A New Kind of Leader: Transition time at the Library of Congress; Library Journal, 7/1/15

John N. Berry III, Library Journal; A New Kind of Leader: Transition time at the Library of Congress:

"The Librarian of Congress needs to be a modern library administrator, capable of curating the great collections, leading the exemplary staff of more than 3,000, and keeping LC’s array of vital services current and on technology’s cutting edge.

LC must be led by a person who understands and not only can deal effectively with the huge cultural, economic, and political differences in America but can deliver information services that enlighten our Congress and the people of the nation. The Librarian of Congress must lead us out of the jungle of conflicting claims, rival demands, and legal interpretations that obscure our implementation of the rules and regulations of intellectual property and copyright.

Simultaneously, the Librarian of Congress must be an intellectual inspiration, with an acumen and articulateness that capture the attention of an argumentative society of free people struggling to govern themselves amid the tempests of a world so complex that true cultural understanding is rare and difficult to achieve.

If that formidable job sounds like the one most librarians work at every day, then that suggests an excellent place for our president to begin the search for candidates: in our nation’s libraries.

It is our duty, through ALA and through all of our most effective connections to government, to help the president find the right librarian to lead our national library. We all know she or he is out there ready and waiting to accept the challenge."

Bad News: Supreme Court Refuses to Review Oracle v. Google API Copyright Decision; Electronic Frontier Foundation (EFF), 6/29/15

Michael Barclay and Corynne McSherry, Electronic Frontier Foundation (EFF); Bad News: Supreme Court Refuses to Review Oracle v. Google API Copyright Decision:

"Sadly, today the U.S. Supreme Court refused to review the Federal Circuit’s dangerous decision in Oracle v. Google. Oracle claims a copyright on the Java Application Programming Interface (API), and that Google infringed that copyright by using certain Java APIs in the Android OS. The Federal Circuit had ruled in Oracle’s favor, reversing a well-reasoned district court opinion holding that the APIs in question were not subject to copyright. Google had asked the Supreme Court to review the Federal Circuit decision. On behalf of 77 computer scientists, EFF had filed an amicus brief supporting Google’s petition.

The Federal Circuit’s decision has been harshly criticized for its misunderstanding of both computer science and copyright law. APIs are, generally speaking, specifications that allow programs to communicate with each other, and are different than the code that implements a program. Treating APIs as copyrightable would have a profound negative impact on interoperability, and, therefore, innovation.

Today’s decision doesn’t mean that Oracle has won the lawsuit. The case will now return to the district court for a trial on Google’s fair use defense."

The DOJ's Copyright Fetish Might Screw Up the Internet's Future; Forbes, 6/9/15

Marvin Ammori, Forbes; The DOJ's Copyright Fetish Might Screw Up the Internet's Future:

"The DOJ asked the Supreme Court not to review a lower court decision that said API interfaces are copyrightable. But that decision threatens new and existing websites and devices that we all rely on. Hopefully, the Supreme Court will ignore the DOJ’s recommendation and eventually reverses the lower court.

“But what’s an API?” you ask. API stands for “application programming interface” and is essentially a way for software developers to interact with information on other sites or on their own sites. When you go to a restaurant’s website and see an embedded map of the location, the restaurant’s developers didn’t create the map from scratch. They merely used an API—perhaps the Google Maps or Mapbox API—to get a map for the location. An API lets one company build on another’s innovation; we don’t all have to create a global mapping company merely to give directions to our restaurants. An API obviously has two parts: the interface and the code behind it. The interface is essentially a shortcut available to others (imagine “1899 M St. NW location” or some other shortcut that probably every map developer already knows) and the code behind it is all the complicated computer lines that create the visual map.

The case at issue involves whether the interfaces—just the shortcuts, not the code behind it—are copyrightable. It arises out of a lawsuit between Oracle and Google concerning the Java programming language. Computer programmers use a variety of “languages” to create websites and apps—they’re called Ruby on Rails, Python, Erlang, C+, Basic, and so on. Some languages are more popular than others, the same way English is more popular than Icelandic or Dutch."

‘Hand to God’ Play Sued by Abbott and Costello Heirs Over Use of ‘Who’s on First?’; New York Times, 6/4/15

Andrew R. Chow, New York Times; ‘Hand to God’ Play Sued by Abbott and Costello Heirs Over Use of ‘Who’s on First?' :

"The Broadway play “Hand to God” has ridden its foul-mouthed humor, as well as a wry use of Bud Abbott and Lou Costello’s “Who’s on first?” baseball routine, to five Tony nominations.

But the estate of Abbott and Costello is trying to catch the play stealing just days before the Tony ceremony on Sunday. The comedians’ heirs on Thursday sued over the play’s use of the famous routine.

“Filing a lawsuit on the eve of the Tony awards is obviously nothing more than a stunt,” the play’s lead producer, Kevin McCollum, said in an email. “Frankly, we welcome the attention.”

The federal lawsuit, filed in the Southern District of New York, is claiming copyright infringement against the playwright Robert Askins, the producers and the promoters. The estate said cease-and-desist requests were sent after the play opened on Broadway in April, and it is seeking damages and lawyers’ fees."

Review: ‘Notes of a Native Song’ Is Stew’s Homage to James Baldwin; New York Times, 6/4/15

Charles Isherwood, New York Times; Review: ‘Notes of a Native Song’ Is Stew’s Homage to James Baldwin:

"The concept, according to Stew, who wrote the lyrics and text and collaborated with Heidi Rodewald on the music, is to present Baldwin “as a blues singer,” although the music is primarily rock-driven, as was the case with their “Passing Strange,” which opened at the Public Theater and subsequently moved to Broadway. Stew also jokes that he might be accused of “spiritual copyright infringement” in creating that show, because he has long been inspired by Baldwin’s own journey. As with Baldwin, who wrote most of his work during a long exile from America spent mostly in France, Stew’s artistic development took place partly in Europe and was dramatized in “Passing Strange.”

He certainly needn’t worry about actual copyright infringement in “Notes of a Native Song.” For the most part, the details of Baldwin’s life are alluded to haphazardly; don’t expect anything close to a linear biography, or even a nonlinear one."

Medicine’s Hidden Roots in an Ancient Manuscript; New York Times, 6/1/15

Mark Schrope, New York Times; Medicine’s Hidden Roots in an Ancient Manuscript:

"Scholars are just beginning to pore over the text, the oldest known copy of Galen’s “On the Mixtures and Powers of Simple Drugs.” It may well provide new insights into medicine’s roots and into the spread of this new science across the ancient world...

Little is known of the history of the manuscript in Baltimore, formally known as the Syriac Galen Palimpsest, from its recycling in the 11th century until the 1920s, when it was sold to a private collector in Germany. After that, the manuscript fell again from public view until 2002, when it was purchased by a collector in a private sale. He has not been publicly identified.

In 2009, the Galen Palimpsest was lent to the Walters Art Museum for spectral imaging of its leaves by an independent group of specialists, which would reveal the erased Galen undertext. Each page is photographed digitally at extremely high resolution with varying colors and configurations of light, which in various ways illuminate the inks, grooves from writing and parchment itself. Computer algorithms exploit these variations to maximize the visibility of the undertext.

The resulting images went online under a “creative commons” license, meaning that anyone can use the material free for any noncommercial purpose. Once the images were online, William Noel, who was the curator of manuscripts and rare books at the museum, began organizing members of the tiny community of scholars who study Syriac scientific texts to study the new material."

‘The Last Bookaneer,’ by Matthew Pearl; New York Times Sunday Book Review, 5/29/15

John Vernon, New York Times Sunday Book Review; ‘The Last Bookaneer,’ by Matthew Pearl:

"The novelistic conceit of “The Last Bookaneer” is based on the historical fact that until the passage of the International Copyright Act of 1891, the pirating of books, especially books by British authors, was common in America. Set at the time of the act’s passage, Pearl’s novel tells a one-last-heist story of two rival pirates, Penrose Davenport and a mysterious malefactor called Belial, who separately leave for Samoa, where Robert Louis Stevenson is finishing what promises to be his final novel. (Stevenson and his family did indeed spend his last years in Samoa.) Each bookaneer hopes to steal Stevenson’s manuscript and sell it to a New York publisher before the law goes into effect on July 1, which means they’re engaged in a race against time...

In his asides, Pearl can be smart and inventive. He clearly knows the quirky history of books, especially those by the great 19th-century writers. The voice of his narrator, a bookseller by trade, is authentic and convincing, with just the right dash of stuffiness and complaint. In fact, the best thing about “The Last Bookaneer” may be the opportunity it provides for its author to comment on writers, bibliophiles and publishers, with sly allusions to today’s changing and threatened book culture. The closure of a bookshop, Fergins remarks, is a “failure of mankind — a sign . . . that bookshops will one day disappear altogether and be replaced by mail order.”"

How copyright law threatens your right to repair your car; Vox, 5/28/15

Timothy B. Lee, Vox; How copyright law threatens your right to repair your car:

"The DMCA prohibits anyone from "circumventing" electronic locks that prevent copying of copyrighted content, including software. The law was designed for the kind of copy-prevention schemes used by DVDs and online music stores like iTunes.

But the software baked into your car is also copyrighted. In theory, that means carmakers could invoke the DMCA to shut down third-party diagnostic tools, shut out independent mechanics, and prevent customers from repairing their own vehicles. Earlier this year, the Electronic Frontier Foundation filed a petition with the Librarian of Congress, which has the authority to grant DMCA exemptions, to allow customers and independent mechanics to repair their vehicles without the permission of automakers.

Most automakers oppose the petition. General Motors, for example, argues that the ban on tinkering with car software is an important safety feature. "The proposed exemption presents a host of potential safety, security and regulatory concerns that proponents have not fully considered," the carmaker says.

They point out, for example, that someone could use software to disable a car's airbag and then sell the vehicle to another customer, who would have no way of knowing the airbag wouldn't deploy in an accident.

This isn't a crazy argument. The software on your smartphone or PC can't get anyone killed. The software in your car can. So it's worth being concerned about the safety risks of unauthorized software tampering.

But people have had the ability to modify their cars in potentially dangerous ways since long before the invention of software."

No more DIY farmer? John Deere copyright battle brings farm equipment ownership in question; Kankakee Daily Journal, 5/30/15

Dennis Moran, Kankakee Daily Journal; No more DIY farmer? John Deere copyright battle brings farm equipment ownership in question:

"Deere & Co. is among major manufacturers engaged in a U.S. Copyright Office battle, one over sophisticated electronic systems.

At issue is access to the software controlling much of the operation of modern cars, trucks and tractors. The software is copyright-protected and, beyond that, locked to prevent hackers and do-it-your-selfers from altering or copying it.

The people and organizations asking the Copyright Office to permit access to the software say it's a matter of fully "owning" the tractor or car you paid for, and that open access would enable consumers to make do-it-yourself repairs without having to go through authorized repair shops with software access codes.

Deere isn't the only company fighting the proposed change — General Motors, the Association of Global Automakers and Eaton Corporation are among the half dozen or so companies and manufacturer associations filing briefs in opposition — but it seems to have become the whipping boy for the opposition with one provocative online story making the rounds.

"We Can't Let John Deere Destroy the Very Idea of Ownership," reads a headline for an opinion piece on Wired, a popular magazine that reports on the culture of emerging technologies."

Appropriation art meets Instagram: Is copyright law ready?; MSNBC, 5/26/15

Christopher Buccafusco, MSNBC; Appropriation art meets Instagram: Is copyright law ready? :

"Prince is an appropriation artist; he takes other people’s works and repurposes them in new, slightly different ways. The field of appropriation art dates back to Marcel Duchamp’s Fountain, a signed and dated urinal laid flat on the ground, and it includes Sherrie Levine’s re-photographing of famous Walker Evans images. An appellate court in New York recently declared that Prince’s modifications to photographs taken by Patrick Cariou were fair use, insulating Prince from liability for copyright infringement.

In his new work, Prince isn’t borrowing from established artists—he may be borrowing from you. His new show in New York’s Frieze Art Fair includes blown up images taken (I assume, without authorization) from other people’s Instagram accounts. According to The Washington Post, Prince left the images and the usernames intact, but he substituted his own, somewhat unusual comments beneath the images.

Will the original Instagram users be upset? They might be after they hear that Prince’s works sold for $90,000 each. Will they successfully be able to sue him? Probably not.

Again, the reason why will be the fair use doctrine. Copyright law gives people rights to encourage creativity. Although copying someone else’s creative work without paying for it is often against the law, certain kinds of copying isn’t. The fair use doctrine protects some kinds of copying when doing so is beneficial to society. For example, a reviewer can reproduce a portion of a book or movie in order to criticize it."

A reminder that your Instagram photos aren’t really yours: Someone else can sell them for $90,000; Washington Post, 5/25/15

Jessica Contrera, Washington Post; A reminder that your Instagram photos aren’t really yours: Someone else can sell them for $90,000:

"This month, painter and photographer Richard Prince reminded us that what you post is public, and given the flexibility of copyright laws, can be shared — and sold — for anyone to see. As a part of the Frieze Art Fair in New York, Prince displayed giant screenshots of other people’s Instagram photos without warning or permission...

The collection, “New Portraits,” is primarily made up of pictures of women, many in sexually charged poses. They are not paintings, but screenshots that have been enlarged to 6-foot-tall inkjet prints. According to Vulture, nearly every piece sold for $90,000 each.

How is this okay?

First you should know that Richard Prince has been “re-photographing” since the 1970s. He takes pictures of photos in magazines, advertisements, books or actors’ headshots, then alters them to varying degrees. Often, they look nearly identical to the originals. This has of course, led to legal trouble. In 2008, French photographer Patrick Cariou sued Prince after he re-photographed Cariou’s images of Jamaica’s Rastafarian community. Although Cariou won at first, on appeal, the court ruled that Prince had not committed copyright infringement because his works were “transformative.”"

The Turtles Win Class Action Certification In SiriusXM Copyright Lawsuit, Opening Door For Others; Forbes, 5/28/15

Nomi Prins, Forbes; The Turtles Win Class Action Certification In SiriusXM Copyright Lawsuit, Opening Door For Others:

"Legally, theses suits hinge on the demarcation between federal and state copyright laws. Under Section 114 of the federal Copyright Act, there is a statute of limitations on exclusive rights to recordings made on or after February 15, 1972. SiriusXM and others are operating legally under that law. Certain state laws, on the other hand, cover pre-1972 recordings. The Turtles have filed class-action suits against SiriusXM in California, Florida and New York, requesting more than $100 million in damages.

Granting this suit class action status leaves the door wide open for other artists with pre-1972 recordings to enter the class. The result could be substantial settlements, or many years of litigation, or both."

Publishing World Gathers This Week for Book Conventions; Associated Press via New York Times, 5/26/15

Associated Press via New York Times; Publishing World Gathers This Week for Book Conventions:

"The digital revolution that was supposed to have prevailed by now remains stalled. Independent bookstores, supposedly on the same path to oblivion as video stores and record shops, have grown for six consecutive years. Authors and agents are unhappy with the standard e-book royalty, 25 percent, but the once-predicted exodus to Amazon and other digital companies offering higher rates has yet to happen.

"I think traditional publishing offers elements that are still essential to writers and readers," said Roxana Robinson, president of the Authors Guild, a trade association for thousands of writers. "No one in the writing community likes the low e-book royalty rates, and I think you'll see a concerted effort to change them. But for many writers, the advantages offered by traditional houses still outweigh the disadvantages."

"It's not that nothing has changed," said literary agent Eric Simonoff, noting the downfall of the Borders superstore chain and the prevalence of e-books for romance novels and other genres. "But it's still a generally healthy business and it's still primarily physical books. It speaks to the reports of the demise of publishing being greatly exaggerated.""

Obama administration asks U.S. top court to decline Google copyright appeal; Reuters, 5/26/15

Lawrence Hurley and Dan Levine, Reuters; Obama administration asks U.S. top court to decline Google copyright appeal:

"The Obama administration on Tuesday sided against Google Inc and said the U.S. Supreme Court should not hear the company's appeal in a case against Oracle Corp with wide implications for the technology industry, according to a court filing.

The case involves how much copyright protection should extend to the Java programing language. Oracle won a federal appeals court ruling last year that allows it to copyright parts of Java, while Google argues it should be free to use Java without paying a licensing fee.

Google, which used Java to design its Android smartphone operating system, appealed to the U.S. Supreme Court. The high court then asked the Obama administration in January for its opinion on whether it should take the case because the federal government has a strong interest."

Mr Holmes and the strange case of the alleged copyright infringement; Guardian, 5/26/15

Ben Child, Guardian; Mr Holmes and the strange case of the alleged copyright infringement:

"The estate of Sir Arthur Conan Doyle is suing Hollywood studio Miramax over a forthcoming detective mystery starring Ian McKellen as an elderly Sherlock Holmes.

Bill Condon’s film Mr Holmes is based on the 2005 book A Slight Trick of the Mind by US author Mitch Cullin, but Conan Doyle’s heirs say it also borrows from later stories by the great Scottish novelist which remain under copyright in the US. Most Sherlock Holmes stories are now in the public domain, a situation which has led to a glut of productions featuring the famous sleuth on the big and small screens in recent years.

The new suit was filed in New Mexico, where Cullin was born, last week. It is the latest attempt by the Conan Doyle estate to re-establish copyright over Sherlock Holmes stories in the US, and follows the failure of a previous legal action last August."

Judge Wants to Know If 'Happy Birthday' Copyright Was Abandoned; Hollywood Reporter, 5/18/15

Eriq Gardner, Hollywood Reporter; Judge Wants to Know If 'Happy Birthday' Copyright Was Abandoned:

"U.S. District Judge George King wants to hear more about whether the 19th century schoolteacher who has been credited with writing "Happy Birthday to You" — the English language's most popular song — had abandoned the copyright to the lyrics. On Monday, King directed parties involved in a fight over whether the song is copyrighted to brief him on the issue of abandonment.

The lawsuit is a proposed class action that if successful would mean that film and TV producers no longer have to pay license fees to use the song. Is the "Happy Birthday" licensing cash cow about to be over? Maybe not. Although the deceptive headline might suggest otherwise, King's new order could actually be a favorable sign for defendant Warner/Chappell in its efforts to defend the validity of its copyright.

To understand why this is potentially good news for the song publisher, one must understand the arguments presented at summary judgment."

Google Wins Copyright And Speech Case Over 'Innocence Of Muslims' Video; NPR, 5/18/15

Bill Chappell, NPR; Google Wins Copyright And Speech Case Over 'Innocence Of Muslims' Video:

"In a complicated legal battle that touches on questions of free speech, copyright law and personal safety, a federal appeals court has overturned an order that had forced the Google-owned YouTube to remove an anti-Muslim video from its website last year.

Both of the recent decisions about the controversial "Innocence Of Muslims" video originated with the 9th U.S. Circuit Court of Appeals. Last year, a three-judge panel agreed with actress Cindy Lee Garcia's request to have the film taken down from YouTube on the basis of a copyright claim. But Monday, the full en banc court rejected Garcia's claim.

"The appeal teaches a simple lesson — a weak copyright claim cannot justify censorship in the guise of authorship," Circuit Judge M. Margaret McKeown wrote in the court's opinion."

The benefits of studying copyright law? They're patently obvious; Guardian, 5/14/15

Oli Palmer, Guardian; The benefits of studying copyright law? They're patently obvious:

"Copyright law is at the forefront of a changing technological world. It moves incredibly fast in unexpected capacities, which makes it a fascinating subject to study at university...

Studying copyright law forces you to become creative. This form of law is relatively young, which means there are many grey areas you’ll have to make decisions on. In effect, you become the judge.

Studying copyright law can also help you to acquire skills many law firms and other businesses desire, such as an acute attention to detail...

“A student who wishes to acquire commercial awareness would find the study of copyright law extremely useful for his or her professional development.”...

But the best thing about copyright law is how enjoyable it is and how applicable it is to everyday life, which is bizarre when you consider the intangible nature of its rights.

Rachel Metcalf, 22, who studied copyright law at Durham University, says: “My studies gave me an awareness of why the law should be appreciated by all, not just lawyers.”

Merely reading this article is interacting with copyright. So is watching back-to-back episodes of Breaking Bad on Netflix, or listening to your Friday night Spotify playlist. Why not begin to read between the lines?"

Super-scholars: MPAA offers $20,000 for academic research in copyright battle; Guardian, 5/7/15

Sam Thielman, Guardian; Super-scholars: MPAA offers $20,000 for academic research in copyright battle:

"If you’re an academic who loves conservative interpretations of copyright law, the MPAA might be willing to pay you enough to go see The Avengers about 1,500 times (not in 3D, though).

In an effort to “fill gaps in knowledge and contribute to a greater understanding of challenges facing the content industry”, the Motion Picture Association of America is available to fund academic research to the tune of $20,000 per successful proposal, according to guidelines released recently by the movie industry lobbying group.

An email from the Sony WikiLeaks hack, quoted by copyright news site TorrentFreak, had a fairly direct statement about the conference’s purpose from Sony global general counsel Steven B Fabrizio: “[T]he MPAA is launching a global research grant program both to solicit pro-copyright academic research papers and to identify pro-copyright scholars who we can cultivate for further public advocacy.”"

[Podcast] Providing Universal Access to Modern Materials – and Living to Tell the Tale, Spring 2015

[Podcast] Providing Universal Access to Modern Materials – and Living to Tell the Tale:

"The Internet Archive (IA), an independent non-profit, provides access to digital materials (including books, websites, music, video, TV and software) on the Internet. In this plenary talk from CNI's recent spring meeting, digital library pioneer and IA founder Brewster Kahle describes the particular challenge of providing open access to modern materials, particularly in light of repeated admonishments by legal advisors that, in doing so, "bad things would happen."

Providing Universal Access to Modern Materials – and Living to Tell the Tale is now available online:

YouTube: https://youtu.be/-bW0v2F9Rgc

Vimeo: https://vimeo.com/125044497"

Ghostly Voices From Thomas Edison’s Dolls Can Now Be Heard; New York Times, 5/4/15

Ron Cowen, New York Times; Ghostly Voices From Thomas Edison’s Dolls Can Now Be Heard:

"Last month, the Historical Park posted online three never-before-heard Edison doll recordings, including the two from the Rolfses’ collection. “There are probably more out there, and we’re hoping people will now get them digitized,” Mr. Fabris said.

The technology, which is known as Irene (Image, Reconstruct, Erase Noise, Etc.), was developed by the particle physicist Carl Haber and the engineer Earl Cornell at Lawrence Berkeley. Irene extracts sound from cylinder and disk records. It can also reconstruct audio from recordings so badly damaged they were deemed unplayable.

“We are now hearing sounds from history that I did not expect to hear in my lifetime,” Mr. Fabris said.

The Rolfses said they were not sure what to expect in August when they carefully packed their two Edison doll cylinders, still attached to their motors, and drove from their home in Hortonville, Wis., to the National Document Conservation Center in Andover, Mass. The center had recently acquired Irene technology."

Grooveshark Shuts Down to Settle Copyright Infringement Suit; New York Times, 4/30/15

Ben Sisario, New York Times; Grooveshark Shuts Down to Settle Copyright Infringement Suit:

"Add Grooveshark to the list of music websites that have been sued out of existence over copyright infringement.

On Thursday, Grooveshark, a free streaming site that once had 35 million users and advertising from the likes of Mercedes-Benz — but which drew the ire of major record companies for failing to receive permission for hosting music — agreed to shut down, ending a series of lawsuits stretching back four years.

In a statement posted on its site, Grooveshark said, “We started out nearly 10 years ago with the goal of helping fans share and discover music. But despite best of intentions, we made very serious mistakes. We failed to secure licenses from rights holders for the vast amount of music on the service. That was wrong. We apologize.”

Grooveshark said it had also agreed to “wipe clean all of the record companies’ copyrighted works and hand over ownership of this website, our mobile apps and intellectual property, including our patents and copyrights.”"

Library Associations Spearhead New Copyright Coalition; Library Journal, 4/30/15

Lisa Peet, Library Journal; Library Associations Spearhead New Copyright Coalition:

"A group of technology companies, trade associations, and civil society organizations have joined forces to form Re:Create, a national coalition to advocate for balanced copyright policy. In the wake of recent proposals to amend the Digital Millennium Copyright Act, as well as constant advances in the field of knowledge creation, coalition members are calling for responsive copyright law that balances the interests of those who create information and products with those of users and innovators, providing robust exceptions as well as limitations to copyright law in order that it not limit new uses and technologies.

Particular attention will be paid to the concept of fair use, considered a “safety valve” within U.S. copyright law and an important reinforcement of the First Amendment right to freedom of expression. This emphasis is particularly timely, as on April 29 register of copyrights Maria Pallante announced at a House Judiciary Committee hearing that the U.S. Copyright Office would launch a Fair Use Index—a searchable database listing court opinions pertaining to fair use...

Partners from all sectors will be working together toward Re:Create’s agenda: ALA, the Association of Research Libraries (ARL), the Center for Democracy & Technology, the Computer & Communications Industry Association, the Consumer Electronics Association, the Electronic Frontier Foundation, the Media Democracy Fund, New America’s Open Technology Institute, Public Knowledge, and the R Street Institute. According to its website, Re:Create will be “Supporting a Pro-Innovation, Pro-Creator, Pro-Consumer Copyright Agenda.”"

Periscope Piracy Sets Up Grudge Match: Hollywood vs. Twitter; Variety, 5/3/15

Andrew Wallenstein, Variety; Periscope Piracy Sets Up Grudge Match: Hollywood vs. Twitter:

"Forget Mayweather-Pacquiao. There’s a more interesting fight brewing between Twitter and Hollywood.

The piracy of Saturday’s welterweight boxing championship enabled by Periscope, a livestreaming app recently acquired by Twitter, is setting up a conflict that could be just as brutal.

HBO and Showtime, which partnered on what will likely be the most popular boxing pay-per-view event ever, took a one-two punch of their own Saturday. First, they watched multiple pay-TV distributors experience technical problems transmitting the fight, which probably cut into their sales total.

But what made matters even worse is that countless people who did pay for the fight used their smartphones to re-transmit the fight to users of Periscope and, to a lesser extent, rival app Meerkat. Each stream reached hundreds or thousands of non-paying fans with a picture quality that was shaky and pixilated, yet still quite adequate."

Why the U.S. Copyright Office Wants to Run Away From Home; National Journal, 4/30/15

Kaveh Waddell, National Journal; Why the U.S. Copyright Office Wants to Run Away From Home:

"A federal office that has taken on the role of digital custodian and is now in charge of such 21st-century regulatory activities as approving mobile-phone jailbreaking and setting royalty rates for Internet radio says it needs out of its 19th-century home.

The U.S. Copyright Office has been part of the Library of Congress since 1897, and the office's director, Maria Pallante, told a congressional panel Wednesday it's time for a change, saying her office's hands are often tied as a part of the Library of Congress.

"The office's current organizational structure is under strain because the copyright system has evolved and because digital advancements have changed the expectations of the public," Pallante said in a written statement. She asked the committee to codify the Copyright Office's independence.

In many ways, an independent Copyright Office would operate much like it does now, Pallante said. Although part of a legislative-branch entity, the Justice Department has recognized that the Copyright Office behaves like, and should be treated like, an executive-branch agency.

In its current form, the office's uncertain legal status and subordination to the Library of Congress can create problems. A Government Accountability Office report last month found that the library's IT services, which the Copyright Office relies on, are stuck in the past and are detrimental to its work. And Pallante says it's difficult for her to hire the staff her office needs because of the conflicts between the mission—and the budget—of the Copyright Office and that of the Library of Congress."

Less Noise but More Money in Data Science; New York Times, 4/28/15

Steve Lohr, New York Times; Less Noise but More Money in Data Science:

"There is an apparent contradiction between the buoyant job market for big data practitioners and Gartner’s judgment that, on the perception scale, big data has moved from high expectations to what Gartner calls the “trough of disillusionment.” But, in fact, it fits a familiar pattern of technology absorption and use. Significant new technologies always take time to move into the mainstream as people and organizations learn to exploit them. It takes years.

The classic study of the phenomenon, “The Dynamo and the Computer: An Historical Perspective on the Modern Productivity Paradox,” by Paul David, an economic historian at Stanford University, was published in 1990. In it, Mr. David noted, the electric motor was introduced in the early 1880s, but its real payoff in productivity was not evident until the 1920s. It took that long for businesses to reorganize work around the industrial production line, the efficiency breakthrough of its day, made possible by the electric motor.

Similarly, it took a while for personal computers and the Internet to deliver big gains. And so too for big data, which harnesses computing, modern digital data and the software tools of artificial intelligence.

A report this week from Forrester Research described the challenge ahead. “Businesses are drowning in data but starving for insights,” the report began. “Worse, they have no systematic way to turn data into action.”"

Google Reaches Out to European Publishers, With $165 Million in Hand; New York Times, 4/28/15

Mark Scott, New York Times; Google Reaches Out to European Publishers, With $165 Million in Hand:

"Less than two weeks after the European Commission filed antitrust charges against Google for abusing its dominant position in online search, the company said it would spend 150 million euros, or $165 million, over the next three years to help European publishers and newspapers adapt to the digital world.

And by announcing the plan, the Digital News Initiative, Google was trying to assuage fears from many European newspapers, including Axel Springer of Germany, that the search giant held too much control over how Europeans access online content, analysts said. Google has a roughly 90 percent market share across the 28-member bloc, more than its stake in the American market.

The creation of Google’s program also comes before new potential problems for the company in Europe, including potential changes to Europe’s copyright rules."

The Man Who Broke the Music Business: The dawn of online piracy; New Yorker, 4/27/15

Stephen Witt, New Yorker; The Man Who Broke the Music Business: The dawn of online piracy:

"Napster lasted barely two years, in its original incarnation, but at its peak the service claimed more than seventy million registered accounts, with users sharing more than two billion MP3 files a month. Music piracy became to the early two-thousands what drug experimentation had been to the late nineteen-sixties: a generation-wide flouting of both social norms and the existing body of law, with little thought for consequences. In late 1999, the Recording Industry Association of America, the music business’s trade and lobbying group, sued Napster, claiming that the company was facilitating copyright infringement on an unprecedented scale. Napster lost the lawsuit, appealed, and lost again. In July, 2001, facing a court order to stop enabling the trade of copyrighted files, Napster shut down its service.

That legal victory achieved little. Former users of Napster saw Internet file-sharing as an undeniable prerogative, and instead of returning to the record stores they embraced gray-market copycats of Napster, like Kazaa and Limewire. By 2003, global recording-industry revenues had fallen from their millennial peak by more than fifteen per cent. The losing streak continued for the next decade.

The R.I.A.A. tried to reassert the primacy of the industry’s copyrights. But civil suits against the peer-to-peer services took years to move through the appeals courts, and the R.I.A.A.’s policy of suing individual file-sharers was a public-relations disaster. To some at the music labels, Congress seemed disinclined to help. Harvey Geller, Universal’s chief litigator, spent years futilely petitioning legislators for better enforcement of copyright law. “Politicians pander to their constituents,” Geller said. “And there were more constituents stealing music than constituents selling it.”"

Dice Loaded Against Public in Canada's Copyright Term Extension; Electronic Frontier Foundation (EFF), 4/22/15

Jeremy Malcolm, Electronic Frontier Foundation (EFF); Dice Loaded Against Public in Canada's Copyright Term Extension:

"The announcement of the Canadian Government's plan to extend copyright terms for sound recordings came as a surprise when it was released in Canada's federal budget yesterday. The smooth stage management of the announcement has to be admired, accompanied as it was by pre-prepared soundbites from Canada's music A-list extolling the benefits of this handout. In fact, with all the drama and glamor of the announcement, all that was missing was any prior public consultation or debate that could give the government an actual mandate to make this sweeping change to Canadian law.

This extension only applies to copyright in sound recordings and performances, which have always been treated differently to the copyright of authors. The rights of authors, for example songwriters, continues on from their death under international copyright law, which recognizes the qualitative difference in the creativity involved."

Woman Who Designed 'Welcome to Fabulous Las Vegas' Sign Dies; Associated Press via New York Times, 4/21/15

Associated Press via New York Times; Woman Who Designed 'Welcome to Fabulous Las Vegas' Sign Dies:

"The woman who came up with a neon sign that has welcomed countless visitors to "fabulous Las Vegas" since 1959 has died.

Betty Willis, credited with designing the "Welcome to Fabulous Las Vegas" sign, died in her Overton, Nevada, home on Sunday, according to an obituary on the Virgin Valley & Moapa Valley Mortuaries' website.

The 91-year-old artist's often-copied sign sits in a median in the middle of Las Vegas Boulevard south of the Strip.

"It's the most recognizable icon in the world," said Danielle Kelly, executive director of The Neon Museum in Las Vegas, where the signs of Sin City's past are retired and on display.

The welcome sign's design, which doesn't have a copyright owner, has become a fixture on travel tchotchkes from Vegas and everywhere else, Kelly said."

Why I'm Betting On Cities And Data; Huffington Post, 4/20/15

Michael R. Bloomberg, Huffington Post; Why I'm Betting On Cities And Data:

"Technology has unleashed an explosion of new information for city halls to work with. The possibilities for how cities can use that data to improve lives -- and improve the way services are provided to citizens -- are limitless.

To help more cities embrace those possibilities, today Bloomberg Philanthropies is launching a new national program called What Works Cities. It is the most comprehensive effort yet to help city leaders use data and evidence in their decision-making to improve the lives of residents.

The $42 million program will do that by offering technical support and guidance to cities who want to do more with data. Working with a group of world-class partners, we'll help cities create plans for using data and evidence to reach concrete goals that their mayors identify as high priorities.

We'll also provide a forum for cities to work together and learn from each other. Sharing ideas and experiences is important, because cities face many common challenges. They shouldn't have to reinvent the wheel -- wasting employees' time and taxpayers' money -- when they don't have to. By giving cities a way to study the best examples of how others are using data, we'll help them take big steps forward.

City governments have a responsibility to make the most of every dollar, and data helps them do that."

Proposed Update to Copyright Rules Eases Barriers to Security Research; National Journal, 4/20/15

Kaveh Waddell, Comic Book Resources; Proposed Update to Copyright Rules Eases Barriers to Security Research:

"Researchers who hack into everything from thermostats to Facebook so they can identify and help patch security holes may get a little assistance from Congress.

Legislation proposed last week would change copyright law to make it easier for these security researchers—not malicious hackers—to find and expose software vulnerabilities without getting in trouble for it.

The 1998 Digital Millenium Copyright Act made it illegal to get around technology protections—that includes ripping DVDs, copying video games, and in some cases, even jailbreaking your own smartphone. One provision of the act offers exemptions for certain activities. Ostensibly, security research is one of those activities, but the way the law is set up makes it difficult to get exemptions for research, critics say...

The bill likely faces an uphill battle."

'Fantastic Four' trailer leaked, pulled fast on copyright grounds; CNet, 4/19/15

Michael Franco, CNet; 'Fantastic Four' trailer leaked, pulled fast on copyright grounds:

"Summer's the season for blockbuster movie releases, which means spring is the time for blockbuster-movie trailers. And this spring, it seems leaked trailers are going to be all the rage. Just last week, director Zack Snyder announced that a special screening for the trailer for the upcoming "Batman v Superman" film was to be held in IMAX theaters around the US on Monday. Then the trailer leaked online, forcing the studio to release the official trailer earlier than they'd have liked.

Now we have a just-leaked version of the new "Fantastic Four" film that's been posted online a day earlier than its official release date on Monday.

The trailer was leaked by a YouTube user going by the name of lioonelx. It's the only video posted by the user, who remains completely anonymous in his YouTube profile."

HBO tracking down pirates who downloaded leaked Game of Thrones episodes; Sydney Morning Herald, 4/20/15

Sydney Morning Herald; HBO tracking down pirates who downloaded leaked Game of Thrones episodes:

"If you've received a letter in the mail, you'll be relieved to know it carries no legal ramifications, as it's impossible to determine the individual who breached copyright from an IP address. However, repeated incidents could put a user in breach of their ISP's terms of service and result in termination of their account.

It's likely HBO simply hopes notifying users will make them think twice about their options before pirating next time (those options currently being Foxtel or wait, as HBO has announced they'll be blocking Australians from sneaking into their HBO Now service). The reminder that rights holders can track users down is particularly timely for viewers in Australia, where Dallas Buyers Club LLC recently won the right to request ISPs hand over subscriber details, and the looming Trans-Pacific Partnership has scary implications for pirates as well.

Of course any BitTorrent users hiding their locations behind virtual private networks (VPNs) — which are used increasingly in Australia — would have been invisible to HBO's investigations."

Copyright claims asserted in viral video of cop shooting fleeing suspect; Ars Technica, 4/17/15

David Kravets, Ars Technica; Copyright claims asserted in viral video of cop shooting fleeing suspect:

"The April 4 viral video of a South Carolina police officer shooting a fleeing suspect has cost the cop his job and his freedom. But there's now another cost attached to the video, perhaps in the $10,000 range or more. A publicist for the man who captured the footage—which led to homicide charges against North Charleston officer Michael Slager— says news outlets must pay a licensing fee to carry the footage."

Don’t Keep the Trans-Pacific Partnership Talks Secret; New York Times, 4/14/15

Margot E. Kaminski, New York Times; Don’t Keep the Trans-Pacific Partnership Talks Secret:

"WHEN WikiLeaks recently released a chapter of the Trans-Pacific Partnership Agreement, critics and proponents of the deal resumed wrestling over its complicated contents. But a cover page of the leaked document points to a different problem: It announces that the draft text is classified by the United States government. Even if current negotiations over the trade agreement end with no deal, the draft chapter will still remain classified for four years as national security information. The initial version of an agreement projected by the government to affect millions of Americans will remain a secret until long after meaningful public debate is possible.

National security secrecy may be appropriate to protect us from our enemies; it should not be used to protect our politicians from us. For an administration that paints itself as dedicated to transparency and public input, the insistence on extensive secrecy in trade is disappointing and disingenuous. And the secrecy of trade negotiations does not just hide information from the public. It creates a funnel where powerful interests congregate, absent the checks, balances and necessary hurdles of the democratic process.

Free-trade agreements are not just about imports, tariffs or overseas jobs. Agreements bring complex national regulatory systems together, such as intellectual property law, with implications for free speech, privacy and public health...

Secrecy also delegitimizes trade agreements: The process has been internationally criticized as undemocratic. The European Parliament, for example, rejected the Anti-Counterfeiting Trade Agreement in large part over legitimacy concerns."

New State of America’s Libraries Report finds shift in role of U.S. libraries; American Library Association (ALA), 4/12/15

Macey Morales, American Library Association (ALA); New State of America’s Libraries Report finds shift in role of U.S. libraries:

"Copyright updates

There were some positive developments in the realm of copyright. The US Court of Appeals for the Second Circuit upheld the ruling in Authors Guild v. HathiTrust, deciding that providing a full text search database and providing access to works for people with print disabilities constitutes fair use.

In October 2014, the US Court of Appeals for the Eleventh Circuit handed down an important decision in Cambridge University Press et al. v. Carl V. Patton et al. (the Georgia State University e-reserves case). This decision emphasizes a thoughtful analysis of fair use and a rejection of the highly restrictive guidelines promoted by many publishers. Critically, this decision affirms the importance of flexible limitations on publisher’s rights, such as fair use. Overall, federal court cases continue to favor reasonable fair use rights, especially those that add value to an original work or serve a different, socially beneficial purpose.

While Congress continues to hold hearings about various aspects of copyright, the US Copyright Office and the US Patent and Trademark Office (PDF) published studies on orphan works, music licensing, and other topics to inform decision-making."

Through a Touch-Screen Looking Glass; New York Times, 4/10/15

J.D. Biersdorfer, New York Times; Through a Touch-Screen Looking Glass:

"As Hollywood has repeatedly shown, dressing up well-worn stories in shiny packages can gain another generation of fans. App designers are now taking a turn at the reboot game with some of literature’s most beloved characters. Public-domain works have appeal because, with time-tested narratives in place, software makers can focus on creating a fresh storytelling experience aided by technology.

Take, for example, Sherlock Holmes. Most of Sir Arthur Conan Doyle’s material is now out of copyright and reliably available in the “free” section of e-bookstores. But the great detective has traveled deeper into the digital realm than mere text in the immersive SHERLOCK: INTERACTIVE ADVENTURE for iOS ($1.99 for the full version)...

While “Sherlock” and “Alice” date back to 19th-century Britain, even older stories from other cultures are popping up online with striking visual interpretations. PIXEL FABLE, created by the designer and illustrator Senongo Akpem, is a website devoted to reworking a handful of African folk stories like “Why the Sky Is Far Away.”"

John E. Walsh, Who Distilled the Bible, Dies at 87; New York Times, 4/8/15

Sam Roberts, New York Times; John E. Walsh, Who Distilled the Bible, Dies at 87:

"The abridged Reader’s Digest version, supervised by the Rev. Bruce M. Metzger, professor of New Testament language and literature at Princeton, did not skimp on any of the Ten Commandments and considered favorites like the 23rd Psalm and the Lord’s Prayer to be sacrosanct. But in the end, it boiled down the Old Testament by 50 percent and the New Testament by 25 percent. None of Jesus’ words were changed, but about 10 percent were deleted.

Mr. Walsh said he was initially appalled by the notion of tinkering with Scripture, where the Book of Revelation warned against changing “the words of the book of this prophecy.” But Mr. Metzger concluded that the warning really amounted to “an ancient copyright notice.”"

YouTube’s copyright system has taken Rand Paul’s presidential announcement offline; Washington Post, 4/7/15

Philip Bump, Washington Post; YouTube’s copyright system has taken Rand Paul’s presidential announcement offline:

"During his announcement on Tuesday, Rand Paul entered and left to the song, "Shuttin' Detroit Down," as Business Insider notes. The song is a twangy lament about the state of the economy that dates back a few years; the copyright stamp on the YouTube video reads "(c) 2009 WMG." WMG, of course, is Warner Music Group.

We've reached out to both WMG and YouTube for comment, and will update this article when we hear back. But it's hard not to see some humor in the situation. Rand Paul's spirited cry against government intervention has been blocked from view because YouTube lets huge music companies preemptively apply copyright law.

Looks like Paul just got another plank in his campaign platform."

Over 50 and Back in College, Preparing for a New Career; New York Times, 4/3/15

Kerry Hannon, New York Times; Over 50 and Back in College, Preparing for a New Career:

"Students not seeking degrees often can audit classes at a local college or enroll in massive open online courses, or MOOCs, at little or no cost, via Coursera, Udacity, EdX and Lynda.com. The Osher Lifelong Learning Institutes allow students 50 and older who aren’t seeking to earn credit to attend classes at more than 100 universities.

One-year adult education programs aimed at professionals are also on the increase."

Online Test-Takers Feel Anti-Cheating Software’s Uneasy Glare; New York Times, 4/5/15

Natasha Singer, New York Times; Online Test-Takers Feel Anti-Cheating Software’s Uneasy Glare:

"In hopes of alleviating students’ concerns, Verificient recently posted a pledge on its blog saying that Proctortrack did not share students’ data with third parties; that it typically deleted students’ data after 30 to 60 days; and that students could remove the software from their computers once they had uploaded their test data.

But the company has not changed its privacy policy — which states that it may unilaterally amend its policies at any time and that it may disclose users’ personal information to third-party service providers or in the event of a company merger, sale or bankruptcy.

Students like Ms. Chao say they hope university administrators will consider the civil liberties implications of emergent tracking technologies, not just the expediency.

“They are trying to make recording students a regular part of online courses,” Ms. Chao said. “You don’t know what new norms are going to be established for what privacy is.”"

[Book Review of ‘Culture Crash,’ by Scott Timberg], New York Times, 3/17/15

[Book Review of ‘Culture Crash,’ by Scott Timberg] Ben Yagoda, New York Times:

CULTURE CRASH

The Killing of the Creative Class

By Scott Timberg 310 pp. Yale University Press. $26

"In 1999, recordings generated $14.6 billion in revenue to the music business; by 2012, the figure was down to $5.35 billion. Of course, owing to the change in the dominant distribution model from physical CDs to (first) downloading MP3 files and (now) streaming on services like Pandora and Spotify, performing artists get a thinner slice of the smaller pie. Timberg puts a human face on the statistics with portraits, scattered throughout the book, of poets, artists, moviemakers and reporters who had been doing good work and making not great but decent livings, when all of a sudden the rug was pulled out from under them..."

As Timberg himself acknowledges elsewhere, artistic expression is essential to human existence. Its forms are rapidly changing. Its economics are, too, and at this moment artists are finding it harder and harder to make a living from their work. But it will persevere. Who knows? Maybe the commenters were right, and an old-fashioned symphony orchestra isn’t sustainable any­more. Music will survive — including, for the time being, in Louisville, where, after the bankruptcy filing, the orchestra cut back on its schedule and staffing, and suffered a musicians’ strike as a consequence, but posted a $20,000 surplus last August."

Card expired: The head of the Library of Congress must go; Pittsburgh Post-Gazette, 4/3/15

Editorial Board, Pittsburgh Post-Gazette; Card expired: The head of the Library of Congress must go:

"In a scathing report issued this week, the federal watchdog agency assigned much of the blame for the library’s inefficiency to director James H. Billington, an 85-year-old Ronald Reagan appointee who rarely uses a cell phone, does not use email and does not keep abreast of technological change. Mr. Billington’s annual salary is $179,700, so his reluctance to step down is partly understandable.

But the Library of Congress has a $630 million annual budget and 3,200 employees whose primary task is to run the Copyright Office and provide Congress with research and legal advice. Among the problems identified in the GAO report is the institution’s lack of a chief information officer.

Mr. Billington and his lieutenants have not moved to appoint anyone to this crucial role. They continue to run what is supposed to be one of the most important sources of information in the nation as if it were a neglected school library in rural America. The library doesn’t keep track of costs or log or respond to complaints...

Mr. Billington should retire honorably and make way, after three decades, for fresh, tech-savvy management."

IT troubles plague Federal Copyright Office; NetworkWorld.com, 3/31/15

Michael Cooney, NetworkWorld.com; IT troubles plague Federal Copyright Office:

"A report out this week from the watchdogs at the Government Accountability Office points out a number of different technical and management woes that see to start at the top – with the CIO (a position that has a number of problems in its own right) and flows down to the technology, or lack-thereof.

As the nation’s copyright center it is imperative that it operate efficiently to effectively protect all manner of written and recorded material but according to the GAO it doesn’t.

And it is a big job. For example, according to the Copyright Office, which falls organizationally under the Library of Congress, in fiscal year 2014 it registered about 476,000 creative works for copyright, including about 219,000 literary works and 65,000 sound recordings and recorded 7,600 copyright records. In addition in fiscal year 2014 the office collected approximately $315 million in royalties and made disbursements in accordance with the decisions of the Copyright Royalty Board."

Citing ‘Greatest American Hero’ Case, Judge Rules ‘Three’s Company’ Parody Doesn’t Violate Copyright: Media; Deadline.com, 3/31/15

Jeremy Gerard, Deadline.com; Citing ‘Greatest American Hero’ Case, Judge Rules ‘Three’s Company’ Parody Doesn’t Violate Copyright: Media:

"In a significant free-speech victory, Loretta A. Preska, Chief United States District Court Judge for the Southern District of New York, ruled Tuesday that 3C, a play that parodies the 1970s sitcom Three’s Company, does not infringe on that copyrighted program. The ruling ends nearly three years of court tennis during which playwright David Adjmi was prohibited from publishing the script of his black comedy and pursuing new productions. And in her ruling, Judge Preska cites the famous Superman v. Greatest American Hero case still discussed today."

Roger L. Mayer, Pioneer of Film Preservation, Dies at 88; New York Times, 3/29/15

Sam Roberts, New York Times; Roger L. Mayer, Pioneer of Film Preservation, Dies at 88:

"Roger L. Mayer, a film executive who was instrumental in preserving and restoring countless classic movies and who also courted controversy by coloring some black-and-white ones, died on Tuesday in Los Angeles. He was 88...

At the 2005 Oscar ceremonies in Hollywood, the director Martin Scorsese, a leading advocate of saving films, presented Mr. Mayer with the Academy of Motion Picture Arts and Sciences’ Jean Hersholt Humanitarian Award in recognition of his chairmanship of the National Film Preservation Foundation, which has rescued more than 2,100 “orphaned” movies that were abandoned by their copyright holders. He also served on the Library of Congress’s National Film Preservation Board, which each year chooses 25 of what it calls “culturally, historically or aesthetically significant films” worth safeguarding."

Access denied: Reporters say federal officials, data increasingly off limits; Washington Post, 3/30/15

Paul Farhi, Washington Post; Access denied: Reporters say federal officials, data increasingly off limits:

"Tensions between reporters and public information officers — “hacks and flacks” in the vernacular — aren’t new, of course. Reporters have always wanted more information than government officials have been willing or able to give.

But journalists say the lid has grown tighter under the Obama administration, whose chief executive promised in 2009 to bring “an unprecedented level of openness” to the federal government.

The frustrations boiled over last summer in a letter to President Obama signed by 38 organizations representing journalists and press-freedom advocates. The letter decried “politically driven suppression of news and information about federal agencies” by spokesmen. “We consider these restrictions a form of censorship — an attempt to control what the public is allowed to see and hear,” the groups wrote.

They asked for “a clear directive” from Obama “telling federal employees they’re not only free to answer questions from reporters and the public, but actually encouraged to do so.”

Obama hasn’t acted on the suggestion. But his press secretary, Josh Earnest, defended the president’s record, noting in a letter to the groups that, among other things, the administration has processed a record number of Freedom of Information Act (FOIA) requests, established more protection for whistleblowers and posted White House visitor logs for the first time."

The White House’s first chief data scientist is no stranger to Washington; Washington Post, 3/29/15

Amrita Jayakumar, Washington Post; The White House’s first chief data scientist is no stranger to Washington:

"DJ Patil, who was named the nation’s first chief data scientist last month, shares credit for coining the term “data science.” He is the latest Silicon Valley transplant to join the Obama administration, working under former Google executive Megan Smith, the White House’s chief technology officer...

Q. What does the first chief data scientist do?

A. To me, the government says, “Okay, we have data, but how do we use that responsibly to create efficiencies, to create transparency, to unlock economic potential? How do we get that data to preserve American competitiveness and advance innovation?”

The mission of this role is an amplification of things that have been happening.

How will you achieve those goals?

There are three areas where we have the biggest chance to succeed in our mission...

The next one is open data. We’ve got data.gov [a Web site that features machine-readable government data], which has really changed the game. Think about the billions of dollars that rest on open data infrastructure. People do research on that data, that research turns into insight, that insight turns into wisdom and that wisdom is put back into models and scientific results. The foundation of all this is open data. How do we enhance that across-the-board?"

Meerkat, Game of Thrones and a Brewing Copyright Nightmare; Natinonal Journal, 3/26/15

Kaveh Waddell, National Journal; Meerkat, Game of Thrones and a Brewing Copyright Nightmare:

"Meerkat, a weeks-old service that allows users to broadcast live video over the Internet via Twitter, is the app du jour. It hit the popularity jackpot at this month's South by Southwest festival in Austin, Texas. And political media have fallen in love with the prospect of live streaming every speech and candidate interaction for the next 18 months...

But as Meerkat tries to keep up with its exploding user base (Rubin says the app hit the 400,000-user mark Tuesday) it may be loping into a legal minefield. The same characteristics that make the app attractive to the hundreds of thousands of people who are downloading it—its ease of use and engaged users—make it perfect for another of the Internet's favorite pastimes: piracy.

Copyright infringement has been a problem since before the Internet existed, and every new generation of technology presents an easier, faster way to share movies and TV without paying."