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Copyright

Stream Ripping Emerges as the New Face of Music Piracy

Cross-posted from the Mister Copyright blog.

chrome 3D copyright symbolAs formats change and advances in technology continue to transform the way we listen to music, new methods of pirating content are never far behind. What started with the analog dubbing and bootlegging of cassettes forty years ago evolved with the digital age into CD burning and MP3 sharing, eventually leading to a chaotic illegal downloading landscape at the turn of the century that would force the music industry to develop novel anti-piracy efforts and distribution models. Digital streaming services have since taken over as the preferred way to consume music, boasting over 100 million subscribers in 2016—a number that recently surpassed the total number of Netflix streaming video subscribers.

A Fast Growing Threat

Despite this substantial base of paying customers and affordable monthly subscription rates, many are choosing to bypass legitimate services by “ripping” songs from streaming platforms, which involves recording, converting, and saving songs to downloadable file. It sounds complicated, but the internet is teeming with free apps and programs that make the ripping process easy, and its popularity has prompted some in the industry to flag it the fastest growing form of music piracy.

Stream ripping has existed for about ten years, with the digital performance rights organization Sound Exchange recognizing its dangers in 2007. But, as a Billboard magazine article from the same year noted, “even the music industry concedes that the impact of stream ripping is minimal.” The article goes on to explain the inefficient nature of ripping software and the inability of users to search internet radio services—which were at the time were not yet on-demand—for their desired content. It was similar to listening to terrestrial radio with a blank cassette tape ready and waiting for the song you want to be played in order to record it. Needless to say, times have changed and now on-demand streaming services and advanced stream recording technology have made ripping a very real threat to copyright holders and creators.

A survey by the International Federation of the Phonographic Industry (IFPI) found that three in ten internet users had engaged in stream ripping over a six-month period in 2016. A similar 2016 study by MUSO, a leading content protection and piracy data specialist, measured a 60% increase in visits to stream ripping sites in one year from 2015 to 2016. This growing popularity is made more troubling by the fact that a predominantly younger audience is involved, with the IFPI survey finding that 49% of internet users between the ages of 16 and 24 regularly engage in stream ripping to acquire music. Though these numbers are already concerning, a forthcoming IFPI report is expected to show increases in stream ripping activity across the board.

Like most websites and programs that enable copyright infringement, ripping services make money from advertising based on the high levels of traffic they attract. And, nearly a year ago, a report from the RIAA estimated that traffic to the top 30 stream ripping sites topped 900 million in one month alone. It’s difficult to imagine that, in a year that has seen little progress in shutting down these ripping services, this number of monthly visitors wouldn’t have increased significantly. Making matters worse for artists and rights owners, unlike the illegal copies of songs or albums that permeate file sharing sights which can be identified and tagged to aid with takedown notices, these ripped versions are copied directly from the source, rendering them untraceable.

While different stream-ripping programs can record data from any number of streaming services, many developers have focused their attention on YouTube, where infringing content is rampant. Because YouTube is free and full of both licensed music videos and user generated content that often features unauthorized, full versions of copyrighted songs, it’s become an attractive destination for those who want to rip music but don’t want to pay to join a streaming service like Spotify or Apple Music.

YouTube-mp3.org

In 2016, a group of major record labels sued the operators of a stream ripping service based in Germany whose program was directed to the “rapid and seamless” copying of sound recordings from YouTube. YouTube-mp3.org is one of the most popular stream ripping tools available online, with 303.8 million visitors to its website in 2016 (making it the 141st most visited website globally). Users are attracted to its service not only because it’s free and doesn’t require an account, but because it’s incredibly easy to use. One simply pastes the YouTube URL in a search box and clicks a button that automatically converts the video’s audio track to an MP3 that can be stored on any number of devices.

According to the complaint, YouTube-mp3.org is guilty of direct, contributory, and vicarious copyright infringement, as well as inducement based on their blatant promotion of the stream ripping of copyright protected songs. Describing the nature of stream ripping in general, and YouTube-mp3.org specifically, the complaint warns:

“The scale of stream ripping, and the corresponding impact on music industry revenues, is enormous. Plaintiffs are informed and believe, and on that basis allege, that tens, or even hundreds, of millions of tracks are illegally copied and distributed by stream ripping services each month. And YTMP3, as created and operated by Defendants, is the chief offender, accounting for upwards of 40% of all unlawful stream ripping that takes place in the world.”

The complaint also alleges that YouTube-mp3.org circumvents technological protection measures (TPMs) that YouTube has implemented to prevent the very copying the program facilitates, thereby violating Section 1201(a) of the Copyright Act. Discussing the circumvention, the complaint explains:

“More specifically, Defendants’ service descrambles a scrambled work, decrypts an encrypted work, or otherwise avoids, bypasses, removes, deactivates, or impairs a technological measure without the authority of Plaintiffs or YouTube.”

The complaint looks to enjoin not only YouTube-mp3.org, but also all third parties—including web-hosting services and domain name registries—through which the Defendants infringe copyrights. As of the time of this post, the lawsuit had been stalled due to difficulties in serving the international defendants, but stake holders on all sides will continue to monitor the case closely.*

The Future of Music Piracy

According to the IFPI survey, stream ripping’s rapid growth has seen it bypass pirate site downloading and other forms of streaming as the most popular way to steal music. One reason for the shift to ripping may be the increasingly focused offensive against established torrent sites like the Pirate Bay and Kickass Torrents. But also contributing to the rise of ripping is the compatibility of the programs with mobile devices, which MUSO explains “is a key insight into the longer-term stream ripping trend.” The study identifies Brazil, Mexico, and Turkey as countries where mobile stream ripping is the most prevalent and connects this popularity to the quickly expanding smartphone markets. These accessible mobile interfaces provide a younger audience not only with the portability they want, but also with the ability to listen to music offline, which can be essential in countries with limited internet infrastructure.

Like the file sharing programs and torrent sites that came before it, stream ripping technology is not inherently illegal. But, like Grokster and IsoHunt, many of the most popular ripping services—which display prominently in Google search results for “stream ripping software”—were developed to facilitate piracy and are actively inducing copyright infringement. Also like these now defunct websites, YouTube-mp3.org tries to make the argument that it’s merely an intermediary and immune from liability based on 512(c) safe harbor provisions of the DMCA. On its website, YouTube-mp3.org claims that, “[d]ifferent from other services, the whole conversion process will be performed by our infrastructure and you only have to download the audio file from our servers.” By hosting the content on its own servers at the direction of a user, YouTube-mp3.org attempts to cast itself as a passive intermediary, and exposing it as a piracy-inducing bad actor is imperative to deter the development and promotion of similar services dedicated to copyright infringement.

With the music industry’s widespread commitment to the streaming model, ripping is a threat to legitimate services that must be confronted by both the creative industries and the platforms that distribute music. Thankfully, platforms like Soundcloud, Spotify, and YouTube have a stake in the fight against ripping, as they ultimately want users to watch videos and listen to music over and over on their websites where they are subject to advertisements, rather than steal content and leave. Whereas tech companies and platforms may not have had as much to lose when it came to file sharing and illegal downloading, stream ripping stands to affect not only rights owners, but also the tech industry that is increasingly involved in the creation and distribution of copyrighted content.

*On September 4, 2017, it was reported that the RIAA and Youtube-mp3.org had reached a settlement in which Youtube-mp3.org  would shut down indefinitely, hand over its domain, and pay an undisclosed amount to the RIAA.

Categories
Copyright

Mayweather v. McGregor Warrants Preemptive Anti-Piracy Efforts

hand holding remote pointed towards a TV screen showing a sports gameThis Saturday, the world will be treated to one of the most hyped events in the history of sports when “The Notorious” Conor McGregor and Floyd “Money” Mayweather Jr. meet in Las Vegas to become (even more) rich while ostensibly also participating in a boxing match. The bout marks the first foray into boxing by a champion mixed martial artist—McGregor—at the height of his career, and is made even more compelling by the fact that he’ll be facing one of the greatest boxers of all time in Mayweather Jr.—albeit somewhat past his prime. The seemingly endless prefight activities have included an over-the-top press tour full of provocative trash talk, celebrity-attended training sessions, and a preventative effort by Showtime—the network airing the fight—to quash the inevitable flood of unauthorized streams that will pop up during what is predicted to be the most pirated event ever.

Last week, in response to concerns over lost revenue resulting from illegal feeds of a fight that is expected to take in close to a billion dollars, Showtime brought a preliminary injunction against over 40 websites affiliated with LiveStreamHDQ—a recurrent bad actor in unauthorized streaming—poised to broadcast illicit streams. In its complaint, the premium network targeted sites with blatant domain names such as mayweathervmcgregor.livestreamhdq.com and floydmayweathervconormcgregorfight.us, which Showtime alleges are engaged in “keyword stuffing” in an attempt to appear at the top of search engine results and draw as much traffic as possible to unauthorized streams. After review, District Judge Andre Birotte Jr. approved the injunction, prohibiting the websites from offering infringing content, and since then, it appears that at least some of the sites have backed away from their shameless promotion of free streams.

Preemptive strikes against anticipated copyright infringement are somewhat of a rarity, but they can be imperative when dealing with a short-lived yet furious demand for a marquee, live sporting event—especially one with a pay-per-view (PPV) price tag of nearly $100. In 2015, Showtime and HBO launched a “pre-piracy” offensive against two websites that had announced plans to stream the much-anticipated Mayweather v. Pacquiao boxing match. And while the threat of a lawsuit was successful in deterring the targeted websites, the fight was still subject to massive piracy through mobile live video streaming apps such as Periscope and Meerkat.

Despite their limited success, these proactive attempts to curb expected infringement have led some critics to accuse networks of censoring and site-blocking any website they choose for a theoretical crime that hasn’t yet occurred. But, as many of the same critics acknowledge, a clear provision in US copyright law allows for an infringement action before fixation takes place “[i]n the case of a work consisting of sounds, images, or both, the first fixation of which is made simultaneously with its transmission.” It’s an important distinction that represents lawmakers’ understanding of the unique concerns surrounding a live broadcast that loses most of its value immediately after its initial airing.

Section 411(c) of the Copyright Act provides that a copyright owner may bring an infringement action related to an unregistered work, and recover statutory damages for an unauthorized use, when the work is part of a live broadcast. Known as the “live broadcast exemption,” the Committee on the Judiciary explained that it “is intended to deal with the special situation presented by works that are being transmitted ‘live’ at the same time they are being fixed in tangible form for the first time,” such as “sporting events, concerts, theatrical presentations and news and public affairs programs.” The section goes on to list two requirements for obtaining statutory damages, including service of an “Advance Notice of Potential Infringement” at least 48 hours before the work is transmitted, and registration of the work within three months after its first transmission.

While it’s encouraging that Showtime’s injunction has already resulted in some of the targeted websites shutting down or offering links to legal viewing options, it’s likely that live-streaming apps will once again draw thousands of would-be paying customers towards unauthorized streams. Unfortunately, because of the massive paydays coming to McGregor and Mayweather, many who seek out illicit streams will justify the infringement by figuring it won’t hurt to take a few dollars out of their deep pockets. But as a recent article on MMA and boxing-related piracy points out, illegal feeds take money away from far less affluent athletes and from the organizations that make their careers possible.

Identifying and shutting down live streams that will inevitably appear (and reappear) via the likes of Periscope and Facebook Live is an uphill battle. Whereas Showtime’s injunction can address known infringing-enabling services and the websites they facilitate in the days and weeks leading up to the event, when the fight bell rings, it becomes impossible for the network and its affiliates to effectively play whack-a-mole with the surge of unauthorized streams.

As Ultimate Fighting Championship (UFC) CEO Lorenzo J. Fertitta explained in his testimony before the House Judiciary Committee nearly a decade ago, the content offered during PPV events is not only extremely valuable, but extremely perishable. Section 411(c) exists because once a popular event is over, the value is gone, and rights owners must have a way to combat potentially devastating infringement.

But Section 411 was enacted at a time when the current landscape of live-streaming app piracy (and the internet for that matter), could not have been anticipated. It’s a problem that requires attention not only from the rights holders and networks airing the events, but from the social media platforms that host the applications. Perhaps a Content ID system that would recognize and kill unauthorized streams of big ticket/PPV events is in order. But don’t expect the platforms to jump at the opportunity to implement such anti-piracy mechanisms, as they and their supporters are quick to label them ineffective and unconstitutional. Unfortunately, until a better system is put in place to supplement Section 411, every preeminent PPV fight will be predicted to be the most pirated event ever.

Categories
Copyright

Judgment Against Sci-Hub is a Win for Authors and Publishers

shelf full of booksLast week, the United States Court for the Southern District of New York entered a default judgment against Sci-Hub, the Library Genesis Project (LibGen), and a number of related websites and site operators for the willful infringement of dozens of copyright-protected scholarly articles. The judgment comes two years after Elsevier—an international academic publishing company now part of RELX Group—brought suit against the websites and their operators for the unauthorized reproduction and distribution of numerous works to which Elsevier owns the copyright. In awarding the maximum in damages and making permanent a preliminary injunction against US domain name registries associated with the defendants, the decision is not only a win for authors and copyright owners, but represents a strong indictment against the infringement of scholarly works, no matter the purported public benefit.

Sci-Hub—dubbed by some as “the Pirate Bay for science”—was founded in 2011 by Alexandra Elbakyan, a Kazakhstani graduate student and computer programmer who created a website and search engine that bypassed publisher paywalls to collect and distribute copyright-protected academic articles and educational works. The website was unique in that it was one of the first to automate the process of overriding paywalls, eventually partnering with a Russia-based online repository of academic works known as Library Genesis, or LibGen, to store its catalog of both illicitly and legally obtained articles. To access databases such as Elsevier’s ScienceDirect portal, Elbakyan and her fellow operators claim that legitimate subscribers share their passwords, but also admit that passwords are obtained using the same phishing methods hackers use to steal personal and financial information.

Not surprisingly, like other websites that offer free and instant access to stolen content, Sci-Hub became extremely popular all over the world, with hundreds of thousands of download requests per day and a catalog of over 50 million papers. It wasn’t long before authors and copyright owners took notice, and in 2015, academic publishing company Elsevier filed a complaint against Sci-Hub, Elbakyan, LibGen, and a group of related websites and operators for copyright infringement and violations of the Computer Fraud and Abuse Act.

In response to the suit, Elbakyan took a defiant stance, arguing that Sci-Hub’s acts of copyright infringement are justified and making the brazen statement that “[a]ll content should be copied without restriction.” Instead of hiring an attorney, Elbakyan sent a letter to the court accusing Elsevier of operating “by racket” and asking why, like her website, it couldn’t just provide access to everything for free.

Perhaps in response to Elbakyan’s naivite, Tom Allen, then president of the Association of American Publishers (AAP), warned that in addition to the lost revenues to authors and publishers, pirating scholarly materials has a harmful effect on the quality of scientific publications and public health. He explained:

Scholarly publishers work to ensure the accuracy of the scientific record by issuing corrections and revisions to research findings as needed; Libgen typically does not. As a result, its repository of illegally obtained content poses a threat to both quality journal publishing and to public health and safety.

The response of Elbakyan and her supporters to the lawsuit has been a common contention that the academic nature of the content on Sci-Hub somehow elevates the unauthorized distribution above any copyright infringement liability. The “public good” or “public benefit” provided by Sci-Hub is repeatedly invoked, as if copying and distributing scholarly works is different than pirating other content such as music or movies. And while an academic article usually includes facts and ideas that have never been copyrightable, as a whole they are original works of expression—similar to documentary films or educational audio recordings.

Unfortunately, this irreproachable concept of the public good is currently influencing important copyright law decisions such as those related to transformative purpose fair use. In the high-profile Authors Guild v. Google case, proponents of the project repeatedly touted the public good that would come from the creation of a massive online index of books, and the Second Circuit cited this benefit when it ultimately found the unauthorized scanning of millions of copyrighted works to be fair use. It’s a trend that increasingly sees more illegal acts of appropriation deemed fair use because of an alleged public good that may or may not occur after the infringement, and it’s threatening to disrupt the copyright system.

Recognizing that acts of unauthorized reproduction can benefit the public but still be illegal infringement is an important part of understanding and maintaining a balanced approach to copyright and fair use. In a press release addressing the Sci-Hub judgment, current President and CEO of the AAP and former Register of Copyrights, Maria Pallante, praised the Court’s acknowledgment of this concept:

As the final judgment shows, the Court has not mistaken illegal activity for a public good. On the contrary, it has recognized the defendants’ operation for the flagrant and sweeping infringement that it really is and affirmed the critical role of copyright law in furthering scientific research and the public interest.

In its declaratory judgment, the Court awarded Elsevier a maximum $15 million in damages based on the intentional nature of the infringement of a representative sample of 100 works. Along with the maximum damages permitted by law, the judgment makes permanent a 2015 preliminary injunction that required U.S. domain name registries to suspend the defendants’ U.S.-administered domain names, which the AAP believes will be “a deterrent to those who support or do business with illegal operators.”

It’s worth noting that the judgment was entered against the defendants as a result of their failure to respond and it’s unclear whether it will affect Sci-Hub’s overall operation. Elbakyan and her associates remain defiant, pledging to keep Sci-Hub and its sister websites online by alternating between new and different domain names. It’s a practice that has kept pirate sites such as ExtraTorrent and the Pirate Bay alive despite efforts to shut them down, and remains an obstacle to those dedicated to fighting online infringement.

But regardless of whether Sci-Hub’s becomes another whack-a-mole pirate site, publishers, authors, and copyright owners should be encouraged by the Southern District’s recognition of illegal acts of infringement no matter the claims of supreme public good. Hopefully, more judges and lawmakers will make the same distinction and restore sense and stability back into the fair use and transformative purpose debates.

Categories
Copyright Infringement

Alliance for Creativity and Entertainment (ACE) Unites to Fight Online Piracy

hand holding remote pointed towards a TV screen showing a sports gameAs digital piracy shifts away from torrent downloads and towards unauthorized streaming and theft-based extortion, stakeholders from all parts of the creativity community are reassessing their efforts to fight online infringement. This week, a global coalition of creators and leading on-demand entertainment services joined forces to better address the ever-evolving threat that piracy poses not only to artists and copyright owners, but to consumers and end users. Named the Alliance for Creativity and Entertainment (or ACE), the group brings together 30 industry leaders—including Amazon, HBO, Warner Bros., Netflix, Disney, Hulu, and the BBC—to maximize consumer experience while ensuring the vibrant creative ecosystem they support is not undermined by piracy.

In an opening press release, the Alliance describes the recent exponential growth of digital distribution models and the development of nearly 500 online services that provide consumers with a legitimate on demand viewing experience. And while these platforms have revolutionized the way consumers watch TV and movies, they’ve also added great value to a creative sector that is responsible for $1.2 trillion and 5.5 million jobs in the US alone.

Unfortunately, illicit websites—which sometimes offer pirated works within hours of release—remain a burden to the creative ecosystem and the artists and platforms that drive it. Despite encouraging efforts both in the US and abroad to disable some of the worst offenders, the constant game of cat and mouse with mirroring websites and the emergence of illicit streaming sites continue to frustrate the fight against piracy. According to the press release, in 2016 there were an estimated 5.4 billion downloads of pirated films and television shows and 21.4 billion total visits to illicit streaming websites that profit from the theft and unauthorized distribution of creative works.

To combat these enduring acts of infringement, ACE brings together creative companies from all over the world to combine resources and work in concert with seasoned antipiracy experts at organizations such as the Motion Picture Association of America (MPAA). Specifically, “ACE will conduct research, work closely with law enforcement to curtail illegal pirate enterprises, file civil litigation, forge cooperative relationships with existing national content protection organizations, and pursue voluntary agreements with responsible parties across the internet ecosystem.”

By reducing illegal online piracy, ACE will also work to eliminate the risks to consumers that so often accompany the illegitimate distribution of creative works. A recent study by the Digital Citizens Alliance found that one in three pirate sites expose users to infectious malware and that visitors to these pirate sites are 28 times more likely to encounter malware than visitors to legitimate websites. The serious threats posed to consumers by malware and viruses include not only identity theft and financial loss, but the complete immobilization of entire computer systems, as seen in the recent Wannacry attack.

With pirate site operators finding new ways to profit from the theft and distribution of creative works, it’s encouraging to see a unified and global effort dedicated to reducing piracy, supporting creators, and protecting consumers.

 

Categories
Copyright Patents Trademarks

From Star Wars to La La Land: How Intellectual Property Fuels Films

The following post comes from Mandi Hart, a rising third-year law student at Antonin Scalia Law School, George Mason University, who worked as a video producer before going to law school.

cameraBy Mandi Hart

Movies are a first-love in America and around the world, and their production is made possible by the existence of intellectual property (IP) rights. Although most moviegoers may not recognize the vital role that IP plays in film, without it, screens would be dark. This post explains the critical role that copyright, trademark, and patents play in film production and financing.

Copyright is the Lifeblood of Movies

Copyright secures to creators certain exclusive rights in their original works of authorship, including rights of reproduction, distribution, public display, performance, and the creation of derivative works. These exclusive rights make it possible for creators and copyright owners to deploy their creative works as property rights in a free market.

Copyright’s exclusive right to distribute creative works is particularly important in the film industry. Distribution deals are essential to the filmmaking process, as many filmmakers finance the production of their movies by selling the exclusive right to distribute their film in a given territory. Distributors purchase these rights via a pre-sale, committing to pay a certain amount to the producer when the completed film is delivered in accordance with technical specifications. The pre-sale agreement serves as collateral for bank loans that provide actual cash for a film’s production. Once a film is completed and delivered, the payment from the distributor is then used to pay back the loan.

Without copyright, producers would have no distribution rights to sell in the first place, and without distribution deals, many producers wouldn’t be able to secure the funding necessary to make their movies.

Copyright also makes it possible for authors to option pre-existing works for adaptation into movies. An author or publisher can sell a film producer the right to create a derivative work from a novel, short story, play, or comic book. And films themselves might inspire derivative works—think of the breadth and popularity of Star Wars movies and shows today, 40 years after the original movie was released. Copyright not only protects the original creative works that often serve as the foundation for films, it also makes possible the many licensing deals that turn individual films into trilogies, series, or full-blown universes.

Copyright also fuels the music and sounds we hear in movies. From original scores and sound effects to the innumerable songs licensed for use in movies, copyright ensures that the people involved in the creation of movie sounds—whether artists, composers, or engineers—are incentivized and rewarded for their contributions.

By giving artists and creators a property right in the fruits of their artistic labor, copyright provides the foundation for the creation of movies as we know them today.

Trademark Helps Movies Get Made and Protects Their Brands 

Just as copyright protects several aspects of any given film, trademark helps establish and protect a movie’s brand while providing supplemental sources of financing. As studios move away from traditional film financing mechanisms due to economic recession, consolidation within the industry, and risk-aversion in credit markets, a growing number of producers are looking for new funding sources. Product placement has become an increasingly common source of financing, providing mutual benefit to producers and marketers.

Featuring recognizable brands in a film enables a producer to leverage the reputation and public perception of certain products to craft characters and settings. Indeed, a character may become identified with a particular brand or product—think James Bond driving an Aston Martin, ET eating Reeses Pieces, or Carrie Bradshaw wearing Manolo Blahnik. A product may even become a character itself, as with the Wilson volleyball in Castaway.

The inclusion of known brands lends authenticity to the world of the film and the characters inhabiting it. When Mia asks Sebastian to get the keys to her Prius from a valet in La La Land, and Sebastian sees nothing but Prius key fobs on the valet stand, more is communicated to the audience than just the type of car Mia drives. Viewers get a sense of the world in which Mia lives, her friends and associates, and her subculture and values.

And of course, Prius benefits from the connection with an acclaimed film that won multiple Academy awards. While product placement represents a creative choice, it is also a shrewd business move for producers in need of funds and marketers looking for more subtle promotional opportunities than the traditional hard-sell advertisement.

Additionally, trademark serves to protect merchandise and ancillary products created in connection with a film. Marketing trademark-protected clothing, toys, home appliances, bedding, wallpaper, and other film-related merchandise is another critical source of revenue for producers, particularly those hoping to build a film franchise. Just as copyright is central to film financing and content, trademarks make an increasingly vital contribution to production funding and the creation of on-screen worlds.

But Without Patented Technology, Films Wouldn’t Exist

In addition to copyright and trademark, patents also play an essential role in film. A patented invention—the kinetoscope—allowed individual, consecutive images imprinted onto film to be projected in order and at speeds capable of creating the illusion of movement. Thomas Edison, holder of the kinetoscope’s patent, began documenting the world around him and created the first microdocumentaries for exhibition to paying customers. Across the Atlantic, the Lumiere brothers also embraced the possibilities that early film technology offered, creating short fiction films, the most enduring of which, Trip to the Moon, is still watched to this day.

The original film technologies, to both capture and display moving images, gave birth to a new form of leisure and entertainment. In less than three decades an entire industry had been established to exploit the commercial value of film and to satisfy the growing public appetite for movies.

Sound recording and playback technology revolutionized the industry and were followed just a few years later by technicolor, the debut of which—in The Wizard of Oz—changed filmmaking forever. Patented technologies created, then upended, the film industry, and to this day provide the foundation upon which advancements in filmmaking and viewer experience are based.

Just as the development of VistaVision in the 1950s gave directors more onscreen real estate and enabled sweeping scenic compositions, the implementation of Dolby Surround Sound in the 1980s allowed composers and sound editors to weave rich sonic tapestries. Composers were able to create complex filmic symphonies, and sound editors could immerse the audience more deeply into the world of the film by literally enveloping them in the movie’s aural field.

The switch from analog to digital, and the integration of computer technology into filmmaking, allowed for special effects unlike anything seen before. Computer-generated images put an end to an era of hand-drawn animation and manual splicing, as entire worlds could be created and manipulated digitally. Today, the development of 3D and virtual reality technology are set to revolutionize the film industry, changing the way images are captured and exhibited. Add to the distribution mechanisms numerous exhibition platforms (laptop, tablet, cell phone, etc.), and it is obvious the central role that patented technology plays in film creation and consumption.

Conclusion

In any given film, copyright, trademark, and patent play crucial roles in crafting the story, securing financing, and translating script to screen. Copyright secures property rights in (and incentivizes the creation of) original films as well as adaptations of prior works, while trademark contributes to the development of setting and characters. As an industry founded on patented technology, filmmaking relies on the innovation made possible by a patent system that encourages and incentivizes inventors. Those who developed sound recording and transmission technology, technicolor, panoramic projection, and many other innovations at the heart of moviemaking could not—and would not—have done so without the assurance that they would own the fruits of their innovative labor.

Next time you settle into a plush reclining chair, as the lights dim and the trailers begin, think about all the intellectual property embedded in the story you watch play out on-screen, because without it, that story wouldn’t exist.

Categories
Intellectual Property Theory

In Defense of an Inclusive IP Conversation

hand under a lightbulb drawn on a chalkboardIn a recent essay responding to a divisive critique of his book, Justifying Intellectual Property, Robert Merges makes clear from the start that he won’t be pulling any punches. He explains that the purpose of his essay, Against Utilitarian Fundamentalism, is to address the misleading and polarizing conclusions of Mark Lemley’s 2015 article, Faith-Based Intellectual Property, recapitulate the arguments he makes in Justifying IP, and show that those who approach intellectual property theory through a nonstrict empirical lens can still make meaningful contributions to the debate.

Merges exposes the key hypocrisy of Lemely’s article: By flippantly dismissing theories that deviate from his own, Lemley ultimately champions the same inflexible exclusivity he purports to condemn.

The underlying dispute between Lemley and Merges turns on what place nonstrict empirical research has in theoretical IP debates. Philosophical empiricism is the idea that experiment-based evidence is the best path to knowledge. Strict empiricists, such as Lemley, argue that hard data-driven evidence is the only evidence capable of supporting reasonable theoretical conclusions. (As an aside, Lemley’s insistence that strict empirical data is the only evidence worthy of scholarly discussion is curious given his vigorous promotion of theories that lack any empirical support. I should also note that his conclusions regarding the current state of the empirical evidence are controversial in their own right, particularly when combined with a willingness to make broad policy recommendations that ignore important empirical criticisms of the data supporting those recommendations.)

While nonstrict empiricism recognizes the importance of data-driven evidence, it allows for the inclusion of evidence-based investigations into human nature and the way people distinguish right from wrong. This research into the nature of duty and obligation—also known as deontology—is seen by nonstrict empiricists in the IP field as a significant supplement to data-driven evidence in reaching meaningful conclusions on theories of ownership and property.

Strict versus nonstrict empiricism debates—sometimes referred to as utilitarian v. deontological—are not new and are not confined to discussions of ownership and intellectual property. What makes the dispute between Lemley and Merges notable is that Lemley, in disparaging Merges’ approach to research, adopts a rigid position on what evidence merits consideration by IP theorists, making the claim that only hard, data-driven empirical research should influence scholarship. It’s a bold assertion that has led many to offer critical responses to Lemley’s essay (see here, here, here, here, and here), especially considering that the exclusive and narrow-minded approach to IP theory he accuses Merges of supporting is exactly what his essay ultimately promotes.

Lemley Misrepresents Alternatives to Strict Empiricism

Merges first takes issue with Lemley’s critique of nonstrict empirical IP theories as inherently suspect due do their basis “on fundamental commitments that are resistant to counterarguments, particularly empirically-based counterarguments.” Lemley contends that these theories operate with a bias similar to blind religious faith, have an intrinsic disregard for reason, and have no place in scholarly discourse. According to Lemley, they are unscientific and unpersuasive views that cannot be seriously considered in discussions of IP law and policy. In his provocative essay, Lemley uses highly-charged rhetoric to associate nonstrict empirical theorists with religious fundamentalists, resorting to ad hominem attacks and scare tactics to argue that his foundational beliefs are the “one true path.”

Merges points out that by relegating all non-empirical theories into a single, derogatory category, and raising his preferred empirical/utilitarian theory to a “true path to enlightenment” status, Lemley commits the fatal error of promoting an exclusive approach to scholarly discourse. Lemley’s argument has roots in the works of Oliver Wendell Holmes and Richard Posner, who dismissed non-empirical foundations as incapable of being influenced by reason. But Merges repeats that he is “not rejecting empirical evidence of all kinds, but expressing honest doubts about the adequacy of the available evidence,” and that Lemley’s mischaracterization of this skepticism is “more in the way of propaganda than scholarship.”

Research on People’s Moral Intuitions Reveals Significant Shared Judgments About IP

Lemley conflates that which is empirical with that which is rational, assuming there is no empiricism in the study of people’s moral judgments. But Merges notes that deontologists, or those who study the nature of duty and moral obligation are “interested in shared judgments about right and wrong, rather than a strict and exclusive interest in empirical data about the consequences of different courses of action,” and that studies in this field can reveal important theoretical foundations to IP.

Discussing the importance of empirical evidence derived from studies on moral obligations, Merges presents a hypothetical ethical dilemma that has revealed “universal morals” shared across cultures, age groups, and other demographic categories. In the “trolley problem,” a person is presented with the scenario of an out of control trolley headed for a group of five bystanders, and the only way to avoid the trolley killing the entire group is to activate a switch that will divert the trolley to a path that will result in the death of one person. Another variation involves pushing one person in front of the train to save the group of five. Merges notes that researchers found widespread agreement across ethnicities, ages, and backgrounds about which actions were right and wrong, and that rather than based on “irrational institutions,” these judgments are based on a “universal moral grammar” hard-wired in all human beings.

These inherent principles have been directly tied to shared ideas regarding both tangible and intellectual property. Merges describes studies in which children are exposed to a person handling an object, then putting the object down, at which point someone else picks up the object. The children not only routinely infer ownership of tangible goods with first possession, but have also been found to associate creative labor with ownership. As Merges explains, “there are strong regularities in people’s thinking about ownership, fairness, and the importance of creative labor,” and these regularities are “less due to socialization in a particular culture and more due to a basic shared moral sense.”

Though strict empiricists criticize these findings as non-empirical forms of evidence, Merges rejects the idea that strictly empirical studies are the only form of rational and practical investigation. He confronts this argument by showing that empirical evidence focusing solely on consequentialism, or the final net consequence of an action, is not only largely impractical, but often leads to morally reprehensible outcomes.

Illustrating the impractical nature of strict consequentialism, Merges fills nearly an entire page with the myriad potential consequences of both strict and liberal liability standards for internet service providers in identifying copyright infringement. What’s clear is that the vast and complex consequences cannot warrant a “net grand total” conclusion of any kind, and that exercises in attempting to draw causal connections are hopeless. Merges also invokes a hypothetical example of enslaving writers and forcing them produce original content to show that, while it may be the most efficient way to deliver works into the market, it’s a utilitarian approach to IP that’s contrary to the shared moral ideas of right and wrong that societies invoke to reject such operations.

IP Theory Should be Inclusionary and Diverse  

Merges dedicates the end of his essay to a summary and defense of his arguments in Justifying Intellectual Property, including the explicit assertions that his ideas do not “have any claim to exclusivity,” and that his book promotes a “public space” in which differing opinions are not only welcome, but essential to a meaningful debate. For Faith-Based Intellectual Property to insist otherwise leads Merges to question whether Lemley has any real awareness of the work he so vehemently criticizes.

Discussing his pluralistic approach, Merges identifies four “midlevel principles” that serve as a bridge between those with differing foundational commitments to IP. According to Merges, proportionality, efficiency, nonremoval or the public domain, and dignity make up these midlevel principles and create an “overlapping consensus” among scholars and theorists with otherwise conflicting views. Offering an example of this consensus, Merges discusses a recent amicus brief that both he and Mark Lemley cooperated and agreed on. Merges explains that the fact that the two authors could discuss and agree on case outcomes and underlying policy rationales directly refutes Lemley’s conclusion that the sides have “nothing to say to each other.”

Concluding his essay, Merges maintains that Justifying Intellectual Property seeks to formulate a liberal theory of IP while respecting all manners of approaches, and that the book “neither predicts nor expects universal agreement.” And while Merges accepts that some may accuse the book of being wrong, naïve, boring, or didactic, to accuse it of being resistant to inclusive discourse and reasoned arguments reveals an unawareness of its actual content. Lemley’s response is an unfortunate reaction to an open assessment of the ways those with differing views can come together. Ironically, Lemley promotes the very same exclusive approach to scholarly debate that he claims to reject.

 

Categories
Copyright Legislation

Register of Copyrights Selection and Accountability Act is First Step Towards a Modern Copyright Office

U.S. Capitol buildingThe House Judiciary Committee today overwhelmingly approved the bipartisan Register of Copyrights Selection and Accountability Act by a vote of 27-1. Introduced last Thursday by Chairman Bob Goodlatte and Ranking Member John Conyers, Jr.—with the support of Senate Judiciary Committee Chairman Chuck Grassley, Ranking Member Dianne Feinstein, and Senator Patrick Leahy—the Act is the first legislative effort to follow a four-year review of U.S. Copyright law and aims to kick-start an overdue modernization of the United States Copyright Office (USCO).

Focusing on the selection process of the Register of Copyrights, the concise bill requires the Register to be nominated by the President of the United States and subject to confirmation by the U.S. Senate, rather than appointed and dismissed at the pleasure of the Librarian of Congress. Today’s markup saw the inclusion of an amendment that would create a panel—made up of the Speaker of the House, President Pro Tem of the Senate, House and Senate Majority and Minority Leaders, and the Librarian of Congress—tasked with submitting a list of three qualified nominees to the President, who would then nominate an individual subject to confirmation by the Senate. The bill reflects the need for greater stakeholder and Congressional input in the selection of a leader Congress looks to for expert advice and analysis on the copyright system, and it represents the first step in an unquestionably necessary Copyright Office modernization effort.

In 2013, the House Judiciary Committee began a comprehensive bipartisan review of the copyright system that included 20 hearings, testimony from over 100 witnesses, and a listening tour that invited input from copyright stakeholders across the country. According to the Committee, the goal of the review was “to determine whether the copyright laws are still working in the digital age to reward creativity and innovation.” In December 2016, the first policy proposal to come out of the review focused on Copyright Office modernization and stressed the need for information technology (IT) upgrades, the creation of advisory committees and a small claims system, and overall decision making autonomy.

The Copyright Office is currently part of the Library of Congress, a legislative government agency and the main research arm of the U.S. Congress. The Office’s budget and leadership are determined by the Library, which is able to make important decisions independent of any outside review or accountability. It’s a curious arrangement, different from most other federal agencies whose leadership is subject to the checks and balances of an executive nomination and Congressional confirmation process.

As former Registers of Copyrights Ralph Oman and Marybeth Peters point out in a recent letter to Congress, the Copyright Office’s residence in the Library of Congress is a largely the result of a historical accident from the late 19th century. In 1870, Librarian of Congress Ainsworth Rand Spofford convinced Congress that copies of works submitted for copyright registration should be deposited to the Library to help build its collection, and thus the Copyright Office came under the authority of the Library. But nearly 150 years later, the Library of Congress—due to its own unique mission and approach to copyright law—is not best positioned to oversee the operation of an agency in need of reform.

There’s no dispute that the Copyright Office is in need of a facelift. For years, the Office has been underfunded, understaffed, and undervalued, making growth and development with the digital age all but impossible. Before her unexpected ouster, Register Maria Pallante provided Congress with a Register’s Perspective on Copyright Review that included a detailed list of deficiencies within the Office in need of improvement. While Pallante is no longer leading the Copyright Office, her concerns were echoed by stakeholders during the review hearings and listening tour, and Congress has recognized the need to begin an extensive modernization effort.

The copyright system is vitally important to the U.S. economy. According to a 2016 report by the International Intellectual Property Alliance, core copyright industries contributed over $1.2 trillion to the U.S. GDP and employed more than 5.5 million U.S. workers. Despite unfounded claims that its role is “mundane” and leader inconsequential, the Copyright Office plays a central role in the copyright system by providing expert reports and advice to Congress on a variety of copyright-related issues. Section 701(b) of the Copyright Act charges the Register of Copyrights with a number of meaningful duties, and Congress regularly looks to the Register and the Office for input on the development of copyright law.

Making the Register a presidential appointee with the advice and consent of the Senate is necessary to ensure that all stakeholder concerns are addressed prior to confirmation and that the Register remains accountable to Congress. Since the unprecedented removal of Register Pallante in October, there is no permanent Register of Copyrights in place, and the current Librarian of Congress is taking a highly unusual internet survey-based approach to determine the qualities of the next Register. The direct line of communication to the USCO that Congress enjoyed in the past has been disrupted, and consequential decisions are being made with little accountability or regard for Congress’s important role in the process.

These troubling developments are evidence that the system needs to change, and it’s imperative the next Register be subject to the same processes used to select the leaders of equally important government agencies. Only when the value of the Copyright Office is recognized and its infrastructure and operations updated can the system begin to modernize and keep up with the creative culture it serves.

Categories
Innovate4Health

Innovate4Health: mPedigree Battles Counterfeit Drugs Through Innovative Verification System

This post is one of a series in the #Innovate4Health policy research initiative.

Innovate4HealthCounterfeit medicines sold under a product name without proper authorization are a serious threat to global public health. Classified by the World Health Organization (WHO) as substandard, spurious, falsely labelled, falsified and counterfeit (SSFFC) medical products, counterfeit drugs are regularly designed to appear identical to genuine products. However, they fail to effectively treat the disease or condition for which they were intended, and in some instances, they can cause adverse reactions or death.

A recent BBC investigation revealed a multi-billion-dollar global trade in counterfeit drugs resulting in 120,000 deaths a year in Africa alone. And though counterfeit drugs affect economies, health care systems, and patients worldwide, developing nations are most at risk, with an estimated counterfeit rate of 10%-30% of medicines sold. The prevalence of unauthorized drugs in countries with less advanced health care systems has created a dangerous pharmaceutical market with few resources to help consumers distinguish between a drug that could potentially save their life and something that might kill them.

hands holding a phone and a box of "Black Secret Mineral Creme to Powder Foundation SPF 15"In 2007, Ghanaian tech entrepreneur Bright Simons set out to address this troubling threat to public welfare by creating a way to quickly confirm the legitimacy of a pharmaceutical. Realizing that low literacy and technical capacity were limiting the efficacy of existing consumer-targeted controls such as holograms and bar codes, Simons wanted to create a user-friendly system that would help consumers instantly check the authenticity of a drug using their mobile device. Simons envisioned a verification mechanism that would not only enable consumers to protect themselves against dangerous counterfeits, but also help pharmaceutical manufacturers defend their brands and shield shopkeepers from the liability of selling fake drugs.

Simons partnered with drug companies and other stakeholders to upload pedigree information from individual packs of medicine into a central registry using standard mass serialization methods similar to those employed in the radio-frequency identification (RFID) barcode system familiar in the United States and other developed countries. Calling his company mPedigree, Simons built a mobile verification service that enables consumers to text a product code that is then checked against the registry of authentic medicines, instantly verifying that the medicine they’ve acquired is legitimate and safe.

Since forming mPedigree in 2009, Simons has brought his system to Nigeria, Kenya, and India, with pilot programs in Uganda, Tanzania, South Africa, and Bangladesh. In 2015, mPedigree codes appeared on over 500 million drug packets from clients such as AstraZeneca, Roche, and Sanofi, and its verification network has been essential in combating a serious counterfeit antimalarial drug scheme that was putting thousands of Africans at risk.

Though mPedigree is best known for its work with pharmaceutical certification, Simons has expanded its verification system to address counterfeits in other industries through his development of the cutting-edge supply chain transformation technologies, EarlySensor and Goldkeys.

mPedigree’s EarlySensor technology offers a proactive solution to companies plagued by unauthorized imitations by identifying patterns in counterfeiting activity and alerting partner government agencies of suspicious trends. The project “scans large pools of authentication, traceability, supply chain & logistical referencing, and user-generated data to mine insights and plot evolving patterns” to empower both manufacturers and consumers to predict counterfeiting activity before it occurs. EarlySensor technology is currently used by three major pharmaceutical and cosmetic companies in Nigeria, and empirical analysis has shown a 65% reduction in the circulation of counterfeit versions of their brands.

With Goldkeys, mPedigree has developed a set of web tools to provide brand owners with “complete, real-time, control of key events in their supply chain.” The technology enables companies to manage distribution networks and retail point integration, as well as track end-consumer activity through web applications and cloud computing. Goldkeys also allows consumers to “call in” their product by voice call or text on a mobile device to ensure authenticity and receive consumer support.

mPedigree - Bringing Quality to LifeThrough the combination of EarlySensor and Goldkeys, mPedigree’s innovative technology is facilitating the protection of both brand owners and consumers and ensuring that data collection and authentication mechanisms are leading to the safer distribution of medicines, cosmetics, seeds, and other essential products.

As a company dedicated to helping others protect their product reputation and brand, mPedigree understands the importance of effective IP rights and has utilized patent, copyright, and trademark protection in the development and commercialization of its own brands and services. In the early days of the company, as it formed partnerships with tech and pharmaceutical industry giants, mPedigree was careful to retain the rights to its creations, with Simons stating in a recent interview that, “[w]e had one interest to protect: our intellectual property.”

hands holding a phone and a seed packetBy providing a dynamic link between consumers and manufacturers, mPedigree is making communications at the point of purchase routine and creating value for consumers, manufacturers, regulatory agencies, and sellers. A project ten years in the making, mPedigree is built on the recognition that protecting intellectual property—both mPedigree’s and its clients—can save lives.

Bright Simons’ vision and dedication to fighting the counterfeit drug epidemic in Africa and beyond through pharmaceutical verification is a testament to the vital role innovation and technology play in confronting global challenges, and as its motto states, mPedigree is indeed “bringing quality to life.”

*Images courtesy of mPedigree Global Image Archives

#Innovate4Health is a joint research project by the Center for the Protection of Intellectual Property (CPIP) and the Information Technology & Innovation Foundation (ITIF). This project highlights how intellectual property-driven innovation can address global health challenges. If you have questions, comments, or a suggestion for a story we should highlight, we’d love to hear from you. Please contact Devlin Hartline at jhartli2@gmu.edu.

Categories
Copyright

Kodi Software Enabling Widespread Copyright Infringement

hand holding remote pointing at television showing a sports gameAwards season always seems to arrive with new stories about how piracy is affecting the film industry and the way we watch movies. Whether it’s a promotional screener that was stolen and uploaded to a torrent site, or the latest software that allows users to download or stream pirated content, the tales are reminders of the enduring problem of online copyright infringement.

This year, when talking to people (outside of the copyright law world) about whether they’d seen certain Oscar-nominated films, the same name kept coming up: Kodi. Specifically, users described downloading the Kodi app to an internet connected device, then adding “plug-ins” or “add-ons” that deliver an extensive library of streaming TV shows and movies, including Moonlight, La La Land, and other Best Picture nominees. Though Kodi’s controversial popularity in the UK has been well-chronicled of late, the software is now becoming the preferred way to stream pirated content in the US, and it’s particularly discouraging because while Kodi is not in itself an illegal service, it is blurring the lines of accountability and contributing to massive IP theft.

Billing its product as “open source home theater software,” Kodi is a free media player application that allows users to view streaming media, such as videos, music, podcasts, and videos from the internet on a variety of platforms. Its open source, cross-platform nature enables interaction with third-party devices designed to facilitate infringement by including add-ons that deliver pirated content. Sales of pre-programmed “Kodi boxes” have become widespread in the UK, mostly because of their incorporation of the illicit add-ons. Kodi box popularity is catching the attention of rights holders and broadcasters such as the BBC, Sky, and the Premier League, and the UK’s Intellectual Property Office (IPO) just announced an investigation into the boxes.

The group behind Kodi recently acknowledged its connection to piracy, and pledged a renewed effort to distance itself from copyright infringement by going after unauthorized uses of its “Kodi” trademark. Unfortunately, they made the same promise in 2014, and Kodi-related piracy has grown exponentially. It’s also interesting that Kodi is threatening to enforce its own IP rights in an attempt to get people to stop “dragging our name through the muck,” while they simultaneously disregard the rights of the countless creators and copyright owners whose works their software helps pirate. In the same announcement warning of the plan to curb unauthorized use of its trademark, Kodi Product Manager Nathan Betzen displays a lack of concern for other victims of infringement.

“Team Kodi maintains an officially neutral stance on what users do with their own software. Kodi is open source software, and as long as the GPL [General Public License] is followed, you are welcome to do with it as you like.”

In the United Kingdom, a concerted effort was just announced to go after the source and target the servers feeding the illicit streams to the Kodi add-ons. Initially obtained by the English Premier League—the top-tier football (or soccer) organization in the UK—a High Court injunction will allow the League to compel the largest ISPs in the country to block the actual source of pirated streams, rather than engage in website whack-a-mole. The strategy involves going “up the content tree” to attack the servers where the streams originate, and for the moment, it seems that the ISPs are willing to cooperate.

In the US, in lieu of acquiring pre-programmed Kodi boxes, users are downloading the Kodi software directly to laptop computers, Amazon Fire Sticks, or smart TVs, and adding the illicit add-ons themselves. It makes going after Kodi for infringement difficult because its product is essentially a media player and is not actually distributing or making copies of the movies and TV shows it streams. Like the VCR thirty years before it, Kodi is capable of non-infringing uses and is likely to claim that it has no control over the bad actors using their product to infringe.

But liability for copyright infringement can extend to those who facilitate theft under the theory of secondary liability, which includes both vicarious and contributory liability. Just last year, in BMG v. Cox, a federal judge upheld a $25 million penalty against ISP giant Cox Communications for contributory and willful copyright infringement. Despite arguing that its Internet service is just like the VCR in Sony v. Universal, and therefore should not be liable for infringing acts of its customers, Cox was found to have made a material contribution to the infringement simply by providing the means—also referred to as the “site and facilities”—for a user to infringe, and to have had knowledge of repeated instances of infringement. This combination of material contribution and knowledge satisfies the test for contributory infringement, and the District Court’s finding represents a clear assignment of accountability to those that turn a blind eye to piracy.

While Cox’s failure to act in the face of blatant, repeated infringement may represent a more egregious example of contributory infringement, one could argue that Kodi is similarly exposing itself to secondary liability. By providing software that facilitates extensive piracy, Kodi surely makes a material contribution to infringement, and the Kodi group is well aware that its product “has grown to become one of the most-used pieces of software through which people can stream, download and otherwise obtain copyright infringing content.”

Though Kodi is different than Cox’s Internet service in that once the software is downloaded, its decentralized architecture means Kodi has no ability to monitor or control what it’s used for, the Supreme Court has made clear in MGM v. Grokster that the decentralized nature of software is not enough to escape contributory liability. If Kodi’s primary use can be shown to be streaming infringing content, it could face the same fate as some other illicit streaming services such as Popcorn Time. Those behind Kodi know that contributory liability for open-source software is somewhat of a gray area of copyright law that allows their product to exist, but as the Kodi name becomes more and more synonymous with piracy, it may become harder to avoid accountability.

Categories
Copyright

Trusted Notifier Program Defended Against Misleading Rhetoric

a laptop screenOne year ago, domain name registry Donuts, Inc. and the Motion Picture Association of America (MPAA) entered into an agreement termed the Trusted Notifier Program in a joint effort to combat piracy. The voluntary initiative “introduced a new way to work towards mitigation of clear and pervasive cases of copyright infringement,” and according to Donuts’ one-year summary, has been a success for “rights owners, registrants and the public at large.”

While the program and similar voluntary agreements are not without their detractors, it’s important to separate good-faith criticism from misleading rhetoric. In an article posted this week, tech pioneer and Internet security expert Paul Vixie responds to a recent paper criticizing the Internet Corporation for Assigned Names and Numbers (ICANN), trade associations, and standards organizations for implementing a “privately ordered online content regulation.”

The rebuttal deconstructs University of Idaho Law Professor Annmarie Bridy’s paper piece by piece, exposing many of the claims as unsubstantiated or misleading. Among other things, Mr. Vixie’s article provides the following evaluations:

  • No evidence is offered in support of the claim that the sole or primary purpose of voluntary efforts such as the Trusted Notifier Program has been to develop a “large-scale program of privately ordered online content regulation.”
  • Claims that “less sophisticated and economically powerful” ICANN stakeholders take a backseat to rights-holder organization influence have been demonstrated to be false by the existence of new generic top-level domain (gTLD) programs.
  • No evidence is offered in support of the claim that copyright owners “appear to be laying the groundwork for a broad program of DNS-based enforcement, with the long-term goal of implementing a UDRP-like procedure for claims of piracy and counterfeiting that are wholly unrelated to any bad-faith or confusing use of domain names.”
  • The unregulated nature of the Internet has acted as a “stay out of jail free” card for millions of criminals, and some redress and balance is both inevitable and necessary.

In conclusion, Vixie notes that the Trusted Notifier Program represents the engagement of Internet industry stakeholders with rights-holder communities to create efficient takedown-related activities, which is exactly what the Internet technical community told rights holders they should pursue instead of SOPA. The article advises that “asking interested parties not to cooperate on matters of their aligned interest will never be effective. Notice and takedown, at scale, without borders, requires mutual cooperation. And that’s what the Trusted Notifier Program is meant to effect.”

March 27, 2017, update: Bridy’s response to Vixie’s post can be read here.