mfioretti: piracy*

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  1. Ultimately, as a community tool, el paquete serves to inform and connect members of the community in ways the official channels haven’t ideologically or practically acknowledged need connecting. In a sense, the network is facilitating an exchange, not of ideas, which Cubans have always had, but opportunities, which have traditionally been limited.

    The paquete is more than a big dump of media. It’s a system, an economy, and maybe even a mental model for understanding how Cuba operates, in spite of, or as a result of, the otherwise antiquated media economy, with state-controlled broadcast and print networks. It serves to entertain, educate, and inform the Cuban people of what’s happening on and off the island in a way that’s unique to their cultural situation.

    The next time I head back to Cuba I’m going to try to patronize as many paquete advertisers as possible, as not just as a way of getting at the Cuba that’s behind the tourism curtain, but as a show of solidarity with their resources encouraging this emerging cultural ecosystem.
    https://withintent.uncorkedstudios.co...ete-cubas-social-network-2fa6c99660ee
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  2. Now that Bangladesh is becoming a middle-income country, our widespread software piracy is unlikely to be permitted for much longer. Bangladeshi law already makes software piracy illegal.

    Enforcement of the law has been overlooked until now, but will not continue forever. Especially with Bangladesh continuously lobbying US trade authorities for lower duties and tariffs for the exports of its ready-made garment factories, it is only a matter of time before American companies, such as Microsoft, insist that their intellectual property rights be enforced as a prerequisite for better trade access.
    http://www.dhakatribune.com/opinion/2...1/15/barcelona-moving-linux-not-dhaka
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  3. Si tratta di uno studio, costato 360.000 euro e completato nel 2015, sugli effetti della pirateria sui contenuti vincolati dal diritto d’autore. Si intitola Estimating displacement rates of copyrighted content in the EU, è lungo oltre 300 pagine e oggi è scaricabile qui, ma non era mai stato reso pubblico.

    Sappiamo di questo studio non grazie alle indagini dei complottisti, ma alla tenacia di una parlamentare europea, la tedesca Julia Reda, che ha scoperto che esisteva questo rapporto grazie alla Regola dell’Informazione Laterale che cito spesso nelle tecniche d’indagine giornalistica digitale: per sapere se un dato è vero o falso conviene sempre cercare le informazioni di contorno a quel dato. Se un documento è stato omesso o segretato, può darsi che altrove ci siano informazioni amministrative che ne tengono traccia.

    In questo caso, per esempio, la parlamentare si è accorta dell’esistenza di questo studio perché ha scoperto la relativa gara d’appalto, risalente al 2013, e a quel punto ha richiesto accesso al documento. La Commissione, racconta la Reda, non ha risposto in tempo alla richiesta ben due volte.

    Come mai tanta riluttanza nel pubblicare uno studio costato fior di quattrini? Può darsi che sia colpa dei suoi risultati, che “non mostrano prove statistiche dello spostamento delle vendite da parte delle violazioni del coypright online” con l’eccezione dei film più popolari e recenti. Risultati che stridono con i vari provvedimenti governativi che mirano a sorvegliare il traffico dei file caricati su Internet di tutti gli utenti, indistintamente, con la giustificazione della tutela del diritto d’autore.

    Sia come sia, è indubbio che servono prove robuste per legittimare un intervento del genere e che, come dice la parlamentare, “dati preziosi sia finanziariamente, sia in termini di applicabilità dovrebbero essere disponibili a tutti se sono finanziati dall’Unione Europea: non dovrebbero raccogliere polvere su uno scaffale fino a quando qualcuno li richiede attivamente”.
    https://attivissimo.blogspot.it/2017/.../complotti-reali-lo-studio-sulla.html
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  4. Wikimedia and Facebook have given Angolans free access to their respective websites, but not to the rest of the internet. So, naturally, Angolans have taken to hiding pirated movies and music in Wikipedia articles and are also sharing links to these files on Facebook, creating a totally free and clandestine file sharing network in a country where mobile internet data is extremely expensive. It's undeniably a creative use of two services that were designed to give people in the developing world some access to the internet. But now that Angolans are causing headaches for Wikipedia editors and the Wikimedia Foundation, no one is sure what to do about it.
    http://motherboard.vice.com/read/wiki...ree-basics-angola-pirates-zero-rating
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  5. The right to communicate anonymously has been lost, due to the copyright industry’s lobbying. This was so fundamental a right – putting up anonymous posters – that the United States would not exist without it (see the Federalist Papers which were anonymously posted everywhere).

    We no longer have the right to modify, rebuild, and repurpose our own possessions, because we may do so with an intent of discussing interesting things with our friends.cameraspy

    Mail carriers no longer have messenger immunity, something that had otherwise been a sacred constant between the Roman Empire and the Dimwitted Copyright Industry.

    We no longer have the legal right to point at or give directions to interesting places if what happens in that location breaks a law somewhere. (Just to illustrate the special treatment of the copyright industry here, compare this to the fact that Wikipedia has a helpful page on nuclear weapons design.)

    The copyright industry has been given the right to write its own laws thanks to an intentional legal loophole that prohibits us from circumventing digital restriction measures, even when those measures prevent still-legal uses of our own possessions.

    The right to send private letters is being lost, due to a long-standing tirade. The copyright industry has successfully lobbied the largest correspondence carriers today – Facebook and the like – to just ban anything they don’t like. Not long ago, if you posted a link to The Pirate Bay on Facebook, you would be interrupted by a message saying that you had discussed a forbidden subject. Imagine that happening in an old-fashioned phonecall or a conversation in the street, and you’ll realize what a horrifying development it is.

    A diary has extensive protection in law against search and seizure in most legislations. However, a computer – which is far more sensitive – does not
    http://torrentfreak.com/in-memory-of-...ties-lost-in-the-war-on-piracy-150202
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  6. Along with the official U.S. and Oscar screener release dates, I include the leak dates for each major way that films typically find their way online:

    Cam. The old standby, a handheld camera in a theater. The worst quality, and increasingly uncommon.
    Telesync. Typically, a cam with better audio, often from headphone jacks in theater seats intended as hearing aids.
    Telecine, R5, PPV, Webrip, and HDRips. The terminology and sourcing’s changed through the years, but these are all high-quality rips with solid audio and video.
    https://medium.com/message/pirating-the-2015-oscars-hd-edition-6c78e0cb471d
    Voting 0
  7. 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.
    http://motherboard.vice.com/read/the-...ost-of-youtubes-library-of-everything
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  8. A movie theater industry group and the Motion Picture Association of America updated their anti-piracy policies and said that "wearable devices" must be powered off at show time.

    "Individuals who fail or refuse to put the recording devices away may be asked to leave. If theater managers have indications that illegal recording activity is taking place, they will alert law enforcement authorities when appropriate, who will determine what further action should be taken," said a joint statement from the MPAA and the National Association of Theatre Owners, which maintains 32,000 screens across the United States.

    Google Glass
    Prepayasyougo
    The announcement should come as no surprise. Last year, the MPAA urged theater operators to crack down on movie piracy with the use of night-vision goggles, security cameras, and low-light binoculars. The MPAA's "Best Practices to Prevent Film Theft" also urged theater operators to perform "random bag and jacket checks" of patrons and to "look for the unusual."
    http://arstechnica.com/tech-policy/20...ro-tolerance-policy-against-wearables
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  9. 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.
    http://www.smh.com.au/business/online...y-crackdown-looms-20140505-37r3g.html
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  10. 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.
    http://radiobruxelleslibera.wordpress...-of-justice-makes-an-important-ruling
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