Copy Bunny Progress Bar

Our first Minute Meme, Copying Is Not Theft, continues its steady spread online. The two versions currently most shared are QuestionCopyright.org’s “official” version, which we unfortunately named “best” instead of “official” (“best” implying a value judgement) and the arrangement by Willbe which uses my original wavery vocals (hence my unfortunate value judgement – the official/”best” version has vocals by professional Connie Champagne, which save me the embarrassment of hearing my own voice).

On the Willbe version youtube page, I found a pretty good suggestion in the comments: a Copy Bunny Progress bar. That was easy enough to make; here’s a truncated version in GIF format:

I also uploaded all the original .fla files to archive.org, so you can remix and modify to your heart’s content.

"Copying Is Not Theft" PinAlso, did you know there’s a Copying Is Not Theft cloisonne pin? Well there is! And you can buy it.

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Added Value

Crossposted from Mimi & Eunice

Mimi & Eunice’s character designs evolved (barely) from this Copying Is Not Theft animation:

You’ll notice it starts off with the nose-stealing gag. I saw a similar gag over a decade ago in a brilliant Sam Henderson comic, the Magic Whistle, which made me laugh and laugh. Since Sam has made about a zillion such comics, I can’t find that one, but I did find this amusing one that relates to one of my favorite subjects, the First Amendment: Continue reading “Added Value”

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Excerpts from my HOPE talk

Excerpts from my talk “Sita Sings the Blues: a Free Culture Success Story” at The Next H.O.P.E. (Hackers On Planet Earth) conference, July 16 2010 in New York City. Includes: why I insisted on authentic songs, what is and is not property, software is culture, the difference between Share Alike (copyleft) and other Creative Commons licenses, why I paid to legally license the old songs, how noncommercial copyright infringement is still illegal, legal costs, benefits of audience sharing & decentralized distribution, the Sita Sings the Blues Merchandise Empire (sitasingstheblues.com/store), open-licensed merch, audience goodwill, how fans support artists, rivalrous vs. non-rivalrous goods, the Creator Endorsed Mark, migrating Flash files to open formats, gift income, commerce without monopolies, why I encourage legal sharing, and more!

Learn about the movie: http://sitasingstheblues.com/
Donate: http://questioncopyright.org/sita_dis…
Store: http://sitasingstheblues.com/store
HOPE: http://thenexthope.org/

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Paley & Doctorow argue over Non-Commercial licenses

Venerable author Cory Doctorow and I had this email correspondence this Summer, with the intention of sharing it to illuminate some issues confronting Free Culture and Creative Commons licenses. My thanks to Cory!

May 17, 2010

Hi Cory,

I’m writing to invite you to experiment with what I think is a brilliant innovation from QuestionCopyright.org: the Creator Endorsed Mark.

You clearly laid out your reasons for using -NC licenses in THE COPYRIGHT THING:

“I like the fact that copyright lets me sell rights to my publishers and film studios and so on. It’s nice that they can’t just take my stuff without permission and get rich on it without cutting me in for a piece of the action.” link

The Creator Endorsed Mark effectively achieves the same thing, but without commercial monopolies. As you know, -NC licenses have some drawbacks: there’s no clear delineation between commercial and non-commercial use. You write,

“It’s just stupid to say that an elementary school classroom should have to talk to a lawyer at a giant global publisher before they put on a play based on one of my books.” link

It is stupid, but if the school raises any money to put on that play, or charges for tickets, or any number of other likely scenarios, then it’s commercial use of your work. You know it’s stupid, and I know it’s stupid, and maybe even some teachers and students know it’s stupid, but the school is obliged to obey the law, and the -NC license says they have to negotiate permission. If there’s a legal adviser at that school, they’re not going to allow the play without permission; and if asking for permission is too uncertain or labor-intensive (as it is in almost all cases – a lawyer may not know what an exception yours is), they won’t put on the play.

The Creator Endorsed Mark solves that problem. There is no commercial monopoly to infringe on. Big players – “publishers and film studios and so on” – need your Endorsement. If they cross you and your fans, they have a huge publicity problem; if they obtain your endorsement and cooperation, they sell more copies. The Creator Endorsed Mark increases the monetary value of distributed works, and is an essential investment for a distributor to make. But unlike a commercial monopoly, it doesn’t legally threaten or punish all those other players who are so crucial to a thriving cultural economy: schools putting on plays, other creatives building on the work, and otherwise unimaginable scenarios.

Continue reading “Paley & Doctorow argue over Non-Commercial licenses”

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What’s wrong with “streaming” DRM?

Judging from comments here, at Techdirt, and at BoingBoing, there seems to be much confusion about why I don’t want DRM on Sita Sings the Blues. The simplest explanation is this: I am making my film available to all under an open license. Allowing a party to take the benefit of that license, but then limit the rights of downstream users is inconsistent and frustrates the original purpose of the open license — to promote and facilitate access and use of the work.

Some people seem to think DRM is irrelevant on “streaming content.” I was one of them, which is why I was initially so indecisive about the Netflix streaming offer. DRM encourages people to think of certain liberties as being impossible, rather than merely taken away. Already many people think that “streaming” means “cannot be saved on my computer,” instead of “optimized for real-time flow”.  People make this false equation entirely because of user-side DRM.

So along with its other problems, DRM is a kind of anti-literacy device for the digital age.  The more hobbled people’s phones and computers and music players get, the harder it is to remember what it was like when those devices served their users rather than the monopolists. The more deeply embedded DRM becomes, the more its restrictions will come to feel like “just the way things are”, rather than an impediment that could conceivably be removed or worked around.

I respectfully submit a typical comment:

Its not a download or purchase , its “Free Streaming” . From my Roku box to my tv why should you or I care if it has drm.

This is a perfect example of the kind of illiteracy mentioned above. “…we’re talking about a stream, which by definition is not saved on your computer”.  This commenter and others have bought the industry’s definition of “stream”, even though there’s nothing inherent in streaming that prevents saving. I can’t blame them; until last week, I didn’t think about what “streaming” meant either.

Here’s another typical comment:

You’re obviously making a symbolic stand here. That’s fine. But please at least be honest about that instead of claiming that Netflix streaming is “breaking” my home electronics. My computer and my Xbox work just fine and my rights have not been violated in any tangible or meaningful way.

If data is sent to your computer, and yet your computer won’t let you save that data, than an important function of your computer has been interfered with.  Who does your computer work for, anyway, you or them? It’s not just a hypothetical breakage, either.  For example, if you wanted to divide the same incoming stream to two different computers in your house, similarly to how a “Y” pipe would do with water, Netflix DRM will prevent that.  Normally, your computer could do that just fine, but not when it’s broken.

If the quibble is with the word “broken,” we can use the less-inflammatory word “disabled,” although people are eager to forget that “disabling” a computer means “breaking it in increments.”

♦♦♦♦♦♦♦♦♦♦♦

My rejection of DRM is not a condemnation of Netflix (I like Netflix!) nor of those who use this very convenient service. I made this difficult decision as the author of Sita Sings the Blues. The only reason Netflix has DRM on its streams is because of pressure from the “content industry.” Well guess what – I am the content industry too, and I say no to DRM.

Nina_IFC_640_contentinustry

Thanks to Karl Fogel for contributing to this article.

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