Is the DMCA an Effective Way to Take Down Infringing Content?

In late January of this year, the U.S. Copyright Office launched a comment submission process, seeking to survey how the “safe harbor provisions” in Section 512 of the Digital Millennium Copyright Act (DMCA) have been received by the community as well as to get public input on proposed exemptions to the DMCA's prohibition against circumvention of technological measures that control access to copyrighted works. This process takes place every three years, and comment submission is open until March 21, 2016. That all said, D.C. is a city of Ents, so I suspect material overhaul of the DMCA is a far-off outcome.

Section 512 provides, under certain circumstances, a “safe harbor” for “service providers”—that is, web hosting communities and web publishers, including those (like YouTube, for instance) that allow third-party users to upload potentially infringing content. It shields ISPs from liability for infringement of copyright that would otherwise befall upon them, so long as they do not have “actual knowledge” of infringing material or activity. To elaborate, the DMCA was a much-needed amendment to the Copyright Act—it was the embodiment of a congressional effort to bring copyright law up to date; Congress recognized that enforcement of copyright in its then-current form had a real potential to chill technological advancement and innovation. Thus, the DMCA acknowledged through its provisions that, policy-wise, web caching, for instance, is indeed beneficial for society despite its implications on copyright, since they allow for the efficient operation of the Web. The Act also recognized that ISPs are integral to both the growth and development of the Internet and the exchange of ideas, and as such, should not bear the brunt of the illegal actions of third-party users.

Over the years, Section 512 has reeled in mixed reviews. While in all likelihood copyright owners and service providers will continue to rely on the “safe harbor” and “take-down” provisions as a popular way to address and remove infringing content online, those provisions in practice will prove increasingly brittle in face of an exponential proliferation of Big Data, file-sharing, IoT-driven products, contextual technologies and the like, which together have already flipped mass copyright compliance, along with its normative and doctrinal underpinnings, on its axis. I believe this is just the tip of the iceberg. Yesterday, I had the privilege of attending a talk given by Michael Stewart, CEO of Lucid, at the Robert S. Strauss for International Security and Law, and I was struck by what he stated as a simple, poignant truth about today’s humanity in the context of tech: “We’re in a data explosion [whose] evolutionary curve cannot be measured [and] we are starting to lose ourselves in the midst of that.”

Indeed, in a Federal Register notice about the comment submissions, the Copyright Office opined: 

"Today, copyright owners send takedown notices requesting service providers to remove and disable access to hundreds of millions of instances of alleged infringement each year. The number of removal requests sent to service providers has increased dramatically since the enactment of section 512

"While Congress clearly understood that it would be essential to address online infringement as the internet continued to grow, it was likely difficult to anticipate the online world as we now know it . . ."

Consequently, website operators deal with an unwieldy amount of take-down notices while copyright owners find the process to be unpredictable and frustrating. 

We are at the heels of a technological revolution that has been expedited by the accrual of knowledge, innovation and open-source philosophies. At such this juncture, I wonder where that all ends up leading us. Let’s unspool a bit: Unless and until anything changes, I think the structural integrity and fortitude of the DMCA’s “safe harbor provisions” will eventually collapse under the weight of emerging technologies. Interestingly, as legal theorists Samir Chopra and Laurence F. White discuss in their work, A Legal Theory for Autonomous Artificial Agents:

“[S]uch protections may not be enough to keep ISPs from becoming part of the law-enforcement superstructure. The DMCA requires ‘standard technical measures,’ supposedly ‘protective of copyright,’ be implemented in order to qualify for safe harbors. This implies safe harbor protections will decline hand in hand with advances in these measures, for service providers will be required to continuously upgrade such technologies . . . [I]mplementing such technology thoroughly will, ironically enough, attribute to ISPs actual knowledge of infringing practices, thus preventing their accessing the safe harbor required if they fail to make ‘expeditious’ action to remove access to offending material.”

So, while the DMCA states that service providers are obliged to implement “standard technical measures” to identify and protect copyrighted works, it is unclear what will transpire when technologies develop to a point where deep content inspection becomes an accessible and commonplace tool for ISPs to deploy. This is because when the infringing nature of a website becomes apparent—even from a brief and casual viewing—establishing a link to that kind of site would not be appropriate under DMCA standards. Yet there is an increasing desire on the part of ISPs to indulge in deep content inspection for digital rights management. Thus, with a somewhat snaking gait, those ISPs will eventually end up risking their DMCA safe-harbor qualification due to their use of increasingly sophisticated technologies.

Perhaps, then, the Copyright Office is cognizant of such a change in tide—a technological, social, and legal one—and, to its credit, launching a comment submission process may be a reflection of that cognizance as well as an attempt at a first step towards shaping new, meaningful policy and law that better align with modern tech (. . . which, by analogy, would end up being much like what the DMCA was to the Copyright Act).  

India, Egypt say no thanks to free Internet from Facebook

Most people in developing countries have little to no Internet access. About a year ago, Facebook CEO, Mark Zuckerberg, introduced Free Basics to India, as a way to provide web access to the developing world. However, many Indians have viewed it more as an aggressive PR ploy than anything else. Although purported to be a free internet service for the poor, Free Basics is actually a watered-down version of Facebook with some other services tacked on (e.g., weather reports and job listings). This, of course, has drawn the ire of Indian telecom regulators and many Internet activists.

"[T]he initiative has hit a major snag in India, where in recent months Free Basics has been embroiled in controversy — with critics saying that the app, which provides limited access to the Web, does a disservice to the poor and violates the principles of 'net neutrality,' which holds that equal access to the Internet should be unfettered to all.

Activist groups such as Save the Internet, professors from leading universities and tech titans such as Nandan Nilekani, the co-founder of Infosys, have spoken out against it. Another well-known Indian entrepreneur dubbed it “poor Internet for poor people.”

Certainly web access should be held as a human right--it is vital to global education and advancement, and more generally, to the spread of knowledge. But Facebook's interest in all of this, to me, evokes a more sinister undertone. To illustrate, the company's campaigns have vigorously conflated Free Basics with digital equality and free internet services; here are some examples (sourced from Reddit user, rdiaboli):

On top of that, Facebook has also sent text messages/SMSs to people in regional languages: 

ફેસબુક દ્વારા ફ્રી બેસિક્સ સેવા બધા માટે બુનિયાદી ઈન્ટરનેટ સેવાઓ નિશુલ્ક ઉપલબ્ધ કરાવે છે. પણ આ બધી સેવાઓ પર પ્રતિબંધ લાગવા ની આશંકા છે. કૃપા કરી 1800 209 0921 પર આજેજ એક મિસ્ડ કોલ આપી અમારી મદદ કરો.

Rough translation: Free Basics by Facebook provides basic internet services for free, but these services may get banned. Please help us by making a missed call today to this number.

While we can all agree that digital equality is quite desirable, I think Facebook is really doing this to corner out the ad market and control of services and information in third-world countries. In other words, Free Basics--though guised as free Internet access--proposes, in actuality, a controlled and curated environment run by Western corporations rubbing elbows--all of which runs afoul with net neutrality rules. (Interestingly, Free Basics bears an uncanny resemblance to the "free" ad-run platform from which AOL developed decades ago in the US.) 

As Reddit user, thegreatmaximillianj, puts it: 

"Net neutrality is actually much more important for a poor country than a rich one. 

In rich countries net neutrality is about things like Comcast slowing down Netflix. Net neutrality is a luxury argument, dealing with high data consumption issues.

In India, net neutrality is about how some newspapers are available with no data charge, and others aren't.

Now we are dealing with something fundamental: A person wants to read an article about the government and the Free Basics interface show them articles from preferred free news sources, but the second they go looking for another news source which may offer a different opinion/information the Free Basics interface says 'you have to pay for this. This isn't a preferred news source.'

That's a lot of power over the poor. And it would all be in the hands of Facebook, who has already shown a propensity to use the Facebook interface in India to achieve its own goals.

Free Basics means that a large percentage of the earth's population will be stuck in an internet box of Facebook's curation, their understanding of the world will be shaped by Facebook's preferences and business relationships.

That's why net neutrality is far more important in the poor world than it is in the rich."

I couldn't have said it better. The issue of net neutrality may yield many more negative externalities in poorer countries than in richer ones, which may end up doing much more bad than good. Plus, I must ask: Since when has Facebook been the arbiter of deciding which sites are essential for India's poor and which sites are not? At the end of the day, Facebook will always be a profit-seeking company--NOT an ISP or non-profit.

The whole affair reeks of digital colonization, and a quick history lesson will tell us that India has been there and done that.

How copyright is killing your favorite memes

Yet another example of how copyright exclusivity lags behind well-established "copynorms" and threatens to chill online free speech and creative expression. 

 "Socially Awkward Penguin" is a known starlet of Internet meme culture. But it also happens to be the intellectual property of National Geographic. In the past year, Getty Images (the company's licensing agency), has pursued multiple infringement cases involving the meme against a host of blogs and other posters, most of whom were pushed into agreeing to non-disclosure. However, when Getty attempted to collect licensing fees from a German blog called Geek Sisters, its parent site, getDigital, publicly posted Getty's letters online. And now, that has provoked a conversation about what copyright protection means in an era characterized by an abundance of online creative expression, remixing, and file-sharing.

'The Awkward Penguin is not just a random image we stole from Getty’s database, but one of the most well-known Internet memes,' the company protested in its blog post. Said Bastian Krug, the online marketing manager at getDigital: 'We have no idea why they chose us.'

National Geographic/Getty's moves seem opportunistic, if you ask me. (Maybe Murdoch is to blame.) Indeed, others feel the same way. Krug and his colleagues suspected the company was targeting small blogs that aren't necessarily equipped to push back against a powerful industry player like Getty. In the end, getDigital settled; litigation is expensive, after all. 

Interestingly, there hasn't ever been a court case like this, but perhaps I can weigh in on what might happen should a small-time blog opt to enter into litigation against a larger company, which doubtless is armed with a deeper coffer for legal fees.

If Geek Sisters decided not to settle, it would most likely have argued fair use. On the statutory end, the line between what is considered a "derivative work" and what is viewed as "transformative" under Fair Use is rather opaque. I think it would take Rowling's Sorting Hat relatively more time to decide where to house the meme. If the meme is considered a "derivative work," companies like Getty have every right to seek damages and fees. But if it's "transformative," bloggers and Internet users would be able to go on their merry way and legally continue to use, alter and share the image. 

On the one hand, we've got copyright exclusivity, gilded by not only the Copyright Act, but also the Constitution (see Art. I, Sec. 8, Cl. 8):

  • Sec 106 of the U.S. Copyright Act ("Exclusive rights in copyrighted works") defines the six exclusive rights copyright owners enjoy over their work, and two of those are:
    • the right "to prepare derivative works based upon the copyrighted work" and
    • the right "to reproduce the copyrighted work in copies or phonorecords." 

On the other hand, Fair Use provisions statutorily circumscribe the scope of that exclusivity:

  • Sec 107 outlines limitations on exclusive rights. It states the following: "Notwithstanding the provisions of sections 106 [see above] and 106A, the fair use of a copyrighted work, including such use by reproduction in copies or phonorecords or by any other means specified by that section, for purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, or research, is not an infringement of copyright. In determining whether the use made of a work in any particular case is a fair use the factors to be considered shall include—
    1. the purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes; 
    2. the nature of the copyrighted work; 
    3. the amount and substantiality of the portion used in relation to the copyrighted work as a whole; 
    4. the effect of the use upon the potential market for or value of the copyrighted work" (emphasis added).

As you can see, the criteria for what constitutes a "fair use" is intentionally broad, thereby requiring fact-heavy investigation. With respect to the "Socially Awkward Penguin" meme, a lot would depend on the nature of the purpose and character of the alleged infringer's use of the image in question, particularly whether it was used in a commercial capacity.

Personally speaking, I think of memes as a means for online social commentary, satire, or just plain humor. Especially on sites like Reddit and Facebook, a popular meme can function as an "inside joke" of sorts that's shared within a large community.

In any case, Geek Sisters wasn't using "Socially Awkward Penguin" for commercial purposes, but since the blog settled, analysis of its fair use of the meme never took place.

"While getDigital is a for-profit retail company, similar to Virginia’s Think Geek, Geek Sisters is a non-commercial blog — in fact, it’s pretty damn obscure. (The penguin post got no comments, and has never been shared on Twitter or Facebook.) . . . In the six years that Getty and National Geographic have allowed the meme to flourish, it has far transcended Mobley’s original photo: It’s a remix, a discourse, a pastiche assembled — like so much of popular Internet culture! — from the aggregated efforts of millions of people."

This case is a clear example of the rigid line copyright law has drawn between exclusivity and access.

But the dichotomy we see here doesn't stop at memes. Popular music genres like hip hop and EDM, for instance, also come within the fold. At least the meme case has a strong fair use argument, since the blog's use of the meme was non-commercial. But isn't there a potential argument argument for fair use to make room for benign commercial uses of works (e.g., Girl Talk's collage-style tracks)?(Notice how Section 107 describes acceptable uses of copyrighted works as non-commercial or for non-profit purposes.) Sampling, collaging and remixing are stylistic choices borne out of technological advancement and are key not only to Internet culture in general but also to Hip Hop and EDM artist, for example. Ergo, I think the issue should be framed as a question of policy, rather than one of black-letter law. We should ask ourselves: Is it sound to construe collage-style uses of copyrighted material as infringing? Should we liken them to mass online piracy? 

Only time will tell how major content industries and lawmakers will choose to respond to future cases like this one. I think figuring out a way for the law to balance i) maintaining incentives for artists to continue to create cultural works with 2) facilitating public access to and use of cultural works will be a formidable, but important challenge, but a necessary one for bringing Copyright Law up to speed with today's technology. 

Want more? Check out my thoughts on copyright exclusivity and its rightful place in the Information Age by... clicking here!

German court says Amazon e-mail 'share' function unlawful

A German court has declared Amazon's "share" feature, which encourages Amazon customers to share links to Amazon products with their contacts, as unlawful. The Amazon “share” feature invites customers to share a product via Facebook, Twitter, Pinterest, and most controversially, e-mail.

"The court said on Monday that sharing by e-mail without approval of the recipient was illegal. It is 'unsolicited advertising and unreasonable harassment,' the regional court in Hamm said, confirming the ruling of a lower court in Arnsberg."

It's no surprise that enterprising marketing practices and the law are butting heads more frequently. The ruling of this case is reminiscent of an earlier decision that took place in 2012, in which the German Federal Court of Justice ruled that Facebook's "Friend Finder" feature did not provide adequate privacy protection for users. The feature essentially allowed Facebook users to use tools provided by the social network to reach out to promote content and services which would require the non-users to sign up. 

But regulatory crackdowns haven't only happened across the pond. Here in the States, LinkedIn's aggressive marketing ploys (i.e., its "Add Connections" service) have landed it square in the middle of a class action lawsuit. And rightly so.

Frankly, I think these sorts of decisions are setting the right tone. I'm curious to see where this all will head.

The Legal Rift Between Copyright Doctrine And "Copynorms" With Respect To The Music Industry: A Policy Analysis

Check out a policy and legal analysis I put together last year that evaluates the following: 1. current copyright doctrine,
2. how it is out of step with its constitutional origins and justifications (i.e., the provisions set forth in Article 1, Sec. 8 of the U.S. Constitution: promoting the "Progress of Science and useful Arts" and securing for "limited Times" the monopoly a copyright owner enjoys over his or her work before it enters the public domain), as well as
3. current "copynorms," and whether the Creative Commons licensing framework is a viable solution towards bridging that gap. 

 

 

There is no wealth like knowledge,
and no poverty like ignorance.

An Overview of Privacy Law

Privacy Law is a relatively nascent and murky interdisciplinary field of law. Considered in light of a ballooning and developing world of contextual tech (mobile, social media, Big Data and "little data," sensors, geo-location services, etc.), this field of law and the legal and policy decisions made in connection to it, to me, are glimpses of a future (perhaps dystopian to some) in which privacy considerations will, in terms of substantive law, categorically reign above most else. Even more interestingly, other areas of law are necessarily implicated. Comparative Law, for instance, is subsumed under considerations surrounding privacy. To illustrate, the US and EU regulatory regimes differ greatly with respect to how each conceptually views privacy--this can be attributed in part to cultural and anthropological differences between the two. EU Law (e.g., German Basic Law) places great value in citizens' Right to Personality and Right to be Forgotten, to name a few, whereas the US embraces an "everything is fair game"/safe harbor mentality that is markedly less rigorous in regulatory terms. And we've seen what such a lack of uniformity produces: several US-based multinational companies inevitably butting heads with EU regulators (e.g., Google, Facebook, etc.).  

Here is a great overview on the different types of Privacy Law that I recently came across. The attachment is sourced from a larger work, Privacy Law Fundamentals by Daniel J. Solove and Paul M. Schwartz. 

The Human Face of Big Data (2014)

B/B+

A decent (though, at times repetitive) documentary for those of you who are curious about the implications--both good and bad--of Big Data, that is, the accrual of, as they say, "digital exhaust." Big Data produces tension between 1) the boons reaped from the spread and collection of information and 2) the attendant loss of privacy. One must ask, then: How should society through law and policy reconcile these two very important needs?

Skip to 11:05 for an interesting illustration of the type of insight Big Data can offer, where an MIT professor decided to track his infant son's language acquisition through data analysis with a visual granularity of detail. (For more on "The birth of a word.") Deb Roy conducts research at the MIT Media Lab on language, games, and social dynamics at the intersection of A.I. and cognitive psychology. He is also Chief Media Scientist of Twitter. 

Skip to 38:00 and watch until 46:00 to get a general sense of what Big Data and A.I. could mean for privacy and democracy in the near future.