn't work. Case closed. There are numerous examples of bad DRM implementations. Here two current examples of DRM going horribly wrong with no consequences for the vendor.

In April, Yahoo! announced that they are closing their current online music store. Last week, they announced the DRM servers that provide continuing authorization for music purchases will go offline September 30, 2008. Music that has been purchased through the store is periodically re-authorized. This is done when you upgrade your operating system, or move the music to a different device. Its also possible a firmware upgrade for your device could trigger an authorization. Firmware upgrades are usually automatic, without user intervention. If you do something that triggers an authorization after September 30, the music will deem itself unauthorized and refuse to play. It just stops working. Yahoo promises to "take care" of customers, but declines to specify how and leaving the onus on the customer to figure out why their music doesn't work and contact Yahoo for releif. Most importantly, this is a good-will gesture by Yahoo. They are under no legal obligation to do anything for these customers. Today, it would be legal in Canada to simply strip the DRM off the tracks and continue using them. Bill C-61 would make it illegal to circumvent DRM regardless of reason or intent and subject to a statutory $20,000 fine .

The PC game Mass Effect, released June 2008, calls home every 10 days for re-authorization. If it can't reach the authorization server, or if it decides your CD key is compromised, the game shuts down. In addition, you are allowed 3 installs per CD key. Upgrading your OS (e.g going from XP to Vista) counts as one of your 3. Re-installing Windows because it breaks? That counts as well. I have to re-install Windows at least once a year. Upgrading certain hardware on the computer also counts. Which hardware in particular? That's a secret. In the case of Mass Effect, you do have an option if the application bricks. You can call Bioware and beg for a new CD key. In at least one case, they refused to issue a new key to someone that had re-installed Windows. Again, if this were my game, I'd crack it in a minute. But after C-61 comes into effect, I'd be committing an illegal act.

My second objection is that a blanket prohibition on circumventing DRM gives content owners (frequently foriegn corporations) the ability to decide what is legal and illegal in Canada. This is just wrong. We have an elected Parliament that decides what the law is supposed to be and a courts system to interpret and apply those laws. There is no room here for a music executive in Los Angeles to say "this is legal" and "that is illegal" in Canada based on the latest snakeoil pitched by some DRM company. No taxation without representation. No legislative power without electoral accountability.

After all that, the really shocking thing is that DRM doesn't work. It has never worked, and it probably never will work. Before the latest DRM locked content hits the stores, there are cracks available online. That's not an exaggeration. None of the currently planned DRM schemes will work either. Content owners are trying to find new ways to lock the content to hardware because cracking software DRM has become trivial. Unfortunately, it will again be only the honest that are penalized. With Emulation now hitting the mainstream, tweaking the "hardware" that Windows thinks it is running on will become as trivial as cracking software DRM is now.

Even worse than the fact that it doesn't work, DRM imposes unreasonable restrictions on the way customers use the purchased content. Songs will work on one device, but not another. Sometimes they won't work on different devices made by the same manufacturer. Limited installs, time-outs, remote authorization, required installation of police-ware, crippled quality. As there are no standards for DRM, every company outsources their DRM from different suppliers. There is no uniformity of usage rules, privacy standards, or implementation between vendors. Different products from the same label or publisher can have completely different DRM schemes. For example, the PC Game BioShock, developed by BioWare and published by EA (just like Mass Effect), had the phone home component dropped due to customer outcry. The 3 strikes install rule was not included either. So these two games created and published by the same two companies have completely different DRM enforced usage rules. Content downloaded from the Internet has none of these restrictions. It can be used, shared, re-used, transferred, re-encoded and used as much as the customer likes and is usually of higher quality (for music anyway). Why on earth would someone want to pay for lousy content when the same content is available in better quality for free? The unintended consequence of this bill is to make it clear: only suckers pay for content. DRM punishes the honest and provides incentives to be dishonest.

Lastly, C-61 protects music companies and movie studios from technological change. In the 1920's, the music industry tried valiiantly to block the introduction of Radio. It would destroy the sheet music business they argued. Well, they were right about that, but the sheet music business was replaced with the vastly more lucrative recording business. Jack Valenti, the movie studio's great warhorse said in 1974 about Cable TV:
A huge parasite in the marketplace, feeding and fattening itself off of local television stations and copyright owners of copyrighted material. We do not like it because we think it wrong and unfair.
During a massive battle to make VCRs illegal, Valenti testified to the US Congress in 1982:
I say to you that the VCR is to the American film producer and the American public as the Boston strangler is to the woman home alone.
Today, movie studios make far more profit on DVDs than they do at the box office. So the industry crying wolf is nothing new. The only thing that is new is that governments are caving in and giving them what they want. If blacksmiths had been as well organized and lobbied, horses would still be a common sight and automobiles a tightly controlled rarity.

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Update July 29
Yahoo has announced that all customers of the ill-fated music service will be given DRM free tracks of a full refund. Commendable and good for Yahoo. Unlike Microsoft, who left customers in the lurch until public outcry forced them to keep the DRM servers running.