A Stolen Video of My Daughter Went Viral. Here’s What I Learned; New York Times, 9/26/14

Carrie Goldman, New York Times; A Stolen Video of My Daughter Went Viral. Here’s What I Learned:

"In early September, someone downloaded my video of Cleo, stripped it of all identifying information, changed the title from “Cleo on Equality” to “Wisdom of a 4-Year-Old”, and re-uploaded it to YouTube, passing it off as his or her own video. A woman in Amsterdam posted an embedded version of the stolen video to her Facebook page, from which it went viral. Within a matter of days, the stripped-down version of the video had been shared over 80,000 times.

I only learned about it when the pirated video began appearing in the news feed of people who recognized Cleo and noticed that it was not linked to any of my accounts. I felt sick on multiple levels. I have always known, of course, that the mere act of uploading a video to any digital site means potentially losing control over that content. But now it had happened, and even though the shares appeared to be harmless — approving, even — it was still terrifying. What if someone decided to do something creepy with it?

There was also a part of me that saw all the comments lauding Cleo’s grasp of acceptance, and I wanted those people to be linked back to my anti-bullying work. I missed the opportunity to share what I do for a living with a wide audience. I was sad and confused. Was I upset because the video was out there being viewed by tons of strangers, or was I upset because it was out there and I wasn’t getting credit? Both, probably...

I knew I had rights under the Digital Millennium Copyright Act. Since I speak to students and teachers all the time about good digital citizenship, I knew what steps to take next:

• Do not retaliate against someone online

• Take a screen shot and record the evidence

• Use this online form to report the violation to Facebook.

• Use this online form to report a copyright infringement on YouTube."

Bugging out: How rampant online piracy squashed one insect photographer; Ars Technica, 9/24/14

Alex Wild, Ars Technica; Bugging out: How rampant online piracy squashed one insect photographer:

"Here is a true story about how copyright infringement costs my small photography business thousands of dollars every year.

Or, maybe it isn’t. It could also be a true story of how copyright infringement earns me thousands of dollars every year. I can’t be sure. Either way, this is definitely the story of how copyright infringement takes up more of my time than I wish to devote to it. Copyright infringement drains my productivity to the point where I create hundreds fewer images each year. And it's why, in part, I am leaving professional photography for an academic position less prone to the frustrations of a floundering copyright system."

Marvel & Jack Kirby Family Settle Long-Running Legal Dispute; ComicBookResources.com, 9/26/14

ComicBookResources.com; Marvel & Jack Kirby Family Settle Long-Running Legal Dispute:

"Deadline reports that Marvel and the family of Jack Kirby have settled their legal battle in advance of the Supreme Court taking the case into conference. A joint statement has been released and reads as follows:

"Marvel and the family of Jack Kirby have amicably resolved their legal disputes, and are looking forward to advancing their shared goal of honoring Mr. Kirby’s significant role in Marvel’s history.""

Behind the Groundbreaking Design of Aphex Twin’s Record Covers; New York Times, 9/22/14

Andy Beta, New York Times; Behind the Groundbreaking Design of Aphex Twin’s Record Covers:

"Tomorrow sees the release of “Syro,” a double album on the pioneering electronic label Warp Records that finds the reclusive genius — now a father of two living in rural Scotland — at his mischievous, beat-twisting best. (It can be streamed here in its entirety; a Spotify account is required.) The record also shares a lineage with the eye-catching, face-distorting cover art of releases like 1997’s “Come to Daddy” and 1999’s “Windowlicker,” again finding James collaborating with the groundbreaking firm The Designers Republic (TDR) on the visuals. Here, the collective’s founder and creative director, Ian Anderson, chats with T about the thought process behind some of Aphex Twin’s most iconic cover art...

“Come to Daddy Remixed” (1997) “For us the key elements in the ‘Come to Daddy’ art were the typographic deconstructions of the photographic imagery and of the TV ad for Orange Mobile, which had used one of the Aphex Twin remix tracks. For copyright reasons we weren’t allowed to show an image of the art, so we reduced the ad to a short descriptive text in reversed white out of orange.”

SiriusXM Copyright Battle: What Does the Latest Ruling Mean for Digital Music?; Billboard, 9/23/14

Ed Christman, Billboard; SiriusXM Copyright Battle: What Does the Latest Ruling Mean for Digital Music? :

"The U.S. Federal Court decision that SiriusXM violated the Turtles' pre-1972 master copyrights by playing their music without licensing it or paying performance royalties is a big win for the music industry, but does it have meaning beyond California where the legal battle took place?

Like all lawsuit decisions, the ruling may have legal implications for other ongoing court cases, but the ruling has just decided a battle, not the war.

That war centers on whether SiriusXM and other digital music services like Pandora, have the right to play pre-1972 recorded music without licensing nor paying royalties to record labels and the artists because -- those services argue -- the master recording copyright didn't exist until 1972 in federal law. Digital service, as part of the Digital Millennium Copyright Act, must pay master recordings rights-holders and music publishers for broadcast, unlike terrestrial radio, which only has to pay royalties to publishers. But Sirius only pays for recordings created after 1972 when federal law recognized the master recording copyright."

‘Let’s Take a #Selfie,’ Said the Monkey: A Case of Questionable Copyrights; Wired, 9/18/14

Anderson J. Duff, Wired; ‘Let’s Take a #Selfie,’ Said the Monkey: A Case of Questionable Copyrights:

"The United States Copyright Office chimed in with its two cents in the recently published third edition of the Compendium of U.S. Copyright Office Practices – the first revision in over two decades. While prior publications were largely internal, the third edition is a push to make the practices and standards of the Copyright Office more timely and transparent while providing guidance on some fundamental principles of copyright law. Its verdict? Monkey selfies can’t be copyrighted.

In the age of hyperconnected, always-on, muploads, likes and hashtags, how does intellectual property fit into the equation? How do we define “ownership” when pieces of content — especially images — are continuously created and uploaded into the public domain in a matter of seconds? As preteens, celebrities, President Obama, the Pope — and now, yes, even monkeys — jump on the selfie train, we may not think twice before uploading photos to Instagram or Facebook. But one filter we rarely consider is looking at the world through copyrights."

Apple and Amazon Take Baby Steps Toward Digital Sharing; New York Times, 9/18/14

Molly Wood, New York Times; Apple and Amazon Take Baby Steps Toward Digital Sharing:

"In the physical world, you can share a book or DVD or CD that you bought with as many friends and family as you like. You can even sell those items if you want, thanks to the first sale doctrine.

But digital media has been excluded from that doctrine, because, essentially, when you buy a digital song or movie or book, you’re being granted a license to use that media, but you don’t actually own it.

As a result, there are far more restrictions on what you can do with an MP3 than on what you can do with a CD...

So, while Family Sharing and Family Library seem like a victory at first, “to me, this is really a failure of our copyright law,” said Corynne McSherry, who heads intellectual property policy research at the Electronic Frontier Foundation.

“It presupposes that the content owners should be able to have that kind of control over what they buy,” she said. “Copyright law isn’t changing with our times, because what doesn’t change is that people want to be able to give someone a copy of a book or song that they legally bought.”

“The fact is,” Ms. McSherry said, “that we need Amazon or Apple to have elaborate license agreements in order to make it possible for their customers to be able to do what they should be able to do anyway.”"