Copyright Category Archives
деньги
1 September 2010 | Copyright, Economics | No Comments
там же, к слову, и опять про издательскую модель:
Co-founder and President Jeremy Bornstein said the company is experimenting with a new model for publishing books. The traditional model of paying for content may not hold up when the content “be canned and sent around to your friends for free,” he said, but people will hopefully still to pay for content if “the experience is so much more rich, so much more involving.”
когда же вы поймете?
драки на мечах
1 September 2010 | Copyright, Economics, Lifeform, Literature | No Comments
Mongoliad запущен. и вот, что это такое:
The Mongoliad is a serial novel, the kind of thing that Charles Dickens wrote. It’s also an experiment in fiction and technology… Fast Company said that we may be “the future of the novel.” The Mongoliad is set in the thirteenth century of a universe very much like ours, a world we call “Foreworld.” We publish chapters every so often (about weekly), and every chapter has associated discussions and other ways for readers to interact with each other and with us. Sometimes we’ll also have graphics to share as well, or movies, or music. There is a user-editable ‘Pedia with information about Foreworld-related topics, general-purpose user forums, and soon we hope to have easy ways for people to contribute their own stories, art, and music to our shared Foreworld experience.
не без огрех, да и вообще:
<...> оur iOS apps are still in review by Apple, so we’re not 100% certain that you’ll be able to get the full The Mongoliad on your iOS device for the same subscription fee you are most generously about to pay us.
тем не менее, вполне ожидаемо и совершенно понятно:
Stephenson said in an interview that this material is an extension of what many science fiction and fantasy novels already offer.
“I can remember reading Dune for the first time, and I started by reading the glossary,” he said. “Any book that had that kind of extra stuff in it was always hugely fascinating to me.”
впрочем, Стивенсон не одинок:
There’s a team led by a writer Mark Teppo; it also includes Greg Bear, author of Blood Music and other science fiction novels.
именно, “Музыкой, звучащей в крови” я зачитывался еще во времена журнала “Квант” — другого моего детского фрагмента.
что до “Монголиада”, то обещают, конечно же, и продолжения:
Stephenson compared the experience to writing a TV show, and not just because it’s a team of writers. The Mongoliad will have an ending, but there’s room for sequels and other stories set in the world, so it’s kind of like season one of a show.
и это прекрасно.
приступы совестливости
27 August 2010 | Copyright, Economics | No Comments
голубые воришки[1] Рунета, кстати, в очередной раз с маразматических высот своего невежества обсуждают якобы прозябающих в нищете авторов, чьи произведения доступны в сети.
смешные люди, что и говорить — способы решения описаны миллион раз, и прекрасно работают всем назло.
так же, повторю: важно, чтобы издатели понимали — они продают не текст, разумеется, но сервис: хорошее издание, удобный формат, труды редактора, дополнительные справочные материалы, комментарии, аннотации, итд, итп.
а вот попытки продать все те же куцо отксанированные распечатки под видом гораздо более вкусных яблок будут, конечно же, обречены на провал.
и чем быстрее авторы это поймут, тем быстрее они начнут действовать, и тем быстрее у нас будут качественные публикации.
–
[1] — все уже сказано до нас:
Завхоз 2-го дома Старсобеса был застенчивый ворюга. Все существо его протестовало против краж, но не красть он не мог. Он крал, и ему было стыдно. Крал он постоянно, постоянно стыдился, и поэтому его хорошо бритые щечки всегда горели румянцем смущения, стыдливости, застенчивости и конфуза. Завхоза звали Александром Яковлевичем, а жену его Александрой Яковлевной. Он называл ее Сашхен, она звала его Альхен. Свет не видывал еще такого голубого воришки, как Александр Яковлевич.
оковы
27 August 2010 | Copyright | No Comments
прекрасная статья, между прочим:
Did Germany experience rapid industrial expansion in the 19th century due to an absence of copyright law? A German historian argues that the massive proliferation of books, and thus knowledge, laid the foundation for the country’s industrial might.
натурально, а почему бы и нет?
[Eckhard] Höffner has researched that early heyday of printed material in Germany and reached a surprising conclusion — unlike neighboring England and France, Germany experienced an unparalleled explosion of knowledge in the 19th century.
German authors during this period wrote ceaselessly. Around 14,000 new publications appeared in a single year in 1843. Measured against population numbers at the time, this reaches nearly today’s level. And although novels were published as well, the majority of the works were academic papers.
и результаты налицо:
Bestsellers and academic works were introduced to the German public in large numbers and at extremely low prices. “So many thousands of people in the most hidden corners of Germany, who could not have thought of buying books due to the expensive prices, have put together, little by little, a small library of reprints,” the historian Heinrich Bensen wrote enthusiastically at the time.
<...>
The trade in technical literature was so strong that publishers constantly worried about having a large enough supply.
<...>
Höffner explains that this “lively scholarly discourse” laid the basis for the Gründerzeit, or foundation period, the term used to describe the rapid industrial expansion in Germany in the late 19th century. The period produced later industrial magnates such as Alfred Krupp and Werner von Siemens.
Мише бы понравилось.
род занятий
22 July 2010 | Copyright, Economics | No Comments
звукозаписывающие компании раньше и книгоиздатели сейчас не понимают одной простой вещи (и посему терпят убытки, очевидно): покупатель платит не за содержимое, не за ассортимент нот или букв, но за услугу, за определенный дополнительный сервис, который (сегодня это особенно очевидно) нельзя получить иначе — например, элементарно скопировать.
так, если мы идем на концерт, то, конечно, не за тем, чтобы именно услышать еще раз знакомые композиции, но совсем за другим — почувствовать живое исполнение, увидеть своих героев, поучаствовать в событии.
ровно так же и фильмы в кинотеатрах или еда в ресторанах — нам не нужны калории или движущиеся картинки: они есть у нас дома в холодильнике или торрент-клиенте. мы ищем другое — иные способы потребления (недоступные нам иначе), непередаваемую ауру, заботу специалистов, человеческую компанию, романтические мгновения или места для поцелуев. и платим за этот сервис, а не за фильм, еду или мелодию.
так сделайте же выводы наконец, слепцы: вы не правообладатели, но предоставляете сервис. и это, в общем-то, суть куда более выгодное занятие, чем то, которым, как вам кажется, вы пытаетесь заниматься.
свежий ветер
21 July 2010 | Censorship, Copyright, Internet, Jurisprudence, Politics | 1 Comment
кстати, давно не следил за хроникой известного залива и всех прилегающих территорий — а там, оказывается, все хорошо: во-первых, еще в мае Пиратская партия Швеции разместила знаменитый трекер у себя:
After its previous bandwidth provider had to take the site offline due to concerns over an aggressive Hollywood injunction, today The Pirate Bay is fully back in operation with a surprising new supplier. From a few hours ago, in a move intended to “stand up for freedom of expression”, the Swedish Pirate Party became the site’s new host.
затем они решили установить серверы прямиком в парламенте:
After their former hosting provider received an injunction telling it to stop providing bandwidth to The Pirate Bay, the worlds most resilient BitTorrent site switched to a new ISP. That host, the Swedish Pirate Party, made a stand on principle. Now they aim to take things further by running the site from inside the Swedish Parliament.
и, наконец, вчера шагнули еще дальше, решив запустить собственый провайдерский сервис:
The Swedish Pirate Party, who are at the forefront of anti-copyright lobbying in Sweden, are planning to shake up the country’s ISP market. After taking over the supply of bandwidth to The Pirate Bay, Piratpartiet will now partner in the launch of Pirate ISP, a new broadband service that will offer anonymity to customers and provide financial support to the Party.
молодцы, что тут скажешь. а еще совсем недавно я безгранично сомневался в их хоть каком-нибудь успехе.
кстати, раз уж зашла речь, то вот еще небольшая победа (после затяжных боев, ага):
A Dutch court has ruled that two of the largest ISPs in the Netherlands don’t have block customer access to The Pirate Bay. According to the court, there is no evidence that the majority of the ISPs’ users are infringing copyright through The Pirate Bay, so a block would not be justified.
футбольная страна
12 July 2010 | Copyright, Geography | 1 Comment
в Бразилии, кстати, предложили убить DRM:
Brazil has proposed a broad update to its copyright law (Portuguese) and it contains a surprising idea: penalize anyone who “hinders or impedes” fair use rights or obstructs the use of work that has already fallen into the public domain.
A huge win for consumers? Sure, but it gets better. A moment’s thought reminds us that most DRM schemes will eventually run afoul the above provisions, since they apply in perpetuity. That DRMed music file will still be DRMed even after the song has fallen into the public domain.
So Brazil wants to ensure that DRM “has time-limited effects that correspond to the period of the economic rights over the work, performance, phonogram or broadcast.” Once copyright has expired, DRM should, too.
As if that’s not enough, Brazil says that DRM can be bypassed in order to make any “fair” use of the work or in cases where the copyright has expired but the DRM has not.
да и вообще там хорошо.
via.
по следам
3 July 2010 | Copyright, Economics, Technology | No Comments
и в самом деле, сколько можно повторять:
Apparently nobody in the book business is aware of what happened to the music business over the last decade and they are determined to make all the same mistakes.
<..>
Making smart decisions about book publishing has the chance to make books more useful than every before. Unlike the music industry in 2002, book publishers should be focusing on their customers and how to make books better now.
там все по пунктам, четко и ясно.
кто ищет, тот найдет
18 May 2010 | Copyright, Google, Internet | No Comments
о том, как можно поплатиться за просто ссылки и, например, за торрент-файлы (которые тоже суть ссылки) уже было слишком много.
что ж, вот еще один взгляд на проблему:
In what seems like a role reversal, Google has filed a lawsuit against Blue Destiny Records in an attempt to assert that it has not infringed the record label’s copyrights.
<...>
Blue Destiny Records first sued Google for copyright infringment in December 2009 over links to copyrighted content hosted on Rapidshare. According to the new lawsuit (PDF) by Google, Blue Destiny Records intended to hold Google liable “for infringement of copyright by reason of the provider referring or linking users to an online location containing infringing material or infringing activity by using information location tools, including a directory, index, reference, pointer, or hypertext link”.
According to a Hollywood Reporter article by Eriq Gardner, that original suit cliamed that Rapidshare was running “‘a distribution center for unlawful copies of copyrighted works’ and that Google (and Microsoft’s Bing search engine) were helping to prop up the company.” Google states in this latest suit that it responded “expiditiously” to the record label’s Digital Millenium Copyright Act complaints “by removing, or disabling access to, links leading to webpages allegedly containing material infringing BDR’s copyrights” and that it should be protected by DMCA safe harbor.
<...>
It seems that Google wants to preserve its way of doing business, wherein its search engine can index without regard for copyright and only needs to act when a DMCA take-down notice is issued. A decision holding Google responsible for copyrighted content, which it pulled down after the notice, would mean that the company would need to be much more discriminatory in its indexing of content
т.е., ссылки на противоправно распространяемые материалы, охраняемые авторским правом, Гугл все-таки будет убирать. но при этом хочет, чтобы сам факт их существования не вменяли ему в вину.
иными словами, незаконность подобных ссылок поисковой гигант все-таки признает. и оспаривать этот факт не собирается.
а между тем как раз в этом и заключаются основные, на мой взгляд, ограничения, которые пытаются навязать нам так называемые правообладатели:
Should links be criminalized? Or should this sort of copyright infringement claim be reserved for actual hosting of content? And as we asked when we looked at the case of DMCA take-downs and Twitter, how many degrees of separation must there be before a link is no longer a criminal act? If we link to Google, which links to Rapidshare, which is hosting the content, should we also be held accountable for infringing copyright?
вот именно.
то спишь, то не спишь
16 May 2010 | Copyright, Internet, Music | No Comments
сэр Мик Джаггер в интревью:
Q: Things have obviously changed a great deal since those sessions. What’s your feeling on technology and music?
A: Technology and music have been together since the beginning of recording.
Q: I’m talking about the internet.
A: But that’s just one facet of the technology of music. Music has been aligned with technology for a long time. The model of records and record selling is a very complex subject and quite boring, to be honest.
Q: But your view is valid because you have a huge catalogue, which is worth a lot of money, and you’ve been in the business a long time, so you have perspective.
A: Well, it’s all changed in the last couple of years. We’ve gone through a period where everyone downloaded everything for nothing and we’ve gone into a grey period it’s much easier to pay for things – assuming you’ve got any money.
Q: Are you quite relaxed about it?
I am quite relaxed about it. But, you know, it is a massive change and it does alter the fact that people don’t make as much money out of records.
But I have a take on that – people only made money out of records for a very, very small time. When The Rolling Stones started out, we didn’t make any money out of records because record companies wouldn’t pay you! They didn’t pay anyone!
Then, there was a small period from 1970 to 1997, where people did get paid, and they got paid very handsomely and everyone made money. But now that period has gone.
So if you look at the history of recorded music from 1900 to now, there was a 25 year period where artists did very well, but the rest of the time they didn’t.