Showing posts with label copyright. Show all posts
Showing posts with label copyright. Show all posts

Tuesday, November 10, 2020

UK-Japan trade deal data laundering threat

Upon prompting by the Open Rights Group, I've written to my MP, Layla Moran, about the data laundering provisions of the UK-Japan trade agreement.

Dear Layla,

You may or may not be aware that that new UK-Japan trade agreement includes expansive data transfer clauses posing a threat to our privacy. These provisions essentially create a surreptitious process for your data to be transferred to other jurisdictions with poor data protection records, including the US.

MPs seem to have been deliberately kept in the dark about these measures which amount to turning the UK into a data laundering haven for unaccountable multinational corporations and countries with weak data protection standards.

I would encourage you and your MP colleagues to call for the freezing of these sections of the treaty - as happened with the unconscionable intellectual property chapters of the Trans Pacific Partnership agreement.

The dangerous undermining of UK citizen and other residents' rights is likely to be an ongoing feature of the government's desperate rush to enter into trade deals they can promote as Brexit successes. In these challenging times, significant vigilance will be required on the part of all our parliamentary representatives to protect fundamental rights in the UK.

I this instance I would ask you to ask the government to “freeze data transfer clauses from the new UK-Japan trade agreement”. This will allow the agreement to go ahead but would freeze (stop) the harmful clauses endangering our privacy.

Thank you.

Yours sincerely,

Ray Corrigan

You can find the  UK-Japan Comprehensive Economic Partnership Agreement documents containing treaty information and a summary of the agreement online.

Jim Killock and Heather Burns at the Open Rights Group have prepared a succinct explanation of the issues. The agreement  contains brand new clauses which priotise the “free flow of data” between the UK and Japan, and from there on to other trade partners, over and above data protection rights.

"A “free flow of data” approach would be a radical departure from the current position. Today, UK companies must only transfer your personal data where they can guarantee that you continue to have similar rights over access, correction and deletion of that data. The UK Japan agreement would force the UK to accept lower data protection frameworks, including voluntary self-regulation, as compatible with the UK’s world leading privacy framework, in Article 8.80 and 8.84.

The UK-Japan agreement, together with the UK adequacy decision, would create a “gateway” for your data to flow to other countries that also have “free flow of data” trade arrangements with Japan. Worryingly, this will permit UK data to be transferred to the USA, without it being kept under GDPR-style protections.

Once data is exported from the UK to the USA via Japan under this agreement, your rights would vastly reduce. In the USA, there is no automatic right for you to know where the data is held, or by whom; you cannot prevent resale, reuse, or the data being put to new uses. There is no right to prevent your data from being used in ways that are discriminatory, or unfair. You cannot ask for your data to be deleted. If it is lost, then there is no legal barrier to a third party from obtaining it and using it. And there is no simple recourse to you if your data is breached or sold...

It is likely to prove impossible for the EU to conclude a data protection adequacy decision for the UK while these unrestricted data flows with Japan, and its trade partners are in place. The EU specifically excluded data flows from their trade agreement with Japan. Although Japan has an adequacy decision from the EU, it had to put specific arrangements in place for EU data to stay in Japan.

This stopped the data of people in the EU — including the UK — from being shifted to an overlapping legal regime and freely siphoned off to third countries. This trade deal bypasses both of those safeguards."

ORG also have a more comprehensive briefing on how the UK-Japan deal severs post Brexit data adequacy. (Pdf version available too).

There are also other serious concerns with the agreement, particularly in relation to general monitoring provisions - upload filters like the EU copyright directive's Article 17 - and bans on circumventing DRM/TPM even for the facilitation of interoperability or repair.

Given the Johnson government Svengali Cumming's obsession with eviscerating the controls on the collection and exploitation of big data, an intense and ongoing focus on resisting such dismantling of fundamental privacy and data protection rights is certainly in order.

Friday, March 06, 2020

Carl Malamud at the Open University

On Tuesday, 3 March, 2020, Carl Malamud visited The Open University and shared his thoughts on text and data mining in scientific journals. He opened with the story of Mahatma Gandhi's writing of the book Hind Swaraj (India self rule) on a boat trip between the UK and South Africa in 1909.

The book is relevant to the open access movement in two key particulars. The first edition of the book was published with "No rights reserved", Gandi being the first author to explicitly eschew copyright. Secondly Malamud has been inspired by Gandhi's resistance to colonialism. Scientific knowledge has been colonised and, as James Boyle has argued for a generation, we are in the midst of a second enclosure movement, an enclosure of the commons of the mind.

Malmud has written a book, Code Swaraj, about this, with Sam Pitroda, a former Indian cabinet minister and telecommunications businessman. Gandi preached you had to rule yourself, not let others colonise. But nowadays if you want to do research you have to ask permission and that permission is often not forthcoming because of the immoral and probably illegal assertion of ownership of human knowledge by vested economic gatekeepers such as the scientific publishers.

Christopher Booker read hundreds of books over more than thirty years before writing The Seven Basic Plots: Why We Tell Stories, first published in 2004. His three decade long analysis was an exercise in text and data mining. Text and data mining is now something we can automate with computers. A study of gender in literature showed that the number of female characters has declined rather than increased, matching a proportionate decline in female authors.

Gitanjali Yadav, a plant genome researcher at Delhi’s National Institute of Plant Genome Research (NIPGR) and at Cambridge University is working on the mechanics and chemistry of plant communication channels, using a plant chemicals database.

Elisabeth Bik is a scientist working on fraudulent re use of images in academic papers and exposing paper mills. In China, part of the pre-requisites for becoming a doctor is the publication of peer review papers. The incentive to buy them from paper mills is high.

Scientific literature has been locked up and it is unclear what the potential for research could be as a result.

Max Häussler is researcher at the University of California, Santa Cruz (UCSC) and he has created a genome browser. The browser links human genome DNA sequences to sections of published articles that deal with the same sequences. He wrote to 43 publishers and explained he would like to do text and data mining on their articles. Many publishers did not want to cooperate, refused permission or did not engage at all. So he didn't get access to as much literature as he would have liked. Malamud considers there is an argument to be made that text and data mining of research is permitted in law, even if the publishers do not grant explicit permission. Häussler is unsure and doesn't mine articles for which permission is not forthcoming. It would seem clear that the power of his genome browser would be significantly greater if he had that broader access to data.

Without asking publishers' permission, Malamud has put a lot of stuff online via a project at Jawaharlal Nehru University (JNU) in India - 125 million journal articles from many sources, from the mid 19th century up to the present.

The storage facility is air-gapped and not connected to the internet. Researchers who want access can bring their computers to the facility and text & data mine the materials there. Without having to read or download the articles which is not permitted, they can, nevertheless, draw scientific insights, thereby circumventing any potential copyright problems. The terms and conditions are modeled on those of the HathiTrust and the store specialises in bioinformatics. The access model is 3-tiered:

Tier 0 is air-gapped and pdfs of the articles

Tier 1 is extracted texts and is also air-gapped

Tier 2 is facts. As there is no copyright on facts, this can be made available openly to everyone.

The HathiTrust were the involved in providing Google with books for scanning for the Google Book project. Google in return gave the trust digital copies of the scanned books where out of copyright works are now made freely available online. Publishers sued Google in the US for breach of copyright and the case took many years to make its way through the courts. The appeal court concluded, Authors Guild v Google in 2014, that Google's use of the books was "transformative" and therefore permissible under US copyright law:
"1) Google’s unauthorized digitizing of copyright-protected works, creation of a search functionality, and display of snippets from those works are non-infringing fair uses. The purpose of the copying is highly transformative, the public display of text is limited, and the revelations do not provide a significant market substitute for the protected aspects of the originals. Google’s commercial nature and profit motivation do not justify denial of fair use. 
2) Google’s provision of digitized copies to the libraries that supplied the books, on the understanding that the libraries will use the copies in a manner consistent with the copyright law, also does not constitute infringement. Nor, on this record, is Google a contributory infringer. Accordingly, the court affirmed the judgment."
In 2016 the US Supreme Court rejected the Authors Guild's request to further appeal the decision, ending the more than a decade long litigation. The Authors Guild also tried suing the HathiTrust but were unsuccessful in that case too. The technicalities of the case were different.  One interesting angle was that the court made a point of noting the value of the HathiTrust approach to making the books available to print disabled and visually impaired.

The bottom line was that Google Books and the HathiTrust were given the ok by the US courts.

In the UK text and data mining is permitted only for non-commercial use. The text and data mining copyright exception was introduced in the UK in 2014. A format shifting exception, partly based on a report I co-wrote with two Oxford economists, Mark Rogers and Josh Tomalin, 'The economic impact of consumer copyright exceptions', was introduced at the same time. This latter exception was subject to a legal challenge by the music industry and a high court judge quashed the exception in the summer of 2015. In British Academy of Songwriters, Composers And Authors & Ors, R (On the Application Of) v Secretary of State for Business, Innovation And Skills [2015] EWHC 1723 (Admin) (19 June 2015), Mr Justice Green also based his decision to negate the format shifting exception, partly, on that same report I wrote with Mark and Josh. We had simply advocated evidence based policy making on intellectual property.

Getting back to the text and data mining, Malamud suggests the UK situation makes the invalid assumption that we have an access subscription to everything and that publishers cooperate with researchers which they don't.

In 2012, Delhi University got into a legal scrap with Oxford and Cambridge University presses and Taylor & Frances. The case revolved around a copy shop on the campus which lecturers used to make copies of course packs for students. Under Indian law, section 52 of the Copyright Act of 1957, copyright does not apply to materials issued by a teacher to a student. Copying is also permitted for research purposes. The cost of the textbooks that extracts were copied from was way beyond the means of most of the students. The publishers, nevertheless, demanded that the university pay them a licence fee to cover the copying. The High Court in Delhi ruled in favour of the university.

It seems to have been at the time Malamud read about the case that he began to think India might be a fertile territory for his campaign to provide access to knowledge. Those early inklings, backed up with expert legal opinions he has since solicited noting that it is permitted under Indian law since text & data mining does not involve copying or reading the articles, have bloomed into the repository at Jawaharlal Nehru University (JNU) with his store of 125 million articles. Gitanjali Yadav's plant database is up and running and linked with another university research group.

The Indian government's chief scientific adviser has a plan to make all scientific abstracts of published papers openly available. Malamud is also beginning to work with a wikipedian at the University of Virginia who is keen to integrate correct scientific references into Wikipedia.

In the US federal employee authored work done in the course of their employment is not copyrightable. So Malamud decided it might be a fruitful activity to attempt to find journal articles written by federal employees. He sampled ten thousand articles and discovered many were done as part of official duties but they were still locked behind publishers' paywalls.  When Barack Obama was president he wrote an article for the Harvard Law Review. Though the small print connected with the article says it is not copyrighted, the manner in which the Harvard Law Review presents the article makes it appear that it is subject to copyright.  Malamud, when he finds works written by federal employees, can only guess whether they were produced as part of the authors' public service duties. But he might get it wrong, so chooses not to make them openly available. His principle goal is to challenge and push back against official and commercial copyright overreach but not break any law.

On the law, he has been sued by the state of Georgia for publishing the state code. Just in case you are doing a double take with that, I did really say that Carl Malamud is being sued by the state of Georgia for making the laws of Georgia freely available to the public.  The state sued and won at the court of first instance. Malamud appealed and won in the appeal court. This was appealed to the US Supreme Court which heard the case in December of last year. He is expecting a decision by the summer. Edicts of government are not subject to copyright protection, yet this case is in the US Supreme Court. You do sometimes have to wonder at the state of copyright law (excuse the pun).

Malamud cut his teeth on campaigning and access to knowledge activism with public codes that have the force of law. Building codes and electrical and plumbing and fire safety etc codes are edicts of government. Malamud bought copies from official standards bodies and put a lot of them freely online. Lots of standards get updated and we are obliged to work to them but they do not get released. Malamud has been sued by standards organisations in litigation that has been ongoing for 6 years. His annual legal costs are $1.6 million but he has the good fortune to be represented by lawyers who work pro bono. He can walk into a pub anywhere and strike up a conversation and it is easy for people to understand the work he does. He'll often get a plumber or builder etc offering to buy him a drink, explaining they had to fork out thousands of their hard earned cash for standards codes they are obliged to work to.

India has a very strong right to information law. Malamud put nineteen thousand Indian standards online, reformatted for usability. He bought the standards from the Bureau of Indian Standards. When he got renewal notices from them asking for the next due licence fee he wrote back saying he had put the standards online. He got an angry, "unhinged" response, accusing him of breaking the law, being no longer welcome as a customer and a variety of legal threats.

In the EU, member states must transpose standards into national laws within six months of being issued. Malamud got sued by the German standards organisation for posting the EU standard for baby soothers. The standard is just full of common sense - the mouth guard must be big enough so it doesn't present a swallowing/choking threat etc. The German court sided with the standards body. Malamud is now subject to a German court injunction punishable by a fine of up to €250k and a jail term of up to two years, should he decide to re-publish the standard online. He has, however, posted four EU toy standards focusing on environmental implications and petitioned the UK government on the matter. He got turned down by the standards bodies for access to these standards and is bringing a case to the Court of Justice of the European Union.

Malamud's friends, critics and acquaintances regularly ask him why he expends such energy on what he does, when there are so many bigger problems in the world like the climate crisis, conflict and disease. His answer is a simple and irrefutable one: without access to knowledge you cannot solve the any of these problems and you cannot educate the citizenry to enable them to formulate their own solutions. Access to knowledge is the pre-condition for solving the world's fundamental problems.

Update: On 27 April 2020, the US Supreme Court ruled in favour of Malamud in a tight 5-4 split decision. Justice Ginsburg, interestingly, sided with the minority.

Tuesday, March 19, 2019

Response from MEP on copyright directive

I've had a response from Labour MEP, John Howarth to my email yesterday asking him to oppose the article 13 provisions in the proposed EU copyright directive.
"Dear Ray Corrigan
Thank you for your email regarding Copyright legislation.
Just to let you know before I was an MEP I ran a business in the creative sector developing copy, images, brands and content. When I am not doing my day job I play music - though I don’t get a lot of time to perform right now. I started my business career in the software development sector and have worked with aspects of the internet since the days of green screens. Not exactly typical for a politician, I agree, but you will forgive me if my experience informs my thinking.
For far too long people who work in the creative sector have been ripped off by the monopolistic internet platforms who place their work on line and use their content to make their services credible and to attract advertising revenue yet fail properly to reward the creators. Musicians and performers generally consider themselves lucky to do what they do but they also deserve fair reward for their work. The audience see a performance or hear a three minute song - but those things are built over years of learning a craft and endless hours practicing and rehearsing. Images can be created in a couple of hours but ideas and concepts take time and collaborative effort to develop. The internet has created new jobs and made some people very rich indeed but it has also destroyed value and exploited the skills and creativity of many others.
So as well as people who write to me demanding that we “save the internet” I also receive representations from the National Union of Journalists, the Musicians’ Union, publishers’ group’s, media organisations and creative industries representatives putting their side of the story.
Among all of this claims have been made about the proposed legislation that are wildly exaggerated or simply untrue. The implementation of updated copyright legislation will NOT end the internet as we know it. It will NOT constrain or unduly limit ‘free speech’, it will NOT place an unreasonable burden on the internet giants who have put significant time and effort into misleading people because they believe it threatens their super profits. It will not “outlaw memes”, it protects and defines the notion of satire and parody (which, by the way, were not in any way protected in the outdated copyright regimes that have applied till now). Exceptions set out in the legislation protect free academic enquiry, small businesses and bloggers.
I do not believe that the legislation in any way limits the ability of the open source software community to continue to trade on the business model it has operated for some time - in other words the ‘sharing economy’ will continue to do just fine. The monopolistic platforms benefit from this “free internet”, however the fact is nothing is “free” - someone always pays, whether through collection of personal data in exchange for access or by the exploitation of their work.
During the debate and before the first round of votes on the Copyright Directive I thought long and hard about how to approach the issue. While I have a degree of sympathy for the arguments about freedom of expression I am also concerned that the ‘free internet’ currently operates in an environment where the strong and powerful exert their influence without check and individuals are frequently bullied and victimised and the platform is exploited by peddlers of hate. As a local public representative I had to address several cases of unchecked systematic bullying over the internet and all of the evidence suggests that these problems had got worse, particularly in the public space and it is my firm view this is poisoning public discourse. I fail to see why the right to free expression should apply to people hiding behind cloaks of anonymity while others who express opinions in their own name are subjected to aggression in spaces into which the public have been invited. This concept of “freedom” is essentially a right-libertarian view and not one I share. The internet is the Wild West and, if it is not to become a tool of repression, must before long become civilised and subject to the rule of law where members of the public are able to participate on the same basis as any physical public space.
So I will be supporting the compromise reached between the Parliament and the Council on the Copyright Directive, because of the above and not least, because addressing the ‘value gap’ between platforms and creatives was part of Labour’s 2017 election manifesto in the UK.
Thank you again for contacting me.    
With best wishes,
John Howarth MEP On your side in Europe.www.johnhowarthmep.uk"
My further response to Mr Howarth was as follows:
"Dear John,
 Thanks for the considered response. You might be surprised to learn that I agree with your concerns about the disproportionate power of the big tech industry, particularly the big five, Google, Facebook, Amazon, Apple and Microsoft. You’ll no doubt be aware of the recommendations of the recent report of the House of Lords Communications Committee 
- https://www.parliament.uk/business/committees/committees-a-z/lords-select/communications-committee/news-parliament-2017/internet-regulation-report-publication/  
and the Disinformation and Fake News report of the Commons Digital Culture Media and Sport Select Committee -  
https://www.parliament.uk/business/committees/committees-a-z/commons-select/digital-culture-media-and-sport-committee/news/fake-news-report-published-17-19/  
which make well intentioned efforts to reign in the big technology monopolies. What you cannot do, however, is fix a disproportionate monopolies problem with automated upload filters, which is what the most recent version of Article 13 of the copyright directive that we are aware of attempts to do 
 https://juliareda.eu/wp-content/uploads/2019/02/Art_13_unofficial.pdf  
However, software is generations away from being able to make the kind of nuanced assessment of what might constitute copyright infringement that is required. If you get two copyright experts to assess whether something is infringing or not you’d get two (or more) different views in each case. What experts cannot agree on, you will never teach software to come to an appropriate conclusion on. Yet the problem with article 13 is not just automated prior restraint of speech, in the name of preventing copyright infringement but that the very companies it is professed to protect creators and the creative sector from will be the ones building and operating the filters. Article 13 will incentivise big tech to continue to develop, refine, implement and operate content filters – like YouTube’s Content ID system – and will add to their monopoly portfolios the realm of internet censors. It will also stifle innovation as small start-ups will not have the resources to develop or operate the required software filters.  
Though it’s not directly related to the copyright question, you raise the issue of the misuse of the internet for nefarious activity. The internet is already a tool of repression and oppression, aggression, bullying and hate mongers, shysters and criminals, unethical human behaviour of every variety. In that it is a mirror of human nature and we should not confuse the tool with our inherent psyche. It is also the greatest engine for mass communication and creativity in the history of the planet. As for poisoning public discourse, certain prominent members of your own profession and the popular mainstream media have a less than pristine record – it is and has long been virtually impossible to conduct an informed and nuanced public debate about any complex socioeconomic matter, without being vilified by someone taking words or phrases out of context or distorting what was said to pursue a particular agenda.  
On the question of the rule of law, is not true that activity on the internet is not subject to the rule of law. Just to start with, consider –  
The Public Order Act 1986 
The Copyright, Designs and Patents Act 1988 
The Malicious Communications Act 1998 
The Copyright and Related Rights Directive 2001 
The Communications Act 2003 
The Digital Economy Act 2010 
The Counter Terrorism and Security Act 2015 
The Investigatory Powers Act 2016 
The Digital Economy Act 2017  
S127 of the Communications Act 2003, s4 & 5 of the Public Order Act and s1 of the Malicious Communications Act have been used to convict someone of a criminal offence for making a joke on Twitter, in addition to prosecuting people spreading hate speech and racist comments for which the offenders were jailed.  
If your goal is genuinely an internet “subject to the rule of law where members of the public are able to participate on the same basis as any physical public space” then there is a fundamental principle of law that is the presumption against prior restraint of speech. Not all restrictions on free speech are a breach of the prior restraint doctrine – e.g. in relation to national security matters – but the long standing principle is that it is safer to impose penalties after publication. So automated upload filters, mandated by article 13 of the copyright directive, will not only hand the global censorship keys to the big tech monopolies but will undermine your stated intention in relation to the rule of law.  
Finally in relation to the ‘value gap’, it would be better described as a revenue gap. It’s been crafted as a value gap by public relations people attempting to influence legislators, like your good self, in order to get laws like article 13 passed that impose liabilities on internet intermediaries. What the commercial sector supporting article 13 are saying is they would like a bigger slice of the revenues currently going to big tech. Google already has licences with the music industry. Not a lot of the revenues arising from these flow to the individual creators. It has always been so. Prior to our information age, if I may borrow your own words, “for far too long people who work in the creative sector have been ripped off” by the oligopolistic creative commercial sectors. The fundamental problem of the imbalance in power will not be solved by copyright law and the revenue flow issue is more of a competition law problem. 
The creative industries are more economically buoyant than they have been in a generation and the EU is proposing to pass a law to leverage big tech into giving them more money. The collateral damage will be significant.  
It will damage the internet as we know it in the EU.  
It will mandate automated software filter prior restraint on speech, with the keys to those filters controlled by the very big tech monopolies it is proposed to reign in.  
It is irrelevant whether the intention is not to outlaw memes, to include exceptions for satire, parody, free academic enquiry, small businesses and bloggers – the big tech software filter operators will be police, judge, jury and censor.  
Like you, my experience informs my thinking.  I am an academic writer, teacher, manager, blogger with a long standing interest in technology policy. For years, Yahoo! search labelled my blog with a red warning triangle and a note in red font “Warning! Dangerous Download!” If this Article 13 filter had been in place the 4700+ articles I’ve written on that blog might never have seen the light of day.  
My son works occasionally for a small roving theatre company, a charity, producing videos and other multimedia works for them. Towards the end of last year one their videos was taken down by YouTube for alleged copyright infringement, despite the charity having paid for and cleared the licence for the background music used. He spent weeks getting YouTube to re-instate the video, including dealing with threats that the charity would have their account suspended permanently. That charity might not have an outlet on the world wide web at all, if the article 13 filters had been in place. 
 It’s a fallacy to believe the future monopolistic wielders of article 13 censorship keys – Google and the other big technology companies amongst them – will protect the interests of a single academic or small enterprise, other creators or the creative industries. They will not focus on anything other than their own economic interests.  
It is clear from your response that you are unlikely to change your mind on the copyright directive. I trust you won’t mind if I publish this correspondence on my blog in the hope of reaching a wider audience, before an article 13 software filter takes a dislike to my words and engages in some routine prior restraint.  
Regards,  
Ray Corrigan"
Update 22/3/'19:

Mr Howarth's  Political & Staff Manager Jim Robbins has kindly acknowledged my response and explained Brexit is pretty much getting in the way of everything at the moment; but that they will consider my perspective seriously.
Ray,

John has asked me to let you know that he really values your response and will consider it fully and speak to colleagues who have been involved with the debates on Article 13 and copyright.

He will respond fully in due course but, as you can imagine with the Brexit situation, things are pretty hectic here at the moment so I’m not quite sure when that will be.

Thanks for your email and the response.

Kind Regards,

Jim

Jim Robbins
Political & Staff Manager
Office of John Howarth MEP for South East England
Entirely understandable.
Many thanks Jim. I appreciate the acknowledgement. Good luck to John and those of you working with him in making a constructive contribution to finding a way out of the appalling Brexit chaos. Given the news from BMW recently that they will consider shutting down the Mini factory in Oxford, should Brexit go badly, you and John will be acutely aware of the deep concern it is causing in my area of the country. 
Regards,
Ray 

Monday, March 18, 2019

Note to MEPs on proposed copyright directive article 13

At the prompting of the Open Rights Group I have written to my MEPs asking them to vote against the proposed copyright directive coming before the European parliament next week.
UK Members of European Parliament (MEPs), for a short time longer, have the power to stand against digital censorship by opposing Article 13 of the proposed EU Copyright Directive. This provision of the directive would introduce automated systems to filter what can be seen and said online. In an age as dependent on information flows as ours is, information laws can have crucial consequences for markets and politics. Actions taken to protect copyright can reshape politics by giving both the responsibility and power to control information flows to a small number of key economic actors. Article 13 of the proposed copyright directive would completely change the politics of who controls information, and hence who controls the public narrative.

The subtlest argument in favour of the directive is that all creators should be remunerated for their work and any use of that work online. This is a commendable sentiment and an easier argument to make than asking for an additional slice of monopoly rent for copyright industries. However, the copyright directive itself says nothing directly about remunerating creators. Mostly it refers to “rightsholders”. Ironically, with the stated intention of wrestling control from the giant US technology behemoths and improving protections for creators and the creative industries, it will concentrate the power of algorithmic, automated censorship in the hands of those very same companies.

What is perhaps more informative is that many, many publishers, journalists, libraries, scientific & research institutions, universities, civil society human rights & media freedom groups, small independent publishers, consumers, tech cos and even the UN Special Rapporteuron Freedom of Opinion and Expression are strongly opposed to it.

I highly recommend the empirical research of the CREATe copyright consortium if you are looking for a more detailed and informed perspective on the copyright directive as a whole, available at


The latest incarnation of Article 13 of the Copyright in the digital single market directive, developed through the trialogue (sic) process, is a really bad idea and I would request, as my MEPs, that you vote against it when it comes before the European parliament next week.

Regards,

Ray Corrigan

Thursday, May 04, 2017

Hugenholtz on the proposed EU publisher's intellectual property right

Professor Bernt Hugenholtz's 15 minute contribution (starting 3:03:40 into the morning session) at European Copyright - Quo Vadis event at the European University Institute, pointing out the proposed new EU publishing right intended protect news organisations is a fake solution to a very real problem, is well worth viewing.



Prof Hugenholtz recommends his colleague Prof. dr. Mireille M.M. van Eechoud's extremely balanced 65 page report on the issue, A publisher’s intellectual property right: Implications for freedom of expression, authors and open content policies.

Prof van Eechoud has been running a project at IViR, the Institute for Information Law at Amsterdam University, taking a critical look at the proposed introduction of a new intellectual property right for publishers of press publications.

Prof Hugenholtz opens by highlighting the avalanche of negative academic responses to the proposal for the publishing right. It fails the test of being good or making existing regulation better on every count. But he does have some sympathy with the EU officials lumbered with drafting this proposal, most likely under orders from their previous boss, Commissioner Oettinger.

The underlying rationale of finding a way to protect or sustain the news publishing industry which is facing serious decline is a worthy one. That decline constitutes a severe social democratic and economic problem - just witness Trump and fake news amongst the consequences - that academics and others should be investing time and energy in. What truly effective and proportionate means could we come up with to enable sustainable, independent news organisations that challenge and speak truth to power?

Monday, June 13, 2016

EU consultation on role of publishers in copyright value chain

My response to the latest EU copyright consultation below. These answers to the questions posed are an abridged version of an earlier attempt I made to submit a longish response through the Limesurvey site. Upon filling out the survey form and clicking the submit button there I got a "Bad Request The CSRF token could not be verified" error.

The submission was not recoverable.

So I'd recommend anyone considering responding before Wednesday's deadline do so via the official EC consultation site.

I would, nevertheless, recommend the #FixCopyright videos of Francois Grimonprez and Matt Lees and some of the suggestions made about responding to the consultation at the limesurvey site, especially if you're not particularly well acquainted with the intricacies of copyright policy. Don't take the limesurvey answers as accepted dogma - do apply your own critical faculties to any response.

Date: 13/06/2016 15:55:16


Public consultation on the role of publishers in the copyright value chain and on the 'panorama exception'
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The views expressed in this public consultation document may not be interpreted as stating an official position of the European Commission.  All definitions provided in this document are strictly for the purposes of this public consultation and are without prejudice to differing definitions the Commission may use under current or future EU law, including any revision of the definitions by the Commission concerning the same subject matters.

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The role of publishers in the copyright value chain
In its Communication Towards a modern, more European copyright framework of 9 December 2015, the Commission has set the objective of achieving a well-functioning market place for copyright, which implies, in particular, "the possibility for right holders to license and be paid for the use of their content, including content distributed online."[1]
Further to the Communication and the related stakeholders' reactions, the Commission wants to gather views as to whether publishers of newspapers, magazines, books and scientific journals are facing problems in the digital environment as a result of the current copyright legal framework with regard notably to their ability to licence and be paid for online uses of their content. This subject was not specifically covered by other public consultations on copyright issues the Commission has carried out over the last years. In particular the Commission wants to consult all stakeholders as regards the impact that a possible change in EU law to grant publishers a new neighbouring right would have on them, on the whole publishing value chain, on consumers/citizens and creative industries. The Commission invites all stakeholders to back up their replies, whenever possible, with market data and other economic evidence. It also wants to gather views as to whether the need (or not) for intervention is different in the press publishing sector as compared to the book/scientific publishing sectors. In doing so, the Commission will ensure the coherence of any possible intervention with other EU policies and in particular its policy on open access to scientific publications.[3]
*Selection
Do you wish to respond to the questionnaire "The role of publishers in the copyright value chain"?
Yes (Please allow for a few moments while questions are loaded below)
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[1]   COM(2015)626 final.
[2]   Neighbouring rights are rights similar to copyright but do not reward an authors' original creation (a work). They reward either the performance of a work (e.g. by a musician, a singer, an actor) or an organisational or financial effort (for example by a producer) which may also include a participation in the creative process. EU law only grants neighbouring rights to performers, film producers, record producers and broadcasting organisations. Rights enjoyed by neighbouring rightholders under EU law generally include (except in specific cases) the rights of reproduction, distribution, and communication to the public/making available.
[3]   See Communication COM(2012) 401, Towards better access to scientific information: Boosting the benefits of public investments in research, and Recommendation C(2012) 4890 on access to and preservation of scientific information.

Category of respondents
*Please choose the category that applies to your organisation and sector.
Member State
Public authority
Library/Cultural heritage institution (or representative thereof)
Educational or research institution (or representative thereof)
End user/consumer/citizen (or representative thereof)
Researcher (or representative thereof)
Professional photographer (or representative thereof)
Writer (or representative thereof)
Journalist (or representative thereof)
Other author (or representative thereof)
Collective management organisation (or representative thereof)
Press publisher (or representative thereof)
Book publisher (or representative thereof)
Scientific publisher (or representative thereof)
Film/audiovisual producer (or representative thereof)
Broadcaster (or representative thereof)
Phonogram producer (or representative thereof)
Performer (or representative thereof)
Advertising service provider (or representative thereof)
Content aggregator (e.g. news aggregators, images banks or representative thereof)
Search engine (or representative thereof)
Social network (or representative thereof)
Hosting service provider (or representative thereof)
Other service provider (or representative thereof)
Other

Questions
1. On which grounds do you obtain rights for the purposes of publishing your press or other print content and licensing it? (Multipe selections possible)
transfer of rights from authors
licensing of rights from authors (exclusive or non-exclusive)
self-standing right under national law (e.g. author of a collective work)
rights over works created by an employee in the course of employment
not relevant
other
2. Have you faced problems when licensing online uses of your press or other print content due to the fact that you were licensing or seeking to do so on the basis of rights transferred or licensed to you by authors?
yes, often
yes, occasionally
hardly ever
never
no opinion
not relevant
3. Have you faced problems enforcing rights related to press or other print content online due to the fact that you were taking action or seeking to do so on the basis of rights transferred or licenced to you by authors?
yes, often
yes, occasionally
hardly ever
never
no opinion
not relevant
4. What would be the impact on publishers of the creation of a new neighbouring right in EU law (in particular on their ability to license and protect their content from infringements and to receive compensation for uses made under an exception)?
strong positive impact
modest positive impact
no impact
modest negative impact
strong negative impact
no opinion
Please explain
The introduction of such rights in Spain and Germany has had a widespread negative impact
5. Would the creation of a new neighbouring right covering publishers in all sectors have an impact on authors in the publishing sector such as journalists, writers, photographers, researchers (in particular on authors' contractual relationship with publishers, remuneration and the compensation they may be receiving for uses made under an exception)?
strong positive impact
modest positive impact
no impact
modest negative impact
strong negative impact
no opinion
Please explain
The introduction of such rights in Spain and Germany has had a widespread negative impact
6. Would the creation of a neighbouring right limited to the press publishers have an impact on authors in the publishing sector (as above)?
strong positive impact
modest positive impact
no impact
modest negative impact
strong negative impact
no opinion
Please explain
7. Would the creation of a new neighbouring right covering publishers in all sectors have an impact on rightholders other than authors in the publishing sector?
strong positive impact
modest positive impact
no impact
modest negative impact
strong negative impact
no opinion
Please explain
8. Would the creation of a neighbouring right limited to the press publishers have an impact on rightholders other than authors in the publishing sector?
strong positive impact
modest positive impact
no impact
modest negative impact
strong negative impact
no opinion
Please explain
9. Would the creation of a new neighbouring right covering publishers in all sectors have an impact on researchers and educational or research institutions?
strong positive impact
modest positive impact
no impact
modest negative impact
strong negative impact
no opinion
Please explain
Educational institutions already face astronomical library and access to published materials costs. Compounding this problem with additional copyright costs would prove to be a tipping point for many of these institutions undermining their capacity to fulfil their core educational functions. In some cases it may even threaten the survival of these institutions.
10. Would the creation of a neighbouring right limited to press publishers have an impact on researchers and educational or research institutions?
strong positive impact
modest positive impact
no impact
modest negative impact
strong negative impact
no opinion
Please explain
The modern mainstream press is notoriously poor at evidence based substantive reporting, preferring instead to focus on superficial emotional response and capture of audience attention. Subtle or complex academic enquiry has little place in such an information space. The introduction of further copyright barriers risks marginalising researchers and educational or research institutions even further
11. Would the creation of new neighbouring right covering publishers in all sectors have an impact on online service providers (in particular on their ability to use or to obtain a licence to use press or other print content)?
strong positive impact
modest positive impact
no impact
modest negative impact
strong negative impact
no opinion
Please explain
The European Parliament's JURI [legal affairs] committee has already rejected the notion of what has come to be called a "Google tax" in its report on updating copyright in 2015. When it was introduced in Spain, Google shut down their Google News service leading to a drop in online publisher traffic of up to 15%. In Germany a similar law led to similar drops in traffic and online publishers responded in the end by providing Google with a free licence to link to their content. The overall economic effect is consequently negative even if we simply count the costs of administering/managing the new Google licences, a cost that did not previously exist. Google, Amazon, Apple, Facebook, Microsoft, big telcos and big tech cos generally can absorb these extra intermediary costs and offload them on their customers and end users. Online service SMEs get disproportionately affected as they can't rely on similar economies of scale.
12. Would the creation of such a neighbouring right limited to press publishers have an impact on online service providers (in particular on their ability to use or to obtain a licence to use press content)?
strong positive impact
modest positive impact
no impact
modest negative impact
strong negative impact
no opinion
Please explain
See previous answers
13. Would the creation of new neighbouring right covering publishers in all sectors have an impact on consumers/end-users/EU citizens?
strong positive impact
modest positive impact
no impact
modest negative impact
strong negative impact
no opinion
Please explain
Complex copyright provisions contribute to the drive towards industrial convergence in the communications and creative sectors. See for example Wu, Tim (2012) The Master Switch: The Rise and Fall of Information Empires and also Landes, William M., Posner, Richard A. (2003) The Economic Structure of Intellectual Property Law. Monopolistic/oligopolistic industries are bad for consumers/end-users/citizens. As Thomas Babbington Macaulay said in his famous copyright speech in the House of Commons in the 1840s, they "make articles scarce... dear, and... bad" http://www.thepublicdomain.org/2014/07/24/macaulay-on-copyright/
14. Would the creation of new neighbouring right limited to press publishers have an impact on consumers/end-users/EU citizens?
strong positive impact
modest positive impact
no impact
modest negative impact
strong negative impact
no opinion
Please explain
See answer to q13
15. In those cases where publishers have been granted rights over or compensation for specific types of online uses of their content (often referred to as "ancillary rights") under Member States' law, has there been any impact on you/your activity, and if so, what?
strong positive impact
modest positive impact
no impact
modest negative impact
strong negative impact
no opinion
16. Is there any other issue that should be considered as regards the role of publishers in the copyright value chain and the need for and/or the impact of the possible creation of a neighbouring right for publishers in EU copyright law?
Yes
No
If so, please explain and whenever possible, please back up your replies with market data and other economic evidence.
It is long past the time when a "copyright" should be considered the basic economic unit of creative work in our information age. The very act of switching on or using a computer, a word processor or a browser, involves copying. Instead of the debate on copyright being constantly dominated by proposals to expand the economic rights of a privileged collection of incumbent economic actors, such as publishers, the EU should be considering fundamental structural changes to the legal infrastructure around creative rights. One starting point would be the 10 copyright principles espoused by international copyright specialist Paul Edward Geller available at http://www.criticalcopyright.com/copyright_principles.htm Note in particular Geller's re-focusing of creative rights as authors' rather than publishers' rights. His ten principles: 1. THE CORE RIGHT: Each author has the core right to disseminate her own creations, but no one may exercise this right to restrain others from creating or disseminating their own works. 2. RIGHTHOLDERS AND SUBJECT-MATTERS: Each author has rights only in what each creates in any work that can be disseminated, but neither in techniques nor in materials or forms insofar as these are generated by techniques. 3. MORAL RIGHTS: Authors may have themselves and their works respectively referenced when these are disseminated, be awarded actual damages for failure to so reference, and obtain equitable relief for impairments to integrity, notably for those made without creativity. 4. ECONOMIC RIGHTS: Authors may obtain orders against the unauthorized dissemination of their own works, even in marginally creative derivative forms if irremediable harm is likely, and may be awarded actual damages or profit shares for unauthorized dissemination in any form. 5. EXCEPTIONS: Authors’ rights, save the right to reference, do not apply to any single redissemination that common sense finds necessary for critical or informational purposes, such as commentary, explanation, illustration, news reporting, archival access, research, or teaching. 6. LIMITATIONS: Authors’ rights are to be legislatively limited in their duration and may call for equitably limited remedies over time; overriding laws may limit relief in order to avoid undercutting such aims as assuring privacy, free expression, or open communication. 7. ALLOCATION: Authors share rights in their own work among themselves, or with any principal, subject to the parties’ equitably construed consensus; authors may transfer economic rights to third parties through restrictively construed contracts or grants. 8. CHAIN OF TITLE: A prior transfer of an economic right prevails over a subsequent transfer, subject to legally designated notice, but rightholders may not assert such rights in works licitly made public if they do not reasonably authorize uses. 9. REMEDIES: Authors’ self-help may not be enforced beyond the scope of their rights, nor civil remedies imposed for specific acts that do not foreseeably lead to infringement, nor criminal sanctions for such acts not specified in statute. 10. CHOICE OF LAW: The cross-border infringement of authors’ rights is governed by the laws respectively in force where the work at issue is or might be received, subject to internationally compelling public policies in the field.

Use of works, such as works of architecture or sculpture, made to be located permanently in public places (the 'panorama exception')
EU copyright law provides that Member States may lay down exceptions or limitations to copyright concerning the use of works, such as works of architecture or sculpture, made to be located permanently in public places (the ‘panorama exception’) [1] . This exception has been implemented in most Member States within the margin of manoeuvre left to them by EU law.
In its Communication Towards a modern, more European copyright framework, the Commission has indicated that it is assessing options and will consider legislative proposals on EU copyright exceptions, among others in order to "clarify the current EU exception permitting the use of works that were made to be permanently located in the public space (the ‘panorama exception’), to take into account new dissemination channels.”[2] This subject was not specifically covered by other public consultations on copyright issues the Commission has carried out over the last years. Further to the Communication and the related stakeholder reactions, the Commission wants to seek views as to whether the current legislative framework on the "panorama" exception gives rise to specific problems in the context of the Digital Single Market. The Commission invites all stakeholders to back up their replies, whenever possible, with market data and other economic evidence.
*Selection
Do you wish to respond to this questionnaire "Use of works, such as works of architecture or sculpture, made to be located permanently in public places (the 'panorama exception')?
Yes (Please allow for a few moments while questions are loaded below)

Category of respondents
*Please choose the category that applies to your organisation and sector.
Member State
Public authority
Owner or manager of works made to be located permanently in public places (or representative thereof)
Library or Cultural heritage institution (or representative thereof)
Educational or research institution (or representative thereof)
End user/consumer/citizen (or representative thereof)
Visual artist (e.g. painter, sculptor or representative thereof)
Architect (or representative thereof)
Professional photographer (or representative thereof)
Other authors (or representative thereof)
Collective management organisation (or representative thereof)
Publisher (or representative thereof)
Film/audiovisual producer (or representative thereof)
Broadcaster (or representative thereof)
Phonogram producer (or representative thereof)
Performer (or representative thereof)
Advertising service provider (or representative thereof)
Content aggregator (e.g. news aggregators, images banks or representative thereof)
Search engine (or representative thereof)
Social network (or representative thereof)
Hosting service provider (or representative thereof)
Other service provider (or representative thereof)
Other

Questions
1. When uploading your images of works, such as works of architecture or sculpture, made to be located permanently in public places on the internet, have you faced problems related to the fact that such works were protected by copyright?
Yes, often
Yes, occasionally
Hardly ever
Never
No opinion
Not relevant
If so, please explain what problems and provide examples indicating in particular the Member State and the type of work concerned.
2. When providing online access to images of works, such as works of architecture or sculpture, made to be located permanently in public places, have you faced problems related to the fact that such works were protected by copyright?
Yes, often
Yes, occasionally
Hardly ever
Never
No opinion
Not relevant
If so, please explain what problems and provide examples indicating in particular the Member State and the type of work concerned
3. Have you been using images of works, such as works of architecture or sculpture, made to be located permanently in public places, in the context of your business/activity, such as publications, audiovisual works or advertising?
Yes, on the basis of a licence
Yes, on the basis of an exception
Never
Not relevant
4. Do you license/offer licences for the use of works, such as works of architecture or sculpture, made to be located permanently in public places?
Yes
No
Not relevant
5. What would be the impact on you/your activity of introducing an exception at the EU level covering non-commercial uses of works, such as works of architecture or sculpture, made to be located permanently in public places?
strong positive impact
modest positive impact
no impact
modest negative impact
strong negative impact
no opinion
Please explain
I'm an educator. I would not be using panoramic images for commercial purposes but for research and teaching.
6. What would be the impact on you/your activity introducing an exception at the EU level covering both commercial and non-commercial uses of works, such as works of architecture or sculpture, made to be located permanently in public places?
strong positive impact
modest positive impact
no impact
modest negative impact
strong negative impact
no opinion
Please explain
Blocking non commercial use interferes with education and research
7. Is there any other issue that should be considered as regards the 'panorama exception' and the copyright framework applicable to the use of works, such as works of architecture or sculpture, made to be permanently located in public places?
Yes
No
If so, please explain and whenever possible, please back up your replies with market data and other economic evidence.

Submission of questionnaire
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