mfioretti: file sharing*

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  1. If TheKhanly truly made out like a bandit, netting $9.35 per ad per thousand views, and if each listener stuck out all 14 ads, TheKhanly made around $175,000 in two years.

    No matter how much or little he or she generated, in all likelihood TheKhanly, who could not be reached for comment, has made far more money off Follow The Leader than a weed dealer does off an ounce of kush, or a sex worker off a common trick.

    For that matter, uploading an album to a website requires arguably less savvy and effort than dealing drugs or prostituting. TheKhanly theoretically could be making bank off the least taxing form of counterfeiting possible, appealing to a guaranteed audience of dermatologists and schoolteachers and Target clerks who only need to type “korn leader” into a search box.

    The ease of finding this material is facilitated by Google's omnipresence, bringing us back to Google's mission.

    "Look at Google's » name," Steven Levy, author of In The Plex: How Google Thinks, Works, and Shapes Our Lives, told me. "It’s a really big number. Google all along has been about operating on a scale that was tough to imagine before the internet age.”

    While Google’s early competitors like Altavista and Yahoo may have included little perks like collecting news or weather, Google has turned into an aggregator of everything from merchandise prices to metrics for linguistic trends.

    The founder of Network Awesome, Jason Forrest, considers the site’s curatorial effort an antidote to “your Buzzfeeds and Mashables, which » get paid to focus on this very lowbrow mainstream."

    The easy access to David Lynch’s television commercials, a compendium of videos from Chicago’s drill scene, and a PBS documentary on Carl Jung, for example, validates Forrest’s claim that the site uses similar mechanisms as those clickbait powerhouses to “supply a never-ending stream of inspirations.” YouTube’s complicity in this stream cannot be understated, as Network Awesome is, at the end of the day, a mechanism for comprehending the multitudes contained by the archive.

    And the very need for an entity like Network Awesome says a great deal about how YouTube is handling its librarian duties. Searching for Beyonce’s “Single Ladies” several years after it was a hit gives you the sense that YouTube is less like the Library of Congress or Alexandria and more like a hoarder’s house where the plastic plates from the Labor Day barbecue are piled on top of the good china.

    You will find the official "Single Ladies" music video, several “lyric videos” boasting audio of varying quality, smart phone videos of the song performed live, parodies, and acapella covers. Google and YouTube are perhaps not archiving entities with a mission to preserve, rather with one to hoard information simply because they can, suffering from what the late Jacques Derrida would call “archive fever.”

    having your music listened to at the same place where people stream fail videos and ‘I like turtles’, it really makes music seem like trash, just junk you click on and forget about.”

    This viewpoint might ring a bit extreme—especially if you’re in the camp that believes the ability to jump from a remix of a girl getting hit with a shovel to a Laurie Spiegel composition is somehow kind of beautiful—it does raise the question of worth as human creative energy morphs into, simply, a piece of content.
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  2. Con il suo regolamento Agcom ha tolto ai tribunali la giurisdizione culturale sull'illecito dei contenuti di Rete. Seguendo le pressanti indicazioni degli industriali, ripetute per un decennio, Agcom ha infine saltato il filtro previsto dalla legge per cui spetta ad un organismo che tutela l'interesse dei cittadini scegliere di volta in volta quali siano metodi, gradualità e conseguenze di un illecito penale.

    Esultano quindi gli estremisti del copyright ai quali finalmente è riuscito il giochino da tanto tempo sognato. Oggi bastano loro un paio di scartoffie digitali ed una generica richiesta di tutela di un proprio contenuto per allontanare dalla visione degli italiani decine di interi siti web attraverso un provvedimento coercitivo che interessa ovviamente anche i fornitori di connettività, ai quali eventuali disobbedienze costeranno salatissime multe.

    Tutto questo per saltare i tempi biblici e le paturnie di una magistratura largamente inefficiente e spesso inadeguata, ma anche per sancire una sorta di imbarazzante muro contro muro. Un noi e loro che si basa sulla constatazione secondo la quale esistono i miei diritti e nient'altro attorno. In nome della loro tutela qualsiasi scelta può essere accettabile, meglio se presa direttamente da me. Una legge del taglione digitale inaccettabile in una democrazia compiuta.

    Tutto il resto sono sciocchezze per chi ha voglia di crederci. La cortina fumogena di una Autorità dello Stato che ha scelto di votarsi ai desiderata dell'industria mettendo in secondissimo piano i diritti dei cittadini, che ha raccontato al mondo una favoletta morale sul bilanciamento fra offerta e coercizione fra grandi e piccoli pirati.
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  3. The government has promised to make ‘‘significant’’ changes to Australia’s copyright laws as a first-term commitment, although a spokesman for Arts Minister and Attorney General George Brandis said there was no firm timetable for this. The topic is also battling for attention ahead of the federal budget.

    Senator Brandis has warned that the government could legislate if a voluntary, industry-code of practice for ISPs isn't agreed. He has argued that ISPs ‘‘need to take some responsibility’’ for illegal downloading, because they ‘‘provide the facility which enables this to happen’’.

    The ALP, which unsuccessfully sought a voluntary scheme while in government, said it would examine any policy proposal put forward. But it said there was no single solution and the government was yet to ‘‘put forward a coherent policy proposal’’.

    ‘‘Labor supports the freedom of internet users, while also recognising that the rights of artists and copyright holders need to be protected,’’ a spokeswoman for shadow attorney general Mark Dreyfus said.

    News Corp Australia, half owner of pay TV company Foxtel, told Fairfax Media that copyright infringement ‘‘hurts the creative community - it undermines investment, employment, business models and innovation.

    ‘‘We support the Attorney General’s approach, and while there isn’t a silver bullet, evidence from overseas suggest that such initiatives do work,’’ spokesman Stephen Browning said.

    Australians are among the biggest pirates per capita. Debate continues about whether this is driven by opportunism, the delays for overseas content to reach here, or an aversion to the country's higher prices.
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  4. According to the European Court of Justice, the amount of the levy payable for making private copies of a protected work may not take unlawful reproductions into account. This principle has been stated today in the decision ACI Adam BV and Others v Stichting de Thuiskopie, Stichting Onderhandelingen Thuiskopie vergoeding (case C-435/12).

    This ruling will have an impact in countries where the private copy levies mechanism has been arbitrarily used as a compensation for the potential losses deriving from online piracy. In various countries (for instance Italy) the right-holders are lobbying the government to increase the levies on the grounds that their revenues are declining because of pirated content on the iNternet. By doing so, however, the industry blurs the difference between legal and illegal content and creates a contradiction: if pirated content is illegal it should be stopped, not remunerated, both things together are not possible.

    According to the court, the fact that no applicable technological measure to combat the making of unlawful private copies exists is not capable of calling that finding into question. The decision at stake involves a couple of relevant consequences for national policy makers and jurisdiction in the matter of private copy levies and fight to online piracy.
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  5. American East Coast rappers the Wu-Tang Clan have developed a revolutionary model for musicians to make money from their work. They are about to sell a copy of their new album, but in doing so they will also be able to say that they have shifted their entire stock.

    They have made just one copy of the album, which is currently locked safely in a vault, and which they expect to sell for a multi-million dollar price tag. When it’s gone, it’s gone. And for those of us who don’t have a couple of million lying around in order to create the world’s most exclusive music library, there will instead be a series of exhibits in galleries and the like: after paying an entry fee, visitors will go through heavy security and have the opportunity to listen via dedicated headphones (so don’t bother bringing along your James Bond style “headphones with hidden microphone”).

    Perhaps it’s just a publicity stunt. But if other musicians adopted the same business model, what other possibilities would this open up?
    Tags: , , , , by M. Fioretti (2014-03-28)
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  6. En Allemagne, un éditeur d'un logiciel open-source a été tenu pour responsable des contributions de tiers, au motif qu'il édite la version finale du programme.
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  7. There are many new ways to make money as an independent artist, but it is unlikely that we will make it from our future audiences. In the last year, new ways to approach releasing videos online have made it easier for artists to screen their work for free and still receive adequate funding. The show South Park has been pirated and streamed illegally online for years. South Park did not ignore this, they recognized the problem, created their own streaming site, and partnered with companies like Jack In The Box to stream in HD for free, provided that commercials played throughout the episodes. They weakened the blow of the pirates, made sure that their fans had incentive to visit their site, and all it took was speaking with outside parties for financing. Why can’t we do this?

    It would be terrible if commercials plagued feature films, but they may not have to. Videos appear online as a thumbnail of the uploader’s choice and when it is shared that thumbnail appears on websites and facebook pages. Even without watching the video, this rectangle that filmmakers design appears to anyone that happens upon it. The number of times that the frame appears far outnumbers its views and that data is made available on This seems to be an untapped resource for artists to partner with companies and feature advertising of their choice.
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  8. Agcom ha predisposto una normativa molto severa, che punisce severamente blog, forum, sino a penalizzare con la cancellazione immediata anche i forum che incoraggino la fruizione di opere digitali senza il permesso dei titolari dei diritti d’autore.
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  9. The pressure to behave that way, whether through a desire to preserve a safe harbour status or simply to tread carefully in the eyes of the law, is an unreasonable hack that appears to mend copyright law online but in fact abdicates the responsibility of legislators to properly remake copyright law for the meshed society and over-empowers legacy copyright barons. These changes to downloads are an inconvenience for open source developers, but should serve as a warning to the rest of us that the copyright system is beyond simple patching.
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  10. Ho letto un sacco di stupidaggini qua e là, gente che dice che la musica è la stessa a prescindere dal supporto, che non ha senso spendere soldi per un oggetto scomodo e ingombrante che, tra l’altro, ti obbliga a stare continuamente attaccato al giradischi per mettere il lato B.

    Balle. Non c’è conflitto, solo possibilità di scelta.

    Il vinile ti fa entrare in un immaginario sonoro (e visuale) che implica SEMPRE una scelta: le compagnie telefoniche per esempio ti regalano giga di musica da ascoltare sul tuo nuovo smartphone. La musica non la scegli, te la danno loro pescando dai cataloghi digitali recuperati a costo quasi zero dalle case discografiche in liquidazione. Avvilente. Il mercato 2.0 ci ha convinti che è giusto spendere centinaia di euro per il contenitore (tablet, smartphone, lettore di mp3) ma non per il contenuto: la musica che ci metti dentro deve essere gratuita, come se pensarla, registrarla e produrla non avesse il benché minimo valore. Così ti ritrovi una giungla di cartelle di mp3 e finisci per non sapere nulla di chi, come e perché sia stata fatta quella musica. Ti limiti, quando va bene, a sapere “che numero è” la canzone che ti piace.
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