We’re All Artists Now; New York Times, 9/4/15

Laura M. Holson, New York Times; We’re All Artists Now:

"Choosing to be more creatively focused, though, can be disturbing at first. Ms. Cameron argues in “The Artist’s Way” that it can upend the delicate balance of relationships. “Many of us find that we have squandered our own creative energies by investing disproportionately in the lives, hopes, dreams and plans of others,” she writes. Others perceive a creative life as a quit-your-job-or-nothing proposition. They “like to think they are looking at changing their whole lives in one fell swoop,” Ms. Cameron writes, adding that, in “fantasizing about pursuing our art full time, we fail to pursue it part time — or at all.”

Indeed, many people aren’t interested in a wholesale career switch. Instead they are simply seeking a respite from a harried work and home life...

Beyond grown-up coloring books, the possibility for creative self-exploration is everywhere — especially in our phones. It is easy now to record and edit images, audio and video on our cellphones, making the commoditization of creativity even more pronounced. “We’ve become fascinated with innovation as a culture,” said Aaron Rasmussen, a founder of MasterClass, a new online education company that features writers, actors and sports figures teaching classes about the creative process. “People used to look at a movie and say, ‘I could do better than that,’ but they had no vehicle.”"

The Creative Apocalypse That Wasn’t; New York Times, 8/19/15

Steven Johnson, New York Times; The Creative Apocalypse That Wasn’t:

"If you believe the data, then one question remains. Why have the more pessimistic predictions not come to pass? One incontrovertible reason is that — contrary to the justifiable fears of a decade ago — people will still pay for creative works. The Napsterization of culture turned out to be less of a threat to prices than it initially appeared. Consumers spend less for recorded music, but more for live. Most American households pay for television content, a revenue stream that for all practical purposes didn’t exist 40 years ago. Average movie-­ticket prices continue to rise. For interesting reasons, book piracy hasn’t taken off the way it did with music. And a whole new creative industry — video games — has arisen to become as lucrative as Hollywood. American households in 2013 spent 4.9 percent of their income on entertainment, the exact same percentage they spent in 2000.

At the same time, there are now more ways to buy creative work, thanks to the proliferation of content-­delivery platforms. Practically every device consumers own is tempting them at all hours with new films or songs or shows to purchase. Virtually no one bought anything on their computer just 20 years ago; the idea of using a phone to buy and read a 700-page book about a blind girl in occupied France would have sounded like a joke even 10 years ago. But today, our phones sell us every form of media imaginable; our TVs charge us for video-­on-­demand products; our car stereos urge us to sign up for SiriusXM.

And just as there are more avenues for consumers to pay for creative work, there are more ways to be compensated for making that work."

In a dark corner of the Trans-Pacific Partnership lurks some pretty nasty copyright law; Washington Post, 9/3/15

David Post, Washington Post; In a dark corner of the Trans-Pacific Partnership lurks some pretty nasty copyright law:

"The copyright issue relates to so-called “orphan works.” As a consequence of many factors — the absurdly long term of copyright protection [life of the author plus 70 years — see my comments here on the liberation of Sherlock Holmes, after a lo-o-ong time, from his copyright shackles], along with the elimination of copyright notice, or copyright registration, requirements as preconditions for copyright protection — there are literally millions upon millions of works — books, letters, songs, articles, poems . . . — created in the ’30s, ’40s, or ’50s that are (a) still protected by copyright, and for which (b) it is virtually impossible to ascertain who owns the copyright, or even whether the copyright is still in force...

The solution is pretty obvious — a true legislative no-brainer: Amend the Copyright Act to eliminate statutory damages for these orphan works. Surely even Congress can see how idiotic it is that this class of invisible rights holders can keep this treasure trove of information out of the public’s hands, and there has indeed been significant movement recently (including a Copyright Office proposal to this effect) toward just such a change.

So what does all this have to do with the TPP? I’m glad you asked. It appears that the latest version of the treaty contains, buried within its many hundreds of pages, language that could require the U.S. to scuttle its plans for a sensible revision of this kind.[I say that this “appears” to be the case, because, of course, the text of the TPP has not been revealed to the public, so all we have are leaked versions appearing from time to time on WikiLeaks.]...

These (and other — poke around at the KEI site for more evidence) copyright provisions in the TPP are pretty dreadful and continue the disturbing trend of making copyright bigger, longer and stronger just when public policy demands the opposite...

[And as an ironic footnote to all this, part of the reason we’re in all this mess, as I mentioned at the start, is that we no longer have a sensible regime for copyright notice and copyright registration. Why don’t we? Because of another international agreement, the Berne Convention on Literary Property, that we acceded to in 1989 (and which prohibits all “copyright formalities).”] We would have been much, much better off on our own on that one."

Inspiration Or Appropriation? Behind Music Copyright Lawsuits; NPR, 9/5/15

Allyson McCabe, NPR; Inspiration Or Appropriation? Behind Music Copyright Lawsuits:

"Where do you draw the line between inspiration and appropriation when it comes to musical compositions? That question is at the heart of several high-profile court cases, including the recent "Blurred Lines" trial and a current copyright-infringement lawsuit involving "Stairway to Heaven." But it isn't always easy to prove a song is yours – particularly when you're up against one of the biggest rock and roll bands of all time."

Disney, Marvel, Lucasfilm & Sanrio slice into cake-frosting seller; ComicBookResources.com, 9/4/15

Kevin Melrose, ComicBookResources.com; Disney, Marvel, Lucasfilm & Sanrio slice into cake-frosting seller:

"Disney, Marvel and Lucasfilm have joined with Sanrio to stop a company from selling unlicensed cake frosting featuring their incredibly lucrative properties.

As first reported by THR, Esq., the entertainment giants filed a trademark- and copyright-infringement lawsuit against George and Danielle Wilson, whose Wilson Cake Imaging offers printed, edible frosting sheets and cake toppers depicting a wide range of characters and performers."

Copyright Office’s online registration hasn’t worked for almost a week; Washington Post, 9/3/15

Peggy McGlone, Washington Post; Copyright Office’s online registration hasn’t worked for almost a week:

"The U.S. Copyright Office’s electronic registration system has been down since Friday, costing the office an estimated $650,000 in lost fees and causing headaches for approximately 12,000 customers.

The outage is part of a bigger computer failure at the Library of Congress, the federal agency that oversees the national library, provides Congress with research advice and operates the Copyright Office, a major player in the global digital economy.

Scheduled maintenance on the library’s James Madison Building resulted in buildingwide power outages, officials said. The library’s information technology office is trying to restore the systems, but officials can’t say when service will return.

“This is pretty significant, and we have to do everything to make sure this never happens again,” said U.S. Register of Copyrights Maria Pallante about the computer crisis. “It’s ridiculous.”"

Outage slams copyright registration system at Library of Congress; FCW, 9/2/15

Adam Mazmanian, FCW; Outage slams copyright registration system at Library of Congress:

"The online system used to register initial copyright claims at the Library of Congress is down. Users looking to obtain copyright on books, art, music, film and other creative works are going to have to mail in paper copies of registration forms for the time being.

The system went down Aug. 29 after scheduled maintenance on the Library's James Madison building, which involved a power shutdown. An equipment failure during the restart resulted in the system, called eCO, going offline, according to a spokesperson for the Architect of the Capitol. The eCO website informs users that there is no "estimated time for service resumption." The spokesperson told FCW via email that the CIO team is "working to restore the system as quickly as possible.""

Can open data prevent a global food shortage?; Guardian, 9/2/15

Sean Hargrave, Guardian; Can open data prevent a global food shortage? :

"As the world goes from seven billion mouths to feed to nearly 10 billion by 2050, the pressure is on to produce 70% more food than today without harming the environment.

It is a huge task that has prompted the G8 countries and 120 governments and organisations around the world to to set up and support the Global Open Data for Agriculture and Nutrition (Godan) initiative. It encourages governments to open up data and help each other’s farmers learn from the information. According to its programme director, Martin Parr, it is the only way a growing population will be fed.

“The world needs a new agricultural revolution and that’s going to come through a data revolution,” he says."

Why Shouldn't Copyright Be Infinite?; Electronic Frontier Foundation (EFF), 9/1/15

Maira Sutton, Electronic Frontier Foundation (EFF); Why Shouldn't Copyright Be Infinite? :

"Australia National University’s Dr. George Barker suggested that New Zealand could do well by strengthening its copyright legislation. He warned against the fair dealing exceptions that have crept into the law and asked, “Why not have copyright law like property law—i.e. it lasts forever?”

That is a good question. And it is an important one as New Zealand and other countries consider extending the term of copyright under the Trans-Pacific Partnership agreement. Current New Zealand law maintains copyright in written and artistic works for 50 years after the death of the writer. Copyright in film and sound recordings is shorter, lasting 50 years from the works being first made available. While the text of the TPP is not yet public, it appears that the agreement would extend copyright’s duration to 70 years from the death of the creator.

So why shouldn’t copyright be infinite?"

Rousting the Book Pirates From Google; New York Times, 8/29/15

David Segal, New York Times; Rousting the Book Pirates From Google:

"Q. Book piracy has taken a new form. Someone scanned my entire e-book, “Graphic Design Solutions,” created a new cover and is selling it on Google Play. It is the same e-book, verbatim, and inside are the same images, same layout and the same interviews. The only difference is the name of the author. A person named Jazmin Bonilla gets the credit.

My royalties have plummeted, which affects my ability to donate to scholarships for my university students. Both my publisher and I have notified Google, but no action has been taken. Maybe the company will listen to you.

ROBIN LANDA, NEW YORK

A. The Haggler’s first thought: Find Jazmin Bonilla. Call and ask, “Is it a spectacular coincidence that you wrote the exact same book as Robin Landa? Or, are you a fiction invented by an e-book pirate? And if you are a fiction, why do you have a phone?”

Actually, his first thought was that if e-book piracy were a serious issue on Google Play, there would be other examples. There are many. A quick search led the Haggler to a site called The Digital Reader. There, the writer Nate Hoffelder detailed “rampant” e-book piracy, as he put it in a May post, in Google Play. He found that one shop was selling more than 100 pirated versions of best sellers by authors like Malcolm Gladwell, Sidney Sheldon and Ellery Queen.

They cost $2.11 each. But even these oddly priced bargains were kind of a rip-off. Mr. Hoffelder downloaded a few and found they “were clearly inferior copies with missing formatting, generic or outdated covers, and other problems,” he wrote."

In My View: The Human Cost of Comics Piracy; DownTheTubes.net, 8/28/15

Jay Gunn, DownTheTubes.net; In My View: The Human Cost of Comics Piracy:

"Piracy sites like the ones that are hosting my comic for ‘free’ hurt me – and yet I see sites are already hosting Issue Four only two days after release. If I search for my comic, the results for files (including images of the covers etc) come up pretty quickly.

I’ve had this debate many times with people – some say that piracy can actually be a positive element as it helps your work to reach a wider audience and some of those who ‘ripped’ your work may go on to actually buy future works. Maybe. Large corporate TV companies like HBO have even claimed that they can take the hit of piracy and that they are proud that their Game of Thrones show is the most pirated show on TV. However, I’m not HBO, I don’t have their vast finances. I don’t have the same clout, revenue streams or financial backing that HBO has. I’m simply a small first time comic creator that, some might say unwisely, decided to invest his own money into crafting a comic series."

Lost 'Happy Birthday' Manuscript Found in Kentucky as Debate Over Song's Copyright Drags On; Billboard, 9/1/15

Marc Schneider, Billboard; Lost 'Happy Birthday' Manuscript Found in Kentucky as Debate Over Song's Copyright Drags On:

"While the battle over "Happy Birthday’s" copyright drags on, a college librarian in Kentucky has discovered the long-lost manuscript of the ditty’s earliest version. Tucked inside a sketchbook that was donated to the University of Louisville half a century ago is the only known manuscript of Mildred Hill's song "Good Morning to All," which evolved into the pre-candle-blowout soundtrack we all know so well.

James Procell, the director of the school's Dwight Anderson Memorial Music Library, recently discovered the manuscript along with other papers and compositions by Hill, a native of the area. They were donated in the '50s by a local philanthropist but almost immediately lost when they weren’t archived properly.

The composition, which Hill co-wrote with her sister Patty, boasts a slightly different melody from the published version, yet the lyrics are the same. "The question is, is this the original version of the song, or was Ms. Hill somehow unhappy with the published version and this represents a revision of the song?" Procell said."

Who Owns Helen Gurley Brown’s Legacy?; New York Times, 8/22/15

Katherine Rosman, New York Times; Who Owns Helen Gurley Brown’s Legacy? :

"The person who has been impeding its arrival on the market is Ms. Burton, 56, the general counsel for and a senior vice president of the Hearst Corporation and the co-executor of Ms. Brown’s will...

Though the papers are housed by Smith College, their copyright is controlled by Ms. Burton. “She was quite clear that for commercial exploitation, she wanted us to oversee it,” Ms. Burton said. (Ms. Brown did sanction a 2008 biography, “Bad Girls Go Everywhere,” by the Bowdoin professor Jennifer Scanlon, published by Oxford University Press.) Ms. Burton delegated the vetting of project proposals and archive permissions to another longtime friend of Ms. Brown’s: Kim St. Clair Bodden, the senior vice president and editorial director of Hearst Magazines International, of which Cosmo is the most prolific global asset. She is also an officer of the Pussycat (a third is Roger P. Paschke, the chief investment officer of Hearst; none takes an administrative fee)...

When the time comes, Ms. Burton said she potentially would negotiate a usage fee for a large-scale project, with the money benefiting the Pussycat Foundation.

However, because the officers of the foundation and trustees of the copyright all are Hearst executives, “there is a technical conflict,” said Mr. Zabel, the estate lawyer. “They might censor or approve an incomplete version of her life, which could result in more protection of the Cosmo brand but could deprive charitable beneficiaries of benefits.” (Legal-speak for a principle championed by Ms. Brown: sex sells.)"

This man found out the hard way that you can’t copyright a chicken sandwich; Fortune, 8/25/15

Michael Addady, Fortune; This man found out the hard way that you can’t copyright a chicken sandwich:

"Norberto Colón Lorenzana recently filed a lawsuit against South American Restaurant Corporation (SARCO) claiming it stole his idea for a chicken sandwich recipe. He lost.

Colón was working at SARCO, an operator of Church’s Chicken locations in Puerto Rico, when he developed a concept for a new chicken sandwich. The company then performed taste tests with this original idea in mind, and the result was a new menu item that Colón called the “Pechu Sandwich.” Years later, SARCO decided to protect themselves by trademarking the name...

In explaining the court’s decision, Chief Judge Howard listed the eight categories of intellectual property that qualify for copyright protection:

(1) literary works; (2) musical works, including any accompanying words; (3) dramatic works, including any accompanying music; (4) pantomimes and choreographic works; (5) pictorial, graphic, and sculptural works; (6) motion pictures and other audiovisual works; (7) sound recordings; and (8) architectural works.

Not surprisingly, “chicken sandwich” does not fall under any of these categories. Howard said a recipe is simply a list of “functional directions to achieve a result,” and does not qualify for copyright protection. This particular recipe listed fried chicken, lettuce, tomato, cheese, and mayo."

How open data can help save lives; Guardian, 8/18/15

Eleanor Ross, Guardian; How open data can help save lives:

"The most interesting thing with providing raw data, says Shadbolt, is that you provide the information and the apps “think” about it when a situation arises. “The whole genius of the web is that you don’t even know how the data you put up will be used. For this reason it’s best to collect more information than you think you might ever need.”

Emma Thwaites, a spokesperson for the Open Data Institute, explains that data layering is where open data can have the most impact. “That’s when you can really see where the black spots are. Overlay air pollution, crime stats, and fuse the data together, and you can see the likelihood of the most dangerous things. From this you can work out where to position your ambulances, or fire stations. Data helps you to find the epicentre.”

As well as benefiting the local community, open data can also be used to help individuals."

Cheater, cheater, MOOC beater; Fortune, 8/26/15

Barb Darrow, Fortune; Cheater, cheater, MOOC beater:

"Researchers at MIT and Harvard this week published a paper finding that students taking online edX coursework were able to game the system by logging on as one person to check out online tests, scout out the right answers, and then log in again as themselves to take the test. Needless to say, that takes a lot of angst (and studying) out of the process.

This is not exactly good news for the burgeoning field of massive open online courses (aka MOOCs) popularized by the Kahn Academy but also increasingly embraced by traditional institutions. MIT and Harvard, with many other universities, for example have backed EdX, a MOOC platform, as a great way to provide low-cost education for lots of people and narrow the skills gap. EdX itself is a technology platform for packaging up and deploying online classes and is backed by MIT, Harvard, University of California at Berkeley, Dartmouth, and other schools. Students typically can use edX to earn certificates but not degrees at the affiliate schools.

According to an MIT News report, the paper’s co-author Isaac Chuang, an MIT professor of electrical engineering and physics, said as they analyzed student data, they noticed that some users answered questions “faster than is humanly possible.”"

The Fat Jew, Plagiarism and Copyright Law; Forbes, 8/24/15

Oliver Herzfeld, Forbes; The Fat Jew, Plagiarism and Copyright Law:

"What are the differences between plagiarism and copyright infringement?

First, plagiarism is a violation of ethics and industry norms that involves the failure to properly attribute the authorship of copied material, whereas copyright infringement is a violation of law that involves the copying of “original works of authorship fixed in any tangible medium of expression,” without a license or a so-called “fair use” exemption. So claims of plagiarism would apply to any joke even if it is only conveyed in a live performance that is not recorded, while copyright infringement would not apply to any such jokes that are never recorded or published in any way. Exposure to claims of copyright infringement would only apply to jokes that are written down, captured on film or memorialized in some other physical medium, whether paper, video or computer server.

Second, plagiarism applies to the copying of both ideas and the expression of ideas, while copyright law only protects the expression of ideas but not the ideas themselves. The copyright law’s so-called “idea/expression dichotomy” can lead to a lot of thorny issues. For example, if a comedian changes the words of another’s joke and puts it into her own words, is that a copying of only the “idea” which would not constitute a copyright infringement or a “substantially similar” copying that would constitute a copyright infringement? This has led to an informal standard in the world of comedy, namely, claims of joke copying must be based on material that is highly original, not simply topical, obvious or based on common denominator topics such as mothers-in-law, bosses or airline food. In this case, however, Ostrovsky is accused of copying others’ works lock, stock and barrel. For example, in one instance, Ostrovsky copied another comedian’s image of a daily planner with time blocked off for “drugs and alcohol” and other humorous scheduled items. Ostrovsky deleted the name, social media handle and face of the author from the image but made no effort to recreate it, rephrase the wording or otherwise alter the expression of the original idea in any manner."

Copyright Case Asks: What is a Cheerleading Uniform?; Wall Street Journal Law Blog, 8/19/15

Jacob Gershman, Wall Street Journal Law Blog; Copyright Case Asks: What is a Cheerleading Uniform? :

"The question before the appellate court was whether cheerleading uniforms are eligible for federal copyright protection.

Sixth Circuit Judge Karen Nelson Moore, who wrote the opinion, framed the case more enigmatically: “Are cheerleading uniforms truly cheerleading uniforms without the stripes, chevrons, zigzags, and color blocks?”

The dispute — an infringement claim by a uniform designer accusing another company of ripping off its designs (pictured above) — is a good example of how tricky it can be for courts to decide what is copyrightable.

Federal law says that for a work to be copyrightable it has to have some originality and be “fixed in a tangible medium of expression,” such as a canvas, film, a computer disc or even human skin. But things get extra complicated in cases involving three-dimensional objects.

How to distinguish between the mechanical or utilitarian aspects of an object and its artistic features is an unsettled area in case law. Only the latter is copyrightable. So, in an example offered by the U.S. Copyright Office in its manuals, the design of a chair cannot be copyrighted but a carving on the back of a chair can be. A T-shirt isn’t copyrightable but artwork printed on it is.

Courts have struggled to set guidelines for how to distinguish the useful qualities of a work from its expressive features."

‘Happy Birthday to You’; New York Times, 8/18/15

Helen L. Horowitz, Letter to Editor, New York Times; ‘Happy Birthday to You’ :

"In the 1890s, in Louisville, Ky., my grandmother Helen Solomon studied in what she called “kindergarten school” under Patty Hill. Helen revered her teacher and told me that Miss Hill and her sister Mildred created “Happy Birthday to You,” once “Good Morning to All,” because she believed that children needed a birthday song.

Knowing my love of history, my grandmother gave me the page of music she had saved from that time. On the top of the official title is “Happy Birthday” written in pencil.

I’m glad that neither my grandmother nor Patty Hill has knowledge of today’s ugly copyright squabble over a piece that was written by a generous woman for all."

DIY Tractor Repair Runs Afoul Of Copyright Law; NPR, All Tech Considered, 8/17/15

Laura Sydell, NPR, All Tech Considered; DIY Tractor Repair Runs Afoul Of Copyright Law:

"You may wonder why Alford doesn't just break that digital lock and get into the software and fix the problems himself. He could, but he'd be breaking the law. It's called the Digital Millennium Copyright Act of 1998, or DMCA. It was written because movie studios were worried that people would break the digital locks on DVDs, make copies and pirate them.

"And now we have this situation where there's digital locks on all kinds of things," says Kyle Wiens, co-founder of iFixit, which helps people repair their own technology. "There's digital locks on your garage door opener and if you want to circumvent that, if you want to use an aftermarket garage door opener that wasn't made by your garage door manufacturer, you might be violating copyright law."

And you can add to this list. It is illegal to break the digital locks on medical devices, such as a pacemaker, as well as game consoles and cars — pretty much anything you purchase that runs with software. If you break the digital lock you can face five years in prison and/or a half a million dollars in fines. Though we haven't heard of that happening to a farmer.

The law provides that every three years the Library of Congress' copyright office can review the law and make exemptions. Farm groups, mechanics, security researchers, consumer advocates are all in the midst of fighting for several exceptions.

Automakers, John Deere and other makers of construction equipment are opposed."

A South Bronx Graffiti Walkabout; New York Times, 8/17/15

David Gonzalez, New York Times; A South Bronx Graffiti Walkabout:

"When asked what was the difference between graffiti and street art, Crash replied that traditionalists see graffiti as strictly aerosol art that placed an emphasis on letters and color, while street artists might employ different types of paint, stencils or subjects and surfaces. Some have suggested that real graffiti artists should still be outlaws, but some of the most dedicated — and respected — graffiti artists in the Bronx are tired of that unrealistic expectation. Graffiti is not just a way of life for them, it is also how they have been able to make a living doing commissioned pieces or exhibiting and selling at galleries (or defending their copyright when used without permission by designers and ad agencies)."

Artist Outraged at 'Plagiarism' of His Sculpture in China; Associated Press via New York Times, 8/12/15

Associated Press via New York Times; Artist Outraged at 'Plagiarism' of His Sculpture in China:

"Renowned artist Anish Kapoor has expressed outrage about the appearance of a sculpture in China that appears identical to his "Cloud Gate" in Chicago.

Representatives of the British-Indian sculptor said Wednesday he was shocked at the "blatant plagiarism" of his sculpture, a giant, mirrored piece displayed in Chicago's Millennium Park that reflects the city's skyline...

"It seems that in China today it is permissible to steal the creativity of others," he said. "I hope that the Mayor of Chicago will join me in this action. The Chinese authorities must act to stop this kind of infringement and allow the full enforcement of copyright.""

The twisted history of the Happy Birthday song—and the copyright shenanigans that keep it profitable; BoingBoing.net, 8/7/15

Glenn Fleishman, BoingBoing.net; The twisted history of the Happy Birthday song—and the copyright shenanigans that keep it profitable:

"The final determination about when "Happy Birthday" lost its copyright protection will be made by the judge in the case, who, after some back and forth filings and possibly an in-court hearing in the next week, will probably issue his opinion between the end of August and the end of September, says Rifkin.

It would be nice to close the book on "Happy Birthday," but it doesn't close the book on copyright absurdity. An abundance of material from 1923 is poised to enter the public domain in 2019 unless a further taking of the public interest occurs, as the Sonny Bono Copyright Term Extension Act did in 1998, adding an unnecessary 20 years to the existing 50 years' protection past an authors' death.

Rather than sing "Happy Birthday" on January 1, 2019, we should sing another variation of the song: "Good-bye to you.""

‘Right to Be Forgotten’ Online Could Spread; New York Times, 8/5/15

Farhad Manjoo, New York Times; ‘Right to Be Forgotten’ Online Could Spread:

"Proponents of the law also reacted skeptically to the claim that the right to be forgotten would be used by other countries to force content restrictions beyond those involving privacy.

“That’s nonsense,” said Marc Rotenberg, the executive director of the Electronic Privacy Information Center, a privacy advocacy group. He argued there were ways to limit access to private information that would not conflict with free speech, and he noted that Google already had a process for global removal of some identifiable private information, like bank account numbers, social security numbers and sexually explicit images uploaded without the subject’s consent (known as “revenge porn.”).

“A global implementation of the fundamental right to privacy on the Internet would be a spectacular achievement,” said Mr. Rotenberg. “For users, it would be a fantastic development.”

Mr. Zittrain, of Harvard, pointed out that Google also removes content globally to abide by copyright law. When Google receives a takedown notice for linking to infringing content, it removes those links from all of its sites across the world. Couldn’t it do the same for private information?

The trouble with comparing copyright law to privacy, though, is that the United States and Europe broadly agree on what constitutes copyrighted content, but private information is far more nebulous."

Katy Perry's Met Ball dress the subject of copyright infringement lawsuit; Guardian, 8/6/15

Tshepo Mokoena, Guardian; Katy Perry's Met Ball dress the subject of copyright infringement lawsuit:

"One artist is less than impressed with the dress that Katy Perry wore to this year’s Met Ball – and not for sartorial reasons. Brooklyn street artist Rime, born Joseph Tierney, has filed a copyright infringement lawsuit against designer Jeremy Scott and design house Moschino, for making a dress that Tierney believes imitates a signature graffiti tag that he painted on a Detroit building."

An Old Songbook Could Put ‘Happy Birthday’ in the Public Domain; New York Times, 8/4/15

Ben Sisario, New York Times; An Old Songbook Could Put ‘Happy Birthday’ in the Public Domain:

"Yet “Happy Birthday to You” has long been a prime target for critics of the laws that regulate copyright. Thanks to an extension made under the Sonny Bono Copyright Term Extension Act of 1998 — which was lobbied for heavily by Hollywood — the song remains under protection through 2030.

“The fact that ‘Happy Birthday to You’ is still under copyright is the most symbolic example of how copyright has expanded and overreached beyond its Constitutional purpose,” said Kembrew McLeod, a communications professor at the University of Iowa who has written about the song."

To Some, Beijing Olympics Song Is Suspiciously Similar to Ballad From Disney’s ‘Frozen’; New York Times, 8/3/15

Didi Kirsten Tatlow, New York Times; To Some, Beijing Olympics Song Is Suspiciously Similar to Ballad From Disney’s ‘Frozen’ :

"On the YouTube page for “The Snow and Ice Dance,” one of 10 official songs of the Games, many of the comments were in Chinese, although it was not clear how many of them came from the mainland, where an official ban on the site makes access difficult...

Caijing Online, the website of a prominent Chinese business magazine, also noted the similarities, and offered a technical analysis that went beyond the melodic parallels. Among the main points: Both songs employ a piano as the major instrument, have similar prelude chords and an eight-beat introduction, and they run at almost exactly the same tempo...

Accusations of plagiarism and other forms of intellectual property theft are not new in China, where the legal concepts of trademarks and copyrights are not rigorously enforced and remain a source of tension between China and the United States.

Just last month a dispute erupted over a Chinese animated film, “The Autobots,” in which the characters look remarkably like those in “Cars,” produced by Disney’s Pixar Animation Studios. Viewers called “The Autobots” a shameless copy, but the film’s director said he had never even seen “Cars.”"

Talks for Pacific Trade Deal Stumble; New York Times, 7/31/15

Jonathan Weisman, New York Times; Talks for Pacific Trade Deal Stumble:

"Trade negotiators from the United States and 11 other Pacific nations failed to reach final agreement on Friday, with difficult talks on the largest regional trade agreement ever deadlocking over protections for drug companies and access to agriculture markets on both sides of the Pacific...

In the end, a deal filled with 21st-century policies on Internet access, advanced pharmaceuticals and trade in clean energy foundered on issues that have bedeviled international trade for decades: access to dairy markets in Canada, sugar markets in the United States and rice markets in Japan...

Australia, Chile and New Zealand also continue to resist the push by the United States to protect the intellectual property of major pharmaceutical companies for as long as 12 years, shielding them from generic competition as they recoup the cost of developing next-generation biologic medicines."

Negotiators say they substantially narrowed the number of outstanding issues. They vowed to keep the momentum going. But, as one non-United States official said, if talks go into hiatus for long, it could be easier for many of the countries to say no than yes."

Lilly Pulitzer sues Old Navy for copyright infringement; Fortune, 7/30/15

Laura Lorenzetti, Fortune; Lilly Pulitzer sues Old Navy for copyright infringement:

"Lilly Pulitzer, known for its bright and unique fabric patterns, is suing Old Navy for copyright infringement, saying the Gap-owned unit blatantly stole two of the designer’s fabric prints.

While apparel designs are not covered by any intellectual property laws, one-of-a-kind prints and patterns do fall under that protection. Sugartown Worldwide, which owns the Lilly Pulitzer brand and its 33 retail stores, alleged that Old Navy knocked off two of its colorful prints, causing “irreparable harm” to the company."

Librarians stir the pot for copyright reform; Brisbane Times, 7/31/15

Natalie Bochenski, Brisbane Times; Librarians stir the pot for copyright reform:

About 1500 libraries around Australia will on Friday, July 31, take part in ALIA's Cooking for Copyright campaign, with everyone else encouraged to take part as well.

Sue McKerracher, of the Australian Librarian and Information Association, said it was inspired by the thousands of vintage recipes that lay dormant in unpublished library collections.

"What we want is for everyone to cook something, photograph it, and send it to us using the hashtag," she said.

Advertisement "That will effectively give us a good petition to take to the government and ask the Attorney-General to review the legislation, make this change and give a gift to the Australian people."

ALIA has declared Friday, July 31, Cooking for Copyright Day, to draw attention to the quirk of legislation that prohibits unpublished documents from being uploaded online.

"We've got lots of real treasures locked up in museums, libraries, galleries, historical societies that can't be shared online with the Australian public because of this copyright restriction," Ms McKerracher said...

Ms McKerracher said the National Library in Canberra alone held more than two million unpublished works.

"Those include letters from Jane Austen, Prince Albert, Captain Cook, Charles Darwin, Dame Nellie Melba, Christobel Pankhurst and Banjo Patterson, but you wouldn't know that, because we can't put them on the web," she said."

Conan O'Brien Targeted in Lawsuit Claiming He Lifted Jokes from Twitter; Hollywood Reporter, 7/27/15

Eriq Gardner, Hollywood Reporter; Conan O'Brien Targeted in Lawsuit Claiming He Lifted Jokes from Twitter:

"The new lawsuit comes amid some focus on joke theft on Twitter. This past week, a few jokes published on the media service were removed, apparently at the request of a freelance writer. This led to numerous articles that Twitter was taking joke theft seriously, though it's probably nothing more than an individual submitting a simple form pursuant to the Digital Millennium Copyright Act.

Internet service providers only give light scrutiny towards takedown requests. By expeditiously removing material that's claimed to be a violation of copyright, services like Twitter gain an affirmative defense against copyright liability. Users who have material removed then have the opportunity of submitting a counter-notice, which typically results in restoration and provides notice to the rights holder of whom to sue if there's still a dispute."

Pitt Law Librarians Help Uncover Smoking Gun Evidence in Historic “Happy Birthday” Song Lawsuit; Pitt Law, 7/28/15

Pitt Law; Pitt Law Librarians Help Uncover Smoking Gun Evidence in Historic “Happy Birthday” Song Lawsuit:

"It’s evidence that might prove conclusively there is no copyright to the lyrics of the “Happy Birthday” song, and attorneys for the plaintiffs in the class-action lawsuit Good Morning To You Productions Corp. v. Warner/Chappell Music, Inc discovered it was housed in the University of Pittsburgh’s library storage facility. Scrambling to get a hold of it, the attorneys contacted Pitt Law professor and intellectual property law expert Michael Madison. He put them in touch with the Barco Law Library's interim director Marc Silverman and law librarian Linda Tashbook.

The fourth edition of The Everyday Song Book was published in 1922 and contains lyrics for “Happy Birthday To You” without any copyright notice, which predates Warner/Chappell’s 1935 copyright registration...

Now with the help of Pitt Law and the University, the world’s most recognized song in the English language (according to the Guinness Book of World Records) may become free to the public. In a new filing in the case (PDF), the attorneys for the plaintiffs write, “[T]he documents prove conclusively that the song is in the public domain, thus making it unnecessary for the Court to decide the scope or validity of the disputed copyrights…""

"Happy Birthday" Lawsuit: "Smoking Gun" Emerges in Bid to Free World's Most Popular Song; Hollywood Reporter, 7/27/15

Eriq Gardner, Hollywood Reporter; "Happy Birthday" Lawsuit: "Smoking Gun" Emerges in Bid to Free World's Most Popular Song:

"The filmmakers working on a documentary about the world's most popular song, "Happy Birthday to You," and currently suing Warner/Chappell for the right to use the song in the documentary without any license fee, filed court papers on Monday touting newly uncovered evidence that "proves conclusively that there is no copyright to the Happy Birthday lyrics."

The "proverbial smoking gun," as the plaintiffs put it to a California judge, is a book of children's songs that comes straight out of Warner/Chappell's digital library.

Betsy Manifold and Mark Rifkin, attorneys for the plaintiffs, were only given access to these files just three weeks ago. They were told the documents were held back "mistakenly." What they found was a blurry version of the 15th edition of The Everyday Song Book, published in 1927. The book contained Happy Birthday lyrics. Intrigued by the discovery, and looking for a cleaner version, the lawyers started hunting down earlier editions, and in the archives of The University of Pittsburgh, they came upon the fourth edition, published in 1922, which included the famous Happy Birthday song without any copyright notice."

Patent Protection for Drugs Puts Pressure on U.S. in Trade Talks; New York Times, 7/30/15

Jonathan Weisman, New York Times; Patent Protection for Drugs Puts Pressure on U.S. in Trade Talks:

"“The goal of the pharmaceutical industry is to change the rules internationally, to change global norms with a new monopoly that is cheaper for the companies and stronger,” said Judit Rius Sanjuan, a legal policy adviser for Doctors Without Borders’ medical access campaign, which wants lower-cost drugs on the market faster.

On the other side, Senator Orrin G. Hatch, the Utah Republican who is chairman of the Senate Finance Committee, singled out the next generation of pharmaceuticals, called biologics, and warned on Wednesday that “a strong intellectual-property chapter — including strong patent and regulatory data protections for biologics — is vital to securing congressional support for this trade deal.”

The complexity of the pharmaceutical issues illustrates how difficult it will be to agree on broad trade rules for 12 countries, including giants like the United States and Japan and developing counties like Peru, Malaysia, Vietnam and tiny Brunei. United States negotiators are using novel arguments to secure positions. For instance, they are pushing to mandate open access to the Internet as an antipiracy measure, so Hollywood can use streaming videos to completely cut out the often-copied DVD."

Pitt library songbook key to lawsuit over ‘Happy Birthday’ rights; Pittsburgh Post-Gazette, 7/30/15

Luke Nozicka, Pittsburgh Post-Gazette; Pitt library songbook key to lawsuit over ‘Happy Birthday’ rights:

"The plaintiffs argued in a court filing this week that the copyright for the song expired when both versions of the song were published in the 1922 “Everyday Song Book.”...

On July 21, Mike Madison, faculty director of Pitt Law’s Innovation Practice Institute, received an email from Mr. Rifkin asking if a law student could send him copies of a 1916 version of the book located in Pitt’s Theodore M. Finney Music Library. But Jeanann Haas, head of Special Collections at University Library System, said no “Happy Birthday” lyrics were found in it.

However, the lyrics are in the 220-page 1927 version, a 12th edition, located at Hillman Library in Pitt’s Special Collections Department. Librarians there faxed a copied version of song 16 in the book published by The Cable Company in Chicago, titled “Good Morning and Birthday Song” to the attorney, which was used as evidence at the hearing Wednesday.

The attorneys said the Pitt songbook was the “smoking gun” evidence that would prove once and for all that the song is not copyrighted...

Regardless of how the judge rules, Mr. Silverman said it is almost funny how much attention Pitt is getting from this, considering all they really did “was copy a couple pages and fax them off.”

“We pull rabbits out of the hat day in and day out,” Mr. Silverman said. “We fax a couple pages to an attorney... and all of a sudden, the whole world is coming to our doorstep and saying, ‘Man, the librarians are really great.'"

Filmmakers fighting “Happy Birthday” copyright find their “smoking gun”; ArsTechnica.com, 7/27/15

Joe Mullin, ArsTechnica.com; Filmmakers fighting “Happy Birthday” copyright find their “smoking gun” :

"t's been two years since filmmakers making a documentary about the song "Happy Birthday" filed a lawsuit claiming that the song shouldn't be under copyright. Now, they have filed (PDF) what they say is "proverbial smoking-gun evidence" that should cause the judge to rule in their favor.

The "smoking gun" is a 1927 version of the "Happy Birthday" lyrics, predating Warner/Chappell's 1935 copyright by eight years. That 1927 songbook, along with other versions located through the plaintiffs' investigations, "conclusively prove that any copyright that may have existed for the song itself... expired decades ago."

Even if the owner wasn't first, "Copyright law requires originality, not novelty." If the filmmakers' lawyers are right, it could mean a quick route to victory in a lawsuit that's been both slow-moving and closely watched by copyright reform advocates. Warner/Chappell has built a licensing empire based on "Happy Birthday," which in 1996 was pulling in more than $2 million per year."

State Of Georgia Sues Carl Malamud For Copyright Infringement For Publishing The State's Own Laws; TechDirt.com, 7/24/15

Mike Masnick, TechDirt.com; State Of Georgia Sues Carl Malamud For Copyright Infringement For Publishing The State's Own Laws:

"Two years ago, we wrote about the state of Georgia ridiculously threatening to sue Carl Malamud and his site Public.Resource.org for copyright infringement... for publishing an official annotated copy of the state's laws. This followed on a similar threat from the state of Oregon, which wisely backed down. Malamud has spent the last few years of his life doing wonderful and important work trying to make sure that the laws that we live by are actually available to the public. The specific issue here is that while the basic Georgia legal code is available to the public, the state charges a lot of money for the "Official Code of Georgia Annotated." The distinction here is fairly important -- but it's worth noting that the courts will regularly rely on the annotations in the official code, which more or less makes them a part of the law itself. And then, the question is whether or not the law itself should be subject to copyright restrictions. Malamud has long argued no, while the state has obviously argued yes, probably blinded by the revenue from selling its official copy of the annotated code."

It took two years, but the state has now done the absolutely ridiculous thing of suing Malamud. It is about as ridiculous as you would expect again focusing on the highly questionable claim that the Official Code of Georgia Annotated is covered by federal copyright law -- and that not only was Malamud (*gasp*) distributing it, but also... creating derivative works! Oh no! And, he's such an evil person that he was encouraging others to do so as well!"

ALA president calls for digital transformation of Copyright Office; American Library Association (ALA) Press Release, 6/12/15

American Library Association (ALA) Press Release; ALA president calls for digital transformation of Copyright Office:

"Today, American Library Association (ALA) president Courtney Young responded to the introduction of the Copyright Office for the Digital Economy Act (CODE Act) by Representatives Judy Chu (D-CA) and Tom Marino (R-PA):

“For more than 20 years, content creators, rights holders, legislators and public users alike have acknowledged that the U.S. Copyright Office needs to modernize its technological capabilities for the 21st century. Unfortunately, the recently introduced Copyright Office for the Digital Economy Act does little to address significant technology challenges impacting the U.S. Copyright Office.

“The bill’s proposal to make the Copyright Office an independent agency does not address the longstanding problems facing the agency, specifically that the Copyright Office’s information technology systems are woefully inadequate in serving both rights holders and the public in the digital environment. Much of the Copyright Office's shortcomings were detailed in a Government Accountability Office report published in March 2015. Instead of independent authority, the Copyright Office needs resources—both in the form of funding and technical expertise—to bring it out of the typewriter age.

“Rights holders, authors, publishers, libraries and the general public nationwide rely on the robust U.S. Copyright registration and recordation system to identify the copyright status of works. Comprehensive and accurate records in digital systems that can communicate with other digital systems are necessary to handle any transaction—whether one is trying to register copyright in order to proceed with legal action or whether one is just trying to identify who holds the rights to a particular work. In addition, progress should be made immediately to build the necessary digital storage facilities for digitally-born works.

“We urge the U.S. Congress to support the investment necessary to transition the Copyright Office from a paper-based system to a digital system that uses the most effective digital technology, systems and software–to enable commerce, promote access to content, and to inspire the creators and artists of the future who wish to make use of the previous works. A successful overhaul of the Copyright Office’s information technology infrastructure cannot be achieved by securing the Copyright Office’s independence from the Library of Congress. We have a much more important problem to solve that cannot be fixed by changing the address of the Copyright Office.”"

The Copyright Office Belongs in a Library; Electronic Frontier Foundation (EFF), 7/23/15

Parker Higgins, Electronic Frontier Foundation (EFF); The Copyright Office Belongs in a Library:

"The ALA is correct. The way to solve the problems of the Copyright Office and the Librarian of Congress is not to separate the two. Rather, it's to dedicate resources better and push for more thoughtful leadership. On both counts, a smart choice for Librarian of Congress will help.

There are also historical reasons to leave it in place, dating back to the 1870 law that centralized key copyright functions in the Library. Most notably, the deposit requirement—that authors and artists submit copies of works they are registering for copyright—has provided enormous public value by building up the collection. Of course, the Copyright Office performs other functions. But operations like maintaining a catalog of registrations, providing technical assistance to legislators and executive branch agencies, and providing information services to the public are all better understood as being, on some level, library services.

So both ideologically and pragmatically speaking, any hasty moves to yank the Copyright Office out of the Library should be non-starters. The Copyright Office has an important role to play in protecting the public interest. It’s most likely to play that role if it answers to a Librarian."

TPP's Copyright Trap; Electronic Frontier Foundation (EFF), 7/22/15

Electronic Frontier Foundation (EFF); TPP's Copyright Trap:

"One of the defining battles in the Trans-Pacific Partnership (TPP) negotiations is whether its signatory countries will standardize copyright terms lengths to a minimum term of the life of the author plus 70 years. This would effectively set the maximum duration of copyright holders' monopoly rights to over 140 years. This is the demand from rightsholder groups such as the RIAA and MPAA who advise the U.S. Trade Representative (USTR). A precedent for such a provision has been set in previous Free Trade Agreements with countries like Australia and Singapore.

But the world's leading economists agree that such an extraordinary long copyright term makes no sense. It provides no further incentive for creation and provides little additional income to creators or their families—except for a very small, successful minority."

People who pay for content but also infringe copyright spend more; ZDNet, 7/22/15

Chris Duckett, ZDNet; People who pay for content but also infringe copyright spend more:

"Consumers who flirt with the morally ambiguous line of content consumption spend more money, according to a survey released by the Australian Department of Communications.

Over a three-month period among respondents aged 12 and over, the survey found that those who consumed a mixture of copyright-infringing and non-infringing content spent on average AU$200 on music, AU$118 on video games, AU$92 on movies, and AU$33 on TV content. Consumers who only consumed non-infringing content spent only AU$126 on music, AU$110 on video games, AU$67 on movies, and AU$22 on TV; whereas pure copyright-infringing content consumers spent a mere AU$88 on music, AU$24 on video games, AU$53 on movies, and AU$8 on TV content...

"Rights holders' most powerful tool to combat online copyright infringement is making content accessible, timely, and affordable to consumers," Turnbull said on Wednesday."

Does the Copyright Office Belong in a Library? | Peer to Peer Review; Library Journal, 7/2/15

Kevin L. Smith, Library Journal; Does the Copyright Office Belong in a Library? | Peer to Peer Review:

"It has been a busy time for those of us who watch the doings of the Copyright Office. In addition to releasing a massive report on Orphan Works and Mass Digitization, about which I have written here, the Copyright Office (CO) is the subject of a piece of legislation introduced as a discussion draft on June 3. The bill, if it were officially introduced and ultimately enacted, would remove the CO from the Library of Congress (LC) and establish it as an independent agency of the federal government, under the Executive Branch. Then, while we were still considering the ramifications of this idea, came the announcement on June 10 of the pending retirement of Dr. James Billington, who has been the Librarian of Congress for the past 29 years.

These events suggest long-term changes for the copyright and library communities, and it is worth taking a moment to consider, especially, the impact of the idea of making the Copyright Office an independent agency.

The first thing that strikes me about the “discussion draft” of the proposed law to establish the Copyright Office as an independent agency—called the Copyright Office for the Digital Economy (CODE) Act—is that it never says why it is needed."

Orphan Works and Mass Digitization: A Report of the Register of Copyrights; U.S. Copyright Office, June 2015

U.S. Copyright Office; Orphan Works and Mass Digitization: A Report of the Register of Copyrights:

In Ashley Madison hack, copyright "solution" is worse than no solution; Fortune, 7/21/15

Jeff John Roberts, Fortune; In Ashley Madison hack, copyright "solution" is worse than no solution:

"While the copyright takedown might sound like a solution, it’s a weak and short-lived one. For one thing, there’s nothing to stop the hackers simply uploading the files again, forcing Ashley Madison to send out DCMA notices over and over. And this assumes that the company even has a valid copyright it can enforce in the first place – an unlikely event since, in the case of members’ profiles, the copyright probably belongs to the users not Ashley Madison.

Ashley Madison’s DMCA announcement is little more than a bluff, and it’s one we’ve seen before. Recall, how in the wake of the Sony hacks, the movie studio hired super-lawyer David Boies to send around trumped-up intellectual property threats in a failed attempt to keep media from reporting on the leaks. Or how Jennifer Lawrence, and other celebrities who had their Apple iCloud accounts hacked, tried to use copyright law to stop people distributing nude photos.

In all of these cases, the copyright claims in question were weak or non-existent, but the hacking targets invoked them anyways. Why? The best answer is that lawyers had to respond to frantic entreaties from their clients to do something, and copyright was the nearest legal cudgel. It’s easy to use, everyone’s heard of it, and it can come with nasty penalties."

Ashley Madison, a Dating Website, Says Hackers May Have Data on Millions; New York Times, 7/20/15

Dino Grandoni, New York Times; Ashley Madison, a Dating Website, Says Hackers May Have Data on Millions:

"Under American copyright law, Ashley Madison has the power to scrub away private user information leaked in the breach and posted to other websites. On Monday, the company said that it had been doing just that to protect the identities of those who have used Ashley Madison.

But that may be a race that it cannot win. Paul Ferguson, senior adviser for Trend Micro, a security software provider, said that information on Ashley Madison, deleted in one online forum, is beginning to bubble up in others.

“Once something is published on the Internet,” he said, “it’s there forever.”"

At Comic-Con, Bring Out Your Fantasy and Fuel the Culture; New York Times, 7/15/15

A.O. Scott, New York Times; At Comic-Con, Bring Out Your Fantasy and Fuel the Culture:

"The deeper mythology of Comic-Con is that fans and creators are joined in communion, sharing in the holy work of imagination. The logic of popular culture today suggests that every fan is also an artist. This is literally true in the blossoming fields of fan art and fan fiction, in which devotees of intellectual properties (the ubiquitous San Diego shorthand for books, comics, movies and shows) make their own images and stories involving their favorite characters. Cosplay is a live-action form of fan art, or maybe fan nonfiction, and the owners of the intellectual property rights are careful not to interfere too much.

The organizers of Comic-Con, meanwhile, provide encouragement for fans who dream of professionalizing their passions. A smattering of panels offered advice on how to pitch an idea, how to market a product, how to make a living in a crowded marketplace. Social media and digital technology encourage the fantasy that everyone can make stuff and put it out there for everyone else.

Or maybe it isn’t a fantasy. The world of popular culture only gets bigger, and as it does it grows more diverse, more inclusive and more confounding."

Open Data Awards Celebrate Smart Uses Of Public Data; Forbes, 7/10/15

Paul Miller, Forbes; Open Data Awards Celebrate Smart Uses Of Public Data:

"Open Data’s rockstars gathered at Bloomberg’s London offices last night, for the second Open Data Awards. Organized by the Open Data Institute (ODI), the Awards celebrate “a generation of network thinkers who are changing the world with open data.” More importantly, they demonstrate some of the ways in which services and applications powered by Open Data are transforming lives and creating business opportunities around the world. ODI co-founders, Web inventor Sir Tim Berners-Lee and University of Southampton Professor Sir Nigel Shadbolt, presented the Awards and shared their perspectives on the work that is still to be done.

Awards covered five categories, comprising a Business award, an Innovation award, a Social Impact award, an Individual Champion award, and a Data Publisher award."

Stephen Hawking, Russian Billionaire Launch New Alien-Hunting Effort; Huffington Post, 7/20/15

Jacqueline Howard, Huffington Post; Stephen Hawking, Russian Billionaire Launch New Alien-Hunting Effort:

"At the Royal Society in London today, the famed physicist and Russian tech billionaire Yuri Milner announced the launch of a $100-million initiative to search for signs of intelligent life beyond Earth, BBC News reported. The initiative -- part of the Breakthrough Initiatives group -- is named Breakthrough Listen.

"With Breakthrough Listen, we’re committed to bringing the Silicon Valley approach to the search for intelligent life in the universe," Milner said in a written statement. "Our approach to data will be open and taking advantage of the problem-solving power of social networks."...

Milner said the search will be transparent and will rely on open-source software so that its findings can be shared with space enthusiasts around the world."

Grooveshark co-founder Josh Greenberg found dead at 28; Washington Post, 7/20/15

Abby Phillip, Washington Post; Grooveshark co-founder Josh Greenberg found dead at 28:

"The site Greenberg co-founded once had more than 35 million users, nearly 150 employees and two offices at its peak. But for much of its existence, it had been beset by legal challenges.

Record labels accused the site of playing music without acquiring licenses by leaning heavily on user-uploaded music.

In May, the site was shuttered, and Greenberg and co-founder Sam Tarantino issued an apologetic statement after a federal judge ruled that they had willfully violated copyright law.

“We started out nearly ten years ago with the goal of helping fans share and discover music,” they wrote in an apology. “But despite the 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.”

They added: “That was wrong. We apologize. Without reservations.”

As part of the settlement, the company agreed to hand over its Web site, mobile apps and intellectual property. They faced up to $75 million in penalties if the terms of the settlement were violated."

Pirates face 10 years in prison under UK copyright shake-up; Wired.com, 7/20/15

Michael Rundle, Wired.com; Pirates face 10 years in prison under UK copyright shake-up:

"Pirates found guilty of copyright infringement could face up to 10 years in prison under new plans unveiled by the government.

The maximum sentence for commercial copyright infringement is currently two years, but that would be increased by five times under the new plans, unveiled as part of a consultation on intellectual property.

The new prison sentence would apply only to "commercial scale" copyright infringement, however, meaning the vast majority of internet users would not be at risk...

Individuals and organisations are able to make their views known on the consultation to the Intellectual Property Office by emailing enforcement@ipo.gov.uk, with the full details available via Gov.uk. The responses will be collated and published before the proposals move forward through the Commons.

The new proposed measures come in the context of tougher controls over pirate sites and proxies, and intense lobbying from the music, film and digital entertainment industries over digital theft."