The apparent strategy:

1. Outlaw file sharing
2. Outlaw personal encryption and anonymization services
3. Set up a global, privately-run Internet surveillance program to spy on everybody all the time without a warrant — run by ISPs and paid for by the taxpayers
4. And finally, get the authority to block anyone from the Internet entirely, without the involvement of police, courts or any verifiable trail of evidence

We can not let this happen.

“It is poor civic hygiene to install technologies that could someday facilitate a police state.” – Bruce Schneier

One of the main reasons why the recording industry are currently succeeding in this hostile takeover of the Internet, is that most people simply don’t understand what file sharing is, or why it matters to them in the first place. Whenever civil liberties are sacrificed, it is always on the bonfire of ignorance. We need to educate the world – neighbors, parents, judges and lawmakers – as to why the Internet must remain free, neutral, and uncensored.

It sometimes helps to explain that a file sharing technology like Bittorrent is the digital society’s equivalent of the wheel. It allows fast and easy transportation of data between users and businesses alike. But like the wheel, file sharing needs a stable, flat surface to perform at its best. In this analogy, The Pirate Bay is nothing short of the largest, best maintained, and most stable network of such ‘digital roads’ in the world. And it’s free to use for anyone, at any time, for any purpose.

Naturally, as is always the case where people congregate in a free society, some of the people who drive their wheeled carts on this network of roads will be carrying things in their carts of questionable quality, purpose or origin. In any system or society that is based on freedom rather than censorship or distrust, there is no question that individual transgressions can take place. This is the most basic cost of liberty.

As a digital society in its teens, we have yet to realize the enormous potential of file sharing in culture, education, knowledge sharing, and business. But already, we are seeing massive opposition against it from the likes of IFPI, the RIAA and the MPAA. This opposition, of course, stems from some of the aforementioned wheeled carts transporting ‘questionable goods’, in the form of copyrighted material.

The ensuing battle has been disguised as a legal matter concerning rights holders and ‘pirates’, but that is only the tip of the iceberg. It is true that the recording industry wants to stop criminals, but they are attempting to prohibit the wheel and all building of roads to pull it off. These lawyers are prepared to sacrifice our liberties, our privacy and our digital freedom in order to reach their goal. It is a grossly disproportionate and misdirected attack, and it has already begun: Once the verdict of the Spectrial was in, the Swedish anti-piracy office immediately began issuing legal threats against other file sharing networks. They are bulldozing every street and burning every car to prevent any possible (mis)use of the wheel. And worse yet – we are letting it happen.

The case of The Pirate Bay was not a case of artists vs. freeloaders, or even the recording industry vs. pirates. There were no artists on the accusing side, nor were there any pirates on the defending side. It was, and is, a case of misguided frustration by industry executives and lawyers, directed not against the actual violators of copyright law, but against the most outspoken proponents and enablers of a fundmental digital technology. A technology that allows fast and easy transportation af data – all data – between users and businesses alike.

We must never blame the network for the actions of individuals. Both rights holders and lawmakers must respect the fundamental principle of personal, individual responsibility. Let each peer be responsible for his own actions, just as every driver is liable for his own car.

The Pirate Bay is not illegal. File sharing is not illegal. Using file sharing for illegal purposes is illegal. The difference may be subtle to a layman, but in legal terms, the distinction is clear as day. The fact that the judges in the Pirate Bay case failed to recognize this, is a judicial travesty bordering on flat out corruption.

It cannot be stressed enough: this is not a question of copyright, of music, or of piracy. This is a question of a private organization now aiming to subvert several of the most important digital inventions since the World Wide Web, and our judges and politicians turning a blind eye in a staggering display of ignorance and corruption. This fight is about much more than The Pirate Bay. When our liberties are taken from us, we must rise, united in one voice, and fight for them.

It is a fight for basic digital liberties. It is a fight for our right to privacy. It is a fight for net neutrality. There is no getting around it. This is the fight of our generation, and it is too important to lose.

This is a guest post by Jens Roland. Jens is a computer scientist by training, but a technology forecaster by trade. He has worked at international think tanks as a consultant and researcher in emerging technologies and has written more than 300 articles and a book on the subject.

Article from: TorrentFreak, check out our new blog at FreakBits.

The message from the Moderate Party MPs to their AntipiratbyrÃ¥n supporting colleagues was “be careful, they will never be satisfied”, drawing parallels to the earlier attempts to ban MP3 players, and VCRs, both areas in which, having failed to ban, industry groups are now making a profit from selling content.

Karl Sigfrid told TorrentFreak that the APB proposals make no practical sense. “I think it could be solved in theory. However, in reality, you would need such a surveillance system to achieve this that it would be all out of proportion. So I don’t think there’s a feasilbe way of stopping individuals copying. The cause for file sharing is basically that it’s possible. People have always done it to the extent that they’ve been able to. With cassette tapes 20 years ago and electronically today. Copyright laws preventing individuals from sharing information have never been legitimate in the eyes of most people.”

When asked about if it was down to content industries being slow to change their business practices, he replied: “It’s hard to say what would have happened if the content industries had been quicker releasing their material online, before the P2P networks grew mainstream. Probably the illegal filesharing would be less extensive, but it’s possible that it would still have been increasingly difficult for iTunes and such services to compete with free downloading. The change needed might be so radical that it’s no longer about selling copies of immaterial products at all.”

Rickard Falkvinge, of the Swedish Pirate Party was understandably upbeat about it. “Karl Sigfrid’s taking a stand marks a major turning point. For the first time, an established politician shows deep-down understanding of the real conflict, instead of cluelessly humming along with a technophobical luddite industry. Some other Swedish mainstream politicians have previously talked in terms of how it’s unreasonable to declare war on an entire generation. Sigfrid is the first to understand why.” His enthusiasm is understandable as, one Swedish torrent user put it “a bunch of members of The Conservative Party have started listening to the policies of The Pirate Party, and they want to jump on their bandwagon, as it’s gaining popularity”.

Gaining popularity it is, as yesterday, thirteen members of Parliament joined in another attack (Swedish only, no English translation at present) on the likes of the APB, and recording industries, saying “The record labels are obviously opposed to a development that makes them obsolete.” However, not everyone has been celebrating. Pirate Bay administrator Brokep was skeptical, saying “I’m intrigued that the debate is sparking up again. There’s been a lot of lies from the politicians. Promises and nothing has happened, so at least this will put the debate back on the map.”

The initial seven MPs were Karl Sigfrid. Margareta Cederfelt. Ulf Berg. Lena Asplund. Staffan Appelros. Lisbeth Grönfeldt Bergman and Göran Montan. Tuesdays additions were Marie Weibull Kornias,Finn Bengtsson, Ann-Charlotte Hammar Johnsson, Sven Yngve Persson, and Anders Hansson.

**UPDATE** Sorry, forgot to add this translation of the second piece, available here

Article from: TorrentFreak, check out our new blog at FreakBits.

This film tries to simplify its drug abuse message with an analogy of kids putting together a contraption out of Lego blocks. Although the metaphors often don’t make sense, the visual impact of the film is stunning and could easily be quite popular with individuals consuming illicit drugs. Also, like most anti-drug films, this could be a tempting introduction to drugs for some youths yearning to escape their “boring” lives or to rebel against their parents.

Perversion for Profit I (Ca. 1965)

Anti-pornography film produced by financier Charles Keating, linking pornography to the Communist conspiracy and the decline of Western civilization. Keating is pretty serious about it. Here’s a quote: “We must seek to deliver ourselves from this twisted, torturing evil. We must save our nation from decay, and deliver our children from the horrors of perversion.”

Perversion for Profit II (Ca. 1965)

Another quote form this anti-pornography film: “Now, you might ask yourself, why this sudden concern? Pornography and sex deviation have always been with mankind. This is true. But now, consider another fact. Never in the history of the world have the merchants of obscenity, the teachers of unnatural sex acts, had available to them the modern facilities for disseminating this filth. High-speed presses, rapid transportation, mass distribution. All have combined to put the vilest obscenity within reach of every man, woman and child in the country.”

Alcohol Is Dynamite (1958)

Teens Bud and Jack, eager to get some alcohol from the liquor store, ask the adult to buy it for them. Instead, the adult tells them a story of three teenagers who learn the hard way that “alcohol is a violent narcotic.” In true Sid Davis form, the story ends with one innocent teen being killed and one who becomes an alcoholic bum, leaving the others to deal with guilt from their night of reckless abandon.

Last Prom (1980)

A near epidemic of alcohol-related deaths on prom night spurred this film’s release. While alcohol does play a role in the graphic, yet fake carnage we see on the screen, you gotta wonder about that dangerous tunnel. Filmmakers realized that teens would fail to identify with even a slightly dated message; this film was later remade to update the fashions, although the story stayed the same. The school chorus soundtrack makes this film even creepier

Human Reproduction (1947)

Though this sex education film concentrates on presenting the anatomy and physiology of human reproduction in sober medical terms, its release kicked off a controversy in many American cities and towns over the legitimacy of sex education in the public schools. The film is narrated from the point of view of an adult who tries to decide how to answer his son’s natural questions about sex and reproduction. With excellent diagrams of the reproductive process.

As Boys Grow (1957)

Sex education film aimed at teenage boys, with the coach of a freshman track team as authority figure and teacher. How does the male reproduction system work, why does it work that way, and what can we do with that thing.

How Much Affection? (1957)

How far can young people go in petting and still stay within the bounds of personal standards and social mores? You like someone, he or she likes you, everything seems to be fun, but suddenly you find yourself in a position where your physical urges fight against your reason.

A Case For Beer (Ca. 1970)

An educational film about the dangers of selling beer to underage youth. The film is intended for convenience store owners, very informational indeed. Don’t be tricked, or you will lose your license and never sell anything again.

Thanks Archive.org and BEN

Article from: TorrentFreak, check out our new blog at FreakBits.

The Reboot8 conference is “a journey into the interconnectedness of creation, participation, values, openness, decentralization, collaboration, complexity, technology, p2p, humanities, connectedness and many more areas”.

The Grey Commons

Intro
There has been a lot of grey zone activity the last few days. You know that if you’ve followed the story about the Swedish police seizing the servers of the BitTorrent indexing site The Pirate Bay, a raid initiated by Hollywood’s MPAA and probably through several more than dubious stages of political influence, raising more question marks for every hour.
Anti-piracy is operating in its their own grey zone. But I would like to start this talk from another direction, the positively grey, which was what was I originally was invited to talk about here at Reboot, to sum up some of the crucial points in copyright’s current crisis.

We are the many shades of the Grey commons
DJ Danger Mouse took the vocals from Jay-Z’s The Black Album and re-mixed it with the Beatles’ White Album and in his creation, The Grey Album, he was ignoring copyright law.
The whole circulation of the Grey Album would never have been possible without P2P file-sharing. These networks exists in the same space as remix or mash-up culture; a space of production, of inspiration, obtaining, downloading , remixing and reinserting distribution and up-down-loading of data. This grey zone is fading in and out of historically dominant forms of circulations, slowly tearing them apart and replacing them with new ones, through rapidly multiplicating small habits.
It is not a grey commons in terms of the law, but inscribed in the technical habits we use every day. The grey is not optional, it is not here by an effort but rather as the shortest way to make life work with technology. The test, the query, the shading, the tuning and twisting is omnipresent; it is not something you can wish away. This is the way we live and come alive.
The Grey Album could escape the claws of copyright owners, because the channels of distribution where there and rather untouchable. But this claw is stretching to bring us all back to a time before internet, P2P file-sharing and the universal computer. Two days ago, there was a major clampdown in Sweden, with the police seizing a large part of the world’s filesharing infrastructure, The Pirate Bay, as well as silencing the voice of PiratbyrÃ¥n. Of course only temporarily. We’ll get back to that. But below such dramatic outbursts, the copyfight is raging on a conceptual level, where the permanented crises of copyright is masked by images grounded in a one-way mass-medial logic, images with no room for greyscales.
In this dislocated situation piracy is about reestablishing connections that has been lost or cut-off. By developing the tools and discourses of file sharing, we try to expand the grey zones and make room for the unforeseeable. Instead of talking about things in the copyright industry’s universal terms, and instead shift the focus to the diverse reality of cultural circulation: what we call The Grey Commons.
On this Grey Thursday I would like to present som thoughts that have been cooking around projects like Piratbyrån and The Pirate Bay. About pirate ontologies, geneaologies and strategies for the grey commons.

Some words on the projects
Piratbyrån (The Pirate Association or Bureau of Piracy) in Sweden and Piratgruppen (The Pirate Group) in Denmark are sister organizations that tries to develop and deepen the questions about intellectual property and file sharing, through discussions, events, media appearances, publishing, lectures; developing and deepening
Piratbyrån was born in late summer 2003, emerging out partly from an integrated internet radio broadcast community and partly from IRC channels populated by the Swedish hacker community and demo-sceners. Piratbyrån was initiated to support the free copying of culture and has today evolved into a think-thank, running a community and an information site in Swedish with news, forums, articles, guides and a shop and has to date over 60000 members.
But two days ago, it was closed down by the Swedish police seizing the servers, that stood in the same server hall as The Pirate Bay, the world’s largest BitTorrent tracker. It was started by PiratbyrÃ¥n in november 2003 but grew faster than anyone could imagine, therefore it was naturl to branch it off and today, The Pirate Bay is a fully independent entity, but in a very friendly relation to PiratbyrÃ¥n.
[Presentation about the razzia and current events left out in this version.]

It’s not about downloading, stupid!
For a long time it was legal to download copyrighted files in Sweden, while the uploading of copyrighted material was criminal. But with the 2005 implementation of the EU copyright directive in Swedish law, also downloading was turned illegal. The anti-piracy lobby of course wanted everyone to believe that it suddenly has become very dangerous to be a file-sharer. While many voices have spoken up against the supposed “mass-criminalization of teenagers”, PiratbyrÃ¥n has tried to present a more realistic picture.
Most file-sharers use BitTorrent, where every downloader is also an uploader, and thus were probably in a formal sense criminals also before this law, that doesn’t really seem to have changed anything.
It is of big importance not to accept this terminology where “downloading” appears as some kind of activity completely separate from the uploading. We instead insist on talking about file-sharing as an horizontal activity.
Just like the activity of breathing includes both taking in air in the body and letting it out, filesharing has the same symmetry between up and down. Taking them apart, if even only through language, can only fill the purpose of replacing open exchange with centralized control.
Talking about “downloading” obscures the fact that horizontal P2P-communication is essentialy different from vertical mass-distribution. It is not the same “content” taking different paths to the “consumer”. It is about different archives and different architectures.

There is a constant buzz, driven by mass media, about so called “legal download services” for digital movies and music, presented as an alternative to P2P networks.
But the aim of “legal download services” is not primarily selling movies or music. It is rather about selling language, selling ideology, appropriating the very notion of “legal download”. In that ideology, “legal” is understood as “for payment”, and “download” as an up-down-transfer from a central server offering a limited range of so-called “content”, to a consumer.

So, we are totally mistaken if we think that we are criticising the content industry by saying that “offering legal downloads is good, but DRM sucks and prices are too high…” etc , because with that terminology we have already swallowed the ontology of undifference.

Horizontal exchange or vertical distribution? Open and unstable archiving, or centralized and limited? Those are the fundamental questions. Much more fundamental than the questions asked in the discourses about accessibility, consumer rights, social justice or compensation.

Metadata, not copyrighted material, is the war on piracy’s target
Pirated copies will be produced, no matter the fate of file-sharing networks. We’re all too often today equalising unauthorised digital copying with file-sharing networks, but it’s a fact that a lot of the illicit warez arrives at the hard disk from a physical storage medium, like an usb-device, a borrowed cd or a burned dvd.
To the extent that some people may avoid P2P networks, research shows that they just reconnect to other sources of data , be it physical copying from family and friends or files exchanges with mail and chat clients. It’s all a piracy performed in a grey zone outside surveillance.

So the question is not piracy or not, nor if darknets are desirable or not, but what infrastructures piracy will take use of.
Burning cd’s or gmailing files or giving them away with services like Yousendit.com, means quite much that piracy is stuck in the same infrastructure that it had during the era of the cassette tape and the photocopier, only multiplied by digital effectivity. There is still a dependence of finding someone (a friend, a library) with access to the source. File-sharing networks, however, connects every private archive that in one particular moment is connected, into the largest and most accessible archive ever.

The war against file-sharing is essentially a war against the distribution of uncopyrighted metadata, not against the distribution of copyrighted material. It is about hindering the ever-present piracy from globalizing and open indexing, pushing it back to the family and the schoolyard and the workplace. Scaling-down, not in quantity but in network scale, from peer-to-peer to person-to-person.
The result is not less piracy, but less plurality in piracy. More dependence on personal contacts means that more iPods will be filled with mainstream music that is exposed through mass media, while less people will curiously sneak around shared folders just to try out stuff.
But the iPods will no doubt be filled anyway. And you can forget that it will be according to an “one copy – one payment” formula.

Mental rights management
The grey zone also becomes visible if we consider how arbitrary the very definition of “copying” is. How it is based upon outdated technical cathegories.
We emphasize and affirm the tendency that it is getting harder to distinguish between local transfers of data and “file sharing” between different systems, for example in wireless environments. Digital technology is built on copying bits, and internet is built on file-sharing.
Copying is always already there. The only thing copyright can do is to impose a moral differentiation between so-called normal workings and immoral.
For the copyright industry, it is of extreme importance to keep people uninformed of the real workings of networked computers. They want to make an artificial distinction between “downloading” and “streaming”, as equivalents to record distribution and radio broadcasting.
But , and we should keep insisting that , the only difference between “streaming” and “downloading” lies in the software configuration on the receiving end. However, copyright law will never be able to acknowledge that. It has to rely on fictions, on a kind of cognitive mapping, where notions valid for traditional one-way mass media are forcefully applied to the internet. We call it Mental Rights Management (and it is the very precondition for DRM).
It is essential for the copyright industry to keep the majority of computer users trapped in the belief that the “window” of their web browser is exactly a window, through which they can look at information located elsewhere, under someone else’s control. Then our job is to clarify that everything you see on your screen or hear through your speakers, is already under your control.
Zeros and ones have no taste, smell or color , be they parts of pirated material or not. Therefore it is impossible to construct a computer that cannot reproduce and manipulate these zeros and ones , as such a machine would no longer be a computer, but something as grotesque as a digital simulation of the machines of the last century.

From one-way to read/write
But of course the aim of copyright is to do exactly that. Copyright was born in 18th century England in order to regulate the use of one specific machine, a machine that was expensive, few in numbers and that could write but not read, namely the printing press. Ever since, copyright laws have tried with varying success to make other machines imitate the characteristics of that one-way medium.
The concept was pretty easily adapted to the first technologies of sound and image recording, as grammophone and film entered around the turn of the last century, both being one-way media.
But in the seventies, machines that could both read and write, like the Xerox photocopier, the audiocassette and video recorders, came into the hands of a wider population. This transformed the production of culture, as well as the distribution. Remix, cut-up and mash-up cultures flourished, with early adopters like William S. Burroughs.
The record industry started to claim that home taping was killing music. Initially, they wanted to stop the cassette technology altogether. However, the common compromise solution in Western Europe gave the introduction of a special tax on magnetic tapes, in order to “compensate” the copyright holders for a calculated loss of sales.
Since that time, the sampler, the CD-burner and portable memory devices has continued to make the possibilities greater. Now we’ve got the combination of home computers, broadband, network protocols and compression algorithms that together define what we know as P2P file sharing.
As we stand here today a fair question must be if a principle that was implemented for controlling printing presses in 18th century England should be the hole which our present world must circulate through.

The threefold division: A parenthesis in musical history
In the beginning, copyright was simply a regulation of the reproduction of printed matter. Anything that was not made with printing presses, was not really under copyright’s domains.
Sound was something essentialy fleeting and intangible, something that happened in real time. In particular cases, musical notation was used, but primarily as a simple memory-helper for musicians. The Western classical tradition, however, evolved on its on way, more and more dividing the role of the composer from the role of the performer, by making notation more and more exact. But music and musical performances had nothing to do with copyright. Only the printed graphical representations of music was affected.

But things changed with the new reproduction technologies for sound and film, some time roughly around year 1900. Legislation transformed as a response to the possibility to reproduce sounds and not only symbolic representations of sound. Copyright went from covering texts to covering Works.
A Work can be defined as the abstract product of any artistic creation, existing independently of its material forms.
Now, composers not only owned the symbolic representation of music in form of a musical score on a printed paper, but also the melodies themselves. The realm of copyright conquered two new territories: public performances and recorded music. But it was still based in the concept on written music.
The symbolic score secured its power over the real vibrations stored in records, as well as over the live music experience. That meant that a lot collecting societies had to be funded, responsible for channeling money to composers and publishers, who still were the only musical copyright holders.
Radio broadcasting meant a growing cake, and soon some musical performers and record companies demanded their share from it too. And they got it in the early 1960s, when the Rome Treaty gave international copyright two new layers: performer’s rights and producer’s rights.
Music copyright, and the whole phonogram economy, is still built on this threefold division between the composer, the performer, and the producer. Those are the three main roles, each one represented by a different collecting society, each getting their own share of money for every song played on the radio and every CD-R sold.
But since this system was institutionalised, the division itself has shown clear signs of dissolution, and in quite many cases, one can observe how all those three roles are converging into the figure of the bedroom producer.
A convergence driven by the development of recording and mixing technology, from the multitrack tape recorders of the 1960s, to the contemporary average computer able to simulate what only some years ago demanded very expensive studio time.
But lowered production costs wasn’t saluted by everyone.

Mechanical music menace
At first, synthesizers were marketed as a substitute for living musicians. Advertisements presented the Roland MC-8 Microcomposer as a huge orchestra. No wonder that the musicians’ trade unions, all over the world, depicted electronic instruments as a threat. They preserved the traumatic memories of when the introduction of talking films created mass unemplyment amongst cinema musicians, and held a strong belief that technical reproduction of music was a threatening rival to live performances.
During the early eighties, the American Federation of Musicians fought against use of synthesizers to mimic string and wind instruments, in the name of employment. One idea, seriously considerated in several countries, was to impose a special fee on synthesizers, to make them less attractive and to support orchestras with “real” instruments.
The London chapter of the British musicians’ union went one step further, demanding a complete ban on synthesizers , which caused a split in the union, where musicians affirming electronics started their own Union of Sound Synthesists (USS).
Both electronic musicians and DJ:s were being labelled as sell-outs who played the game of commercial interests. The unionist resistance against the synthesizer, was rooted in ideas about how capitalists tries to lower production costs, just for their own profit.
The basis for that argument, was the hegemony of a very narrow definition of a musical performer: Only people mechanically controlling the production of sound in an instrument, like a violin or a saxophone.
But that narrow view was soon to be undermined by a number of experiments in hacking and indeterminacy, that explored the sonic machines as something else than just representational technologies. DJ:s hacked the turntable, transforming it into an instrument of musical production, and the discjockey became a cathegory of creators not fitting in any of the roles in the tripartite division of composers, musicians and producers.
The Roland TB-303 was designed to reproduce the sound of a bass-guitar, but was hard to configure and made interesting mistakes. Soon the misuse became the norm, as the unique squelching sounds produced by its filters came to define a whole genre of music , acid house.

Music is, as it were, performance
When making electronic music, the bedroom producer is programming patterns that are interpreted not by musicians but by machines, and then mixing the components together. But the bedroom producer is not really a composer and not a producer , but truly a performer.
In contrast to the institutionalised image of the musician interpreting the symbolic notes of a composer’s score, the bedroom producer interprets not symbols but real sound samples and the imaginary musical styles.
Recombining, refining. Redefining bugs to features. Performing a beat, that in real time is performed again by the dancing crowd, interpreting sounds into bodily movements. Or maybe recorded, encoded as MP3, copied though Soulseek, and psychogeographically performed by playlist fanatics. Music is, as it were, performance. Even the uses of recorded sound must today be understood as real-time experiences , if we are not to be stuck in a dead-end road like the musician’s unions fighting the synthesizer.

Similar tendencies , with selection and recombination as an ever more important creative role , can be seen everywhere on the artistic fields. Without openly confronting copyright law at all, these practices subtly marks out a line of flight. Along that line, creativity and artistic interpretation migrates out from the realm of copyright, leaving its gateways to the realm of semantics wide open and leaking.

Beyond the consumer/producer-dichotomy
The copyright industry today likes to present the problem as if internet were just a way for so-called “consumers” to get so-called “content”, and that we now just got to have “a reasonable distribution” of money between ISP:s and content industry. But we must never fall in that trap, and we can avoid it by refusing to talk about “content” altogether. Instead, we talk about internet as communication.
Therefore, it is totally wrong to regard our role as to represent “consumer interests”. On the contrary, it’s all about escaping the forceful division of humanity into the two groups “producers” and “consumers” that copyrights produces in different ways.
An obvious example is the movie industry’s bizarre lobbying to “plug the analog hole”, by introducing a law banning video equipment able to rip analog media. The law proposal put forward by the MPAA mentions that so-called professional producers of course should have a license to use these video cards anyway. The effect would of course be an extreme consolidation of the split between producers and users.
But so-called “alternative compensation systems”, that some voices put forward as a progressive alternative to DRM and mass-criminalization, they are no less reproducing this split. The idea is usually to impose a special fee on every internet connection, so that a bureaucracy could channel the money to publishers and other rights holders.
This way we can save both the copyright system and file sharing, says amongst others Lawrence Lessig, the EFF, and the Swedish Green party. However, none of them likes to specify exactly how it should be decided which creators that should get money. If book authors should get compensation when their books are digitally transmitted, why should not bloggers get a part of this compensation as well? So, for the very notion of “compensation” to work, there must be someone filtering out the “worthy” forms of artistic creation from “unworthy”. (Or the system could give every internet user money for every line they are writing in a chat, but that would maybe better be called an universal basic income.)
This dilemma also illustrates the schizophrenic nature of industry. Companies like Microsoft and Sony on one hand tries to use DRM to block out independent cultural production. But on the other, they are already totally dependent of what they call “user-generated content”.
Clever entrepreneurs of course do understand that internet business is not about selling information. It is about selling the possibility to interact. Overcoming the split between producers and consumers is not some utopia of a world to come, but a necessity to let communication media be communication media instead of simulating one-way media.

Copyright’s three points of crisis
I have mentioned two key points in copyrights’ permanent crisis, points where concepts that where evolved to handle the separated flows of one-way mass-media clashes with the reality of networked computers.
One was the fact that the very concept of copying is rather arbitrary when it comes to digital technology, as using digital information already implicates that it is copied. Another was the extreme problems with institutionalizing a producer/consumer-division, inside a media technology used for horizontal communication. Both anomalies seems totally unsolvable, from the perspective of copyright, and indicates that the copyfight is very unlikely to cool down. Now I will go on to the third point of crisis: the form/content dichotomy.

Three key points in copyright’s permanented crisis
• RAM/ROM; the very definition of “copying” is arbitrary
• Consumer/producer; impossible to institutionalize, especially in communication media.
• Form/content; the distinction can only pass a digital cable as simulation

The form/content-division belongs in the age of postal distribution
Year 1793, Johan Gottlieb Fichte wrote a piece that for the first time clearly separated “form” and “content”, with the specific and successfull goal of establishing literary copyright. While an author’s ideas are the universal content of writing, he gives them an unique individual form, which is his intellectual property. Then, on another level, the copyrighted material itself usually is described as content, then understood as abstracted artefacts, not bound to a specific media form.

Communication media are, on a kind of third level, also logically divided between form and content; or, more specific, in address and message, or instruction and information. That division could seem totally unproblematic at Fichte’s times around year 1800, at the dawn of modern copyright and a couple of centuries after the postal system got public. The postal system has always built upon the physical separation between the address outside the envelope, and the message inside it, the latter hidden and legally protected.

Already with telephony, however, this separation wall started to leak. The “hole” between form and content was signified by the frequency of 2600 Hz, used by phreakers to insert information that the central servers interpreted as instructions to connect calls for free. But, as the servers were still centralised, this tiny hole never grew to be a huge gap in the wall.

Networked computers, however, are not only media, but universal semiotic machines. Computers makes no difference between information and instruction, they’re storing text and code in just the same way: Form and content cannot be distinguished objectively.

But that distinction is what European politicians today are trying to resurrect, in the implementation of the data retention directive. What they say and probably believe, is that data retention has nothing to do with supervising what people say to each other on the net , it’s not about the content, only about who is communicating with who.
And that is maybe possible if this is restricted to e-mail communication using the SMTP protocol. But what for, if every criminal knows that they can just communicate in chatrooms or with community messages?
Either politicians must give up their stated ambition, or they are bound to go into ever more detailed regulation of specific internet protocols. But Sweden’s judiciary minister thomas Bodström, that has been spearheading the European plans for data retention, still talks about supervising only the address layer and not the content layer.

The important point, in criticising data retention and similar surveillance measures, is not about so called “privacy” or “personal integrity”. We would like to stress the importance of different media logics. The distinguishing of form and content is a physical part of an postal letter, but it cannot pass a data cable. The only way for it to pass, is as a simulation.
And every single regulation that is based on such a simulation, will inevitabely kill one thousand other possible simulations. It will block the exploring of one thousand paths.

Instead of assuming the holiness of privacy, we are questioning the technological consequences of data retention, in terms of detailled regulation of communication protocols, and the ban on anonymous internet connections.
The main problem with surveillance and with the war against filesharing, is maybe not about an unfair trespassing on what should belong to the individual subject , it is about an unfair and absurd attempt to turn networked computers into individual subjects.

A vital experiment of complexity
Maybe what is most important now, is to bypass the urge for solutions, for victory in battles or for compromise and stability.
For example, talking about how to “compensate the creators” is to obscure the truth about the social production of culture. Such talk establishes the myth of copyright as some kind of “wage” for artists, and the strange idea that real-time performative aspects of culture are secondary or unimportant.
And while some of the Creative Commons licenses can of course be usable sometimes, it would also be a wrong to believe in that a “some rights reserved”-approach would do anything to cool down the three anomalies mentioned before. Instead, that approach sometimes just seems to move the problem to another field: Instead of the producer/consumer-dilemma, you get something quite similar, namely the commercial/uncommercial dilemma.
Making general statements about the alternative to copyright always brings the danger of strengthening copyright’s universality claim. On the contrary, trying to keep the grey zone as open and wide as possible will almost automatically produce better conditions for cultural production to go beyond prevalent economic imperatives.
We think that our projects have generally succeeded in escaping the most obvious re-territorializations, like explaining file-sharing just as a response to expensive records. Instead, they aim is to open up and explore new grey zones.
The Pirate Bay is one example , a grey zone currently under attack. Much of the mass-medial reporting are still blind to the grey. Paradoxically, they represent the binary world in an all-too-binary way. In their black and white picture, the conflict is about certain “content”; the picture is painted with The Pirate Bay on one hand and “the rights holders” on the other. Everything that is not juridically plain white like a penguin, is in that picture black.
But we would like to direct the attention to the grey zone, that is all the movies and music and text on The Pirate Bay that no rights holder ever thinks about trying to stop, either because they affirm it as a possibility or because they really don’t care or because the works are actually orphaned.
The attack on Pirate Bay is an attack on that grey zone. Rather than securing their own copyrights, the movie industry are attacking an infrastructure that is needed for many kinds of independent production. They are not attacking piracy in general, as the sharing of digital files can always take its physical routes. They are attacking the very possibility to interconnect metadata of private archives. But while intellectual property will surely continue to be a battleground for major clampdowns in our society, there will always be enumerable lots of open ways.
The drive of discovering, thinking and inventing alternative processes of production is the affirmative power of life as a vital experiment of complexity. Internet piracy is all about desiring-production, and its long-term effects are beyond our human capacity to compute.

Rasmus Fleischer

Article from: TorrentFreak, check out our new blog at FreakBits.

Dr Michael Geist has become a power in Canada and much further afield when it comes to matters centering on Net issues in particular, and free speech and the freedom of the Net in general.

Born and raised in Toronto and the proud father of “three great kids” (7, 5, and 2), he’s the University of Ottawa’s Canada Research Chair in Internet and E-commerce Law, a position he’s held since 2003. Before going to U of O seven years ago, he was at a long list of law schools including Columbia Law School in New York, Dalhouse Law School in Halifax, Canada, Cambridge University in England, and Kobe University in Japan, where he was doing graduate work and some teaching.

His editorial output is prolific. He produces numerous professional publications and writes for Canada’s Toronto Star and Ottawa Citizen, and England’s BBC, and p2pnet is proud to regularly run his columns. He’s also on the director and advisory boards of several internet and IT law organizations including the Canadian Internet Registration Authority, the dot-ca administrative agency, the Canadian IT Law Association, and Watchfire.

The former chair of a global Internet jurisdiction project for the American Bar Association and International Chamber of Commerce, Geist is regularly quoted in the national and international media on internet law issues and has appeared before government committees on e-commerce policy.

Obviously, with a work-load such as that and three lively children, he doesn’t have much in the way of free time but when he does, he’s a big sports fan who, although he’s an Ottawa Senators season ticket holder, is also a “a die-hard Toronto Maple Leafs hockey fan”. And when he gets the chance, he takes in “a fair amount of music” on his iPod, “in addition to a growing list of podcasts.”

One of his favourite bands is Green Day, and he’s also a Springsteen fan.

“I really like Pandora for listening to new stuff,” he says. “I buy music on Apple iTunes and also download occasional stuff. Frankly, most of my P2P downloading tends to be torrents of video files of recent lectures or other video content.”

BitTorrent is his application of choice for downloads.

Do you think Canada will ever be in the same situation as the US where even young children will become CRIA (Canadian Recording Industry Association of America) victims? – we asked him in the Q&A below.

“I hope not,” he says.

p2pnet: You’ve become a virtual spokesman for copyright common sense not only in Canada, but in other parts of the world. Is this something you deliberately set out to achieve?

Geist: No, not at all. My focus has traditionally been on Internet issues and I’m very active on privacy, spam, Internet governance issues. The growing attention to copyright merely reflects its critical importance to the Internet and to creativity and culture more generally.

p2pnet: Does the role sit well with you?

Geist: I think there are a lot of people who do great work in this area. I’m fortunate to have some platforms to speak out and educate – such as a regular newspaper column and my blog. These are issues that have not gained significant awareness in the past and I’m happy to help change that.

p2pnet: How much real influence do you think the entertainment and software industries have over decisions made in Ottawa and elsewhere?

Geist: Enormous influence – they’re clearly one of, if not the single most successful lobbying concern worldwide as their influence extends internationally, nationally, and even at the local levels. In Ottawa, I think that policy makers are genuinely interested in hearing all perspectives. Once their work turns into a bill, however, we’ll see the power of the lobby come to the fore.

p2pnet: Do you think they have undue influence? If so, should it be curbed, and can it be?

Geist: They certainly have far more resources than any other stakeholder group. I think it is essential that other stakeholders – particularly those who represent the public interest – receive active support so that their views are heard.

In the US, there are many groups (EFF, CDT, Public Knowledge, ACLU, EPIC, IP Justice, etc) that work in the area.

We don’t have nearly that kind of support in Canada as I think CIPPIC, the public interest technology law clinic that I helped establish at the University of Ottawa, is one of the only similar groups in Canada.

p2pnet: Is it acceptable for elected politicians to accept benefits from the entertainment and software industries, and to so obviously (and actively) represent their interests against those of their constituents?

Geist: No. That issue sat at the heart of my very public fight with former MP Sarmite Bulte. These are tough issues and I think it is critical that the process be both fair and seen to be fair. When you have MPs in decision making positions, they shouldn’t be seen to be aligning themselves with any single stakeholder group. It was for that reason that I proposed the copyright pledge. It didn’t say that politicians couldn’t take money from lobby groups – only that they couldn’t take the cash and then directly influence policy by sitting as Minister, Parliamentary Secretary, or on the relevant House of Commons committee.

p2pnet: Have you ever been approached to work with, or for, any of the entertainment or software companies?

Geist: I talk with many groups and companies all the time. While we may disagree on certain issues, the complexity of copyright is such that your opponent on one issue, may be your ally on another.

p2pnet: Are you able to sit down and have a reasoned, and reasonable, discussion on copyright and other related issues with the people who make the corporate decisions?

Geist: I am. There are some people who don’t want to talk, but they’re in the minority.

p2pnet: Is it acceptable for the purely commercial labels, studios and software houses to so easily use, and be an integral part of, police and other agency raids and enforcement operations the industries themselves usually initiate?

Geist: I think true commercial piracy – the sort where commercial operations churn out infringing software or DVDs for sale and profit – is obviously wrong and the law should be used to stop such activities.

p2pnet: Is copyright ‘crime’ a crime at all?

Geist: I think it’s fair to say that the commercial piracy described above is a crime. I don’t think that the non-commercial copying that we see on P2P networks falls into that category, however.

p2pnet: Would you agree that if the software and entertainment companies were to use p2p technologies for handling and distribution, a reduction both in counterfeiting and duplicating and in costs associated with physical product would follow?

Geist: I think P2P represents a tremendous commercial opportunity for those groups. I think it has the potential to reduce distribution costs. I’m not sure that it would have an impact on commercial counterfeiting.

p2pnet: Should the cartels be allowed to have a definite presence in schools and universities via their so-called ‘educational’ programs?

Geist: I think it’s up to the schools to ensure that their students gain a balanced perspective on these issues. Educators wouldn’t tolerate commercial messaging in other areas and shouldn’t here either.

It’s essential that educators take that role seriously by educating their students on the full range of copyright issues including their user rights to use works without prior permission.

p2pnet: Do you believe people who share files with each other online are ‘thieves’ and ‘criminals’ as the CRIA, et al, claim?

Geist: No.

p2pnet: Is file sharing really “devastating” (to quote the CRIA claim) the music industry and its various elements ?

Geist: I don’t believe so. I’m sure it has some impact, but it’s hard to know precisely what that impact is as there’s some evidence that the impact is positive, not negative.

Regardless, the decline in sales that the major labels have experienced in recent years is almost certainly about a host of issues that have little to do with P2P, including more consumer entertainment choices, pricing, changes in the retail distribution of music, the decline of radio, and the releases being brought to market.

p2pnet: Do you think the wholesale price of between 60 and 80 cents for a single Big Four digital file is fair?

Geist: I don’t know. In an open market, the market would set the price. Obviously people like NY Attorney General Eliot Spitzer are skeptical that the market is truly functioning appropriately without unlawful and anti-competitive interference.

p2pnet: Does a download equal a lost sale?

Geist: No. I don’t think anybody would argue that it does. Even the Copyright Board of Canada has valued a downloaded song as a lesser value that the CD version for purposes of the private copying levy.

p2pnet: Are file sharers and counterfeiters equally and jointly responsible for entertainmment and software industry downturns, as the CRIA and other trade-cum-PR units suggest repeatedly?

Geist: I don’t think file sharers and counterfeiters should be equated – there is a significant difference between the two.

As for industry downturns, I’m not sure that those industries are making those claims. For example, the video game software industry is enjoying enormous growth, while the movie industry is experiencing terrific revenues from DVD sales and other new licensing opportunities.

p2pnet: Should parents he held responsible under the law for something their children may, or may not, have done?

Geist: Well, certainly not for something their children didn’t do.

The better question is whether we should hold anyone liable to the tune of hundreds of thousands of dollars in damages for P2P activity. I think not – statutory damages provisions should be amended to address this misuse of the law.

p2pnet: Do you agree that blogs and bloggers are replacing the traditional media as disseminators of news and information?

Geist: I’m not sure they’re replacing traditional media, but they are obviously having an enormous impact on the dissemination of news, opinion, and information. I think blogs often provide more timely, more informed analysis that you will find in the mainstream media and thus either replace or complement MSM coverage.

I also think that we’re seeing a growing convergence between the two – newspapers are starting to look a lot like blogs – take the redesign of the Globe and Mail as an example.

p2pnet: Do you think they’re having, or will have, an influence on what the labels, studios and software makers do?

Geist: I think bloggers are having an influence on all aspects of society, including public policy and corporate decision making.

p2pnet: Do you think Canada will ever be in the same situation as the US where even young children will become CRIA victims?

Geist: I hope not.

I’m hopeful that Canada can develop a model that benefits all stakeholders and does not resort to damaging litigation that serves no one’s best interests.

p2pnet

Article from: TorrentFreak, check out our new blog at FreakBits.