Archive
Intellectual Property and Emerging Technologies
A new course certificate – Yes, another one. There’s a theme here…
I must say this one was particularly challenging, but even more rewarding, as it helped reshape and validate my notion that no single one of these ’game changer’ technologies can match over-hyped expectations all by themselves. Instead, and perhaps obviously, it’ll take certain combinations and mashups of two or more of these technologies to create the right value propositions for robust, real-world applications that can finally meet and / or exceed current expectations.
As a result, I remain steadfast in my conviction, and even doubling down my commitment to stay at the sharp end of emerging technology and the impact on society, businesses and individuals.
For example, I’m excited to be on a panel discussing Emerging Technology and Intellectual Property at the World IP Forum 2022 event taking place on 10th-12th October, in Bangkok Thailand. I will be talking about the role of emerging technologies and the next phase of digital content and rights management. Intellectual Property, such as Copyright, must evolve to keep pace with new technologies and novel uses of the works they’re designed to protect, (in both physical and digital realms, as well as in the spaces between them).
From past experience, events such as these offer great opportunities to share and learn from others, as well as networking with speakers, moderators and attendees. It’s great to be back on the circuit, and and I may do a summary post following the event, or perhaps even a podcast as Gen Z folks supposedly demand.
Are NFTs the future of digital IP and the creative world, or just a remix of DRM and all its woes? (Part 5)
This is last in a series of posts to share some observations, opinions and conclusions on this intriguing technology which sits squarely at the intersection of digital, creativity and intellectual property. The topic is broken down into the following parts:
- What are NFTs (and the non-fungibility superpower)?
- What has this got to do with Intellectual Property (and content protection)?
- Does it mean that NFTs are like DRM remixed?
- How does it affect the creative industry today and in the future?
- Summary observations and conclusions.
Are NFTs the future of digital IP and the creative world, or just a remix of DRM and all its woes? (Part 4)
This is fourth in a series of posts to share some observations, opinions and conclusions from playing with this intriguing technology that sits squarely at the intersection of: digital technology, creative content and intellectual property. The topic is broken down into the following parts:
- What are NFTs (and the non-fungibility superpower)?
- What has this got to do with Intellectual Property (and content protection)?
- Does it mean that NFTs are like DRM remixed?
- How does it affect the creative industry today and in the future?
- Summary observations and conclusions.
Are NFTs the future of digital IP and the creative world, or just a remix of DRM and all its woes? (Part 3)
This is third in a series of posts to share some observations, opinions and conclusions from playing with this intriguing technology that sits squarely at the intersection of digital technology, creative content and intellectual property. The topic is broken down into the following parts:
- What are NFTs (and the non-fungibility superpower)?
- What has this got to do with Intellectual Property (and content protection)?
- Does it mean that NFTs are like DRM remixed?
- How does it affect the creative industry today and in the future?
- Summary observations and conclusions.
Are NFTs the future of digital IP and the creative world, or just a remix of DRM and all its woes? (Part 2)
This is second in a series of posts I drafted to share some observations, opinions and conclusions from playing with this intriguing technology that sits squarely at the intersection of: creative content, digital tech and intellectual property. The topic is broken down into the following parts:
- What are NFTs (and the non-fungibility superpower)?
- What has this got to do with Intellectual Property (and content protection)?
- Does it mean that NFTs are like DRM remixed?
- How does it affect the creative industry today and in the future?
- Summary observations and conclusions.
Are NFTs the future of digital IP and the creative world, or just a remix of DRM and all its woes? (Part 1)
To be perfectly frank, I consider it an evolution of the same thing, TLAs not withstanding (pls. see glossary at the end). Intellectual Property (or IP), that most artificial and enforceable economic right, is becoming somewhat sexified by Web3 technologies and new opportunities for decentralisation. So what does that mean for the future of creative industries?
Read more…Copyright, Blockchain, Technology and the State of Digital Piracy
More Perils of Reusing Digital Content
Fighting Piracy with Education
According to a BBC news report, it seems that a deal to tackle digital piracy is about to be realised between major UK ISPs and key content and entertainment industry organisations. Given that it took several years of wrangling to get to this point, the obvious question is whether this particular deal will work to the satisfaction of all concerned?
The report describes how the UK ISPs (i.e. BT, Sky, TalkTalk and VirginMedia) will be required to send ‘educational’ letters, or alerts, to users they believe are downloading illegal content. Among other things, the deal is predicated on the belief that increased awareness of legal alternatives will encourage such users away from illegal content acquisition, casual infringement and piracy. This voluntary alert system will be funded mainly by the content industry who in return will get monthly stats on alerts dished out by the ISPs. Overall, this deal is far removed from the more punitive “3 strikes” system originally mooted in the early days of the Digital Economy Act.
As with most cases there are 2 or more sides to the story, and below are some considerations to be taken into account before drawing your own conclusions, including:
1. Critics of this deal, i.e. presumably the content providers, will consider this too soft an approach to be effective in curbing the very real and adverse economic impact of piracy.
2. Supporters, including ISPs, will likely see this as fair compromise for securing their cooperation in tackling piracy, and a win-win for them and their customers.
3. Another perspective comprises the view of regulators and government intermediaries (aka brokers of this deal), who likely consider it a practical compromise which can always be tweaked depending on its efficacy or lack thereof.
4. There are probably many other viewpoints to be considered, but, in my opinion, the most important perspective belongs to the end-users who ultimately stand to benefit or suffer from the success or failure of this initiative, especially since:
- there is evidence that education trumps punishment when it comes to casual content piracy – e.g. the HADOPI experience in France which has effectively evolved into an educational campaign against copyright infringement.
- content consumers already have far too much choice over the source and format of content anyway, so punitive measures may not necessarily solve the piracy problem, if they can get content via other illegal means.
- any perceived failure of this deal, and its ‘educational’ approach, could lend support for more draconian and punitive measures, therefore it is in the interest of consumers to see it succeed.
5. Industrial scale piracy, on the other hand must be tackled head-on, with the full weight of the law, in order to close down and discourage the real criminal enterprises that probably do far more damage to the content industry.
In any case, regardless of how you view this and other similar developments, it is always worth bearing in mind that we are only in a period of transition to a comprehensive digital existence, therefore all current challenges and opportunities are certain to change, as new technology and usage paradigms continue to drive and reveal ever more intriguing changes in consumer behaviours. This battle is far from over.
Copyright and Technology in 2013
Last month’s conference on copyright and technology provided plenty of food for thought from an array of speakers, organisations, viewpoints and agendas. Topics and discussions ran the gamut of increasingly obvious “business models are more important than technology” to downright bleeding edge “hypersonic activation of devices from outdoor displays “. There was something to take away for everyone involved. Read on for highlights.
The Mega Keynote interview: Mega’s CEO Vikram Kumar, discussed how the new and law-abiding cloud storage service is proving attractive to professionals who want to use and pay for the space, security and privacy that Mega provides. This is a far cry from the notorious MegaUpload, and founder Kim Dotcom’s continuing troubles with charges of copyright infringement, but there are still questions about the nature of the service – e.g. the end-to-end encryption approach which effectively makes it opaque to outside scrutiny. Read more about it here.
Anti-Piracy and the age of big data – Mark Monitor’s Thomas Sehested talked about the rise of data / content monitoring and anti-piracy services in what he describes as the data driven media company. He also discussed the demise of content release windows, and how mass / immediate release of content across multiple channels lowers piracy, but questioned if this is more profitable.
Hadopi and graduated response – Hadopi’s Pauline Blassel gave an honest overview on the impact of Hadopi, including evidence of some reduction in piracy (by factor of 6M-4M) before stabilsation. She also described how this independent public authority delivers graduated response in a variety of ways e.g. from raising awareness to imposing penalties and focusing primarily on what is known as PUR (aka ‘Promotion les Usage Responsible’)
Auto Content Recognition (ACR) and the 2nd Screen – ACR is a core set of tools (including DRM, watermarking and fingerprinting), and the 2nd screen opportunity (at least for broadcasters) is all about keeping TV viewership and relevance in the face of tough competition for people’s time and attention. This panel session discussed monetisation of second screen applications, and the challenges of how TV is regulated, pervasive and country specific. Legal broadcast rights is aimed at protection of broadcast signals, which triggers the 2nd screen application, (e.g. via ambient / STB / EPG based recognition). This begs the question of what regulation should be applied to the 2nd screen, and what rights apply? E.g. Ads on TV can be replaced in the 2 screen, but what are the implications?
Update on the Copyright Hub – The Keynote address by Sir Richard Hooper, chair of the Copyright Hub and co-author of the 2012 report on Copyright Works: Streamlining Copyright Licensing for the Digital Age, was arguably the high point of the event. He made the point that although there are issues with copyright in the digital age, the creative industries need to get off their collective backsides and streamline the licensing process before asking for a change in copyright law. He gave examples of issues with the overly complex educational licensing process and how the analogue processes are inadequate for the digital age (e.g. unique identifiers for copyright works).
Sir Richard Hooper
The primary focus of the Copyright Hub, according to Sir Richard, is to enable high volume – low value transactions, (e.g. to search, license and use copyright works legally) by individuals and SMEs. The top tier content players already have dedicated resources for such activities hence they’re not a primary target of the Copyright Hub, but they’ll also benefit by removing the need to deal with trivial requests for licensing individual items (e.g. to use popular songs for wedding videos on YouTube).
Next phase work, and other challenges, for the Copyright Hub include: enabling consumer reuse of content, architectures for federated search, machine to machine transactions, orphan works registry & mass digitisation (collective licensing), multi licensing for multimedia content, as well as the need for global licensing. Some key messages and quotes in the ensuing Q&A include:
- “the Internet is inherently borderless and we must think global licensing, but need to walk before we can run”
- “user-centricity is key. People are happy not to infringe if easy / cheap to be legal”
- “data accuracy is vital, so Copyright Hub is looking at efforts from Linked Content Coalition and Global Repertoire Database”
- “Metadata is intrinsic to machine to Machine transactions – do you know it is a crime to strip metadata from content?”
- “Moral rights may add to overall complexity”
As you can probably see from the above, this one day event delivered the goods and valuable insights to the audience, which included people from the creative / content industries, as well as technologists, legal practitioners, academics and government agencies. Kudos to MusicAlly, the event organiser, and to Bill Rosenblatt, (conference chair), for a job well done.
Next Stop: I’ll be discussing key issues and trends with Digital Economy and Law at a 2 day event, organised by ACEPI, in Lisbon. Watch this space.
Judeumeh's Blog 