Survey for Visual Artists About the DMCA Notice
Posted by Advocacy Liaison on March 08, 2016
Has your copyrighted work been used on the Internet without your permission?
Are you a photographer, illustrator, graphic artist or designer, or other visual creator?
Are you an artist’s/photographer’s agent or representative, or an image licensing agent?
Have you discovered infringing use of your images, or the images you license, on the Internet, and used the DMCA Takedown Notice procedure to have the images removed from a website?
If so, we’d like to know about your experience.
The US Copyright Office is conducting a study about the efficacy of the DMCA Takedown Notice procedure. The following group of associations are working together to conduct a survey of image rights holders and licensing professionals to gather information for the Copyright Office study.
Please help us in our advocacy efforts on behalf of all American visual artists and participate in our anonymous short survey.
The survey will close at midnight, Sunday, March 13, 2016.
American Photographic Artists
American Society of Media Photographers
Digital Media Licensing Association
Graphic Artists Guild
National Press Photographers Association
North American Nature Photography Association
Professional Photographers of America
PLUS (The Picture Licensing Universal System)
The Digital Millennium Copyright Act of 1998 (DMCA) established a legal “notice and take-down” process which allows copyright holders to demand that infringing copies of their work be removed from online sites. If the infringed work appears on a website which is hosted by an ISP located in the United States, the copyright holder can contact the ISP to have the work taken down. More information on the DMCA notice can be read in our article, Hey, That’s My Work on Their Web Site!.
Copyright Small Claims White Paper Released by Visual Arts Associations
Posted by Advocacy Liaison on March 02, 2016
While there has been a great deal of discussion recently about the possibility of Congress creating a small claims process for visual arts, several visual artist groups, representing hundreds of thousands of creators, have joined forces to propose key components of potentially forthcoming small claims legislation. Collectively, the groups represent photographers, photojournalists, videographers, illustrators, graphic designers, artists, and other visual artists as well as their licensing representatives.
The white paper, which can be viewed here, advocates for the creation of a small claims tribunal within the U.S. Copyright Office. The document is collaboration between American Photographic Artists (APA), American Society of Media Photographers (ASMP), Digital Media Licensing Association (DMLA), Graphic Artists Guild (GAG), National Press Photographers Association (NPPA), North American Nature Photography Association (NANPA) and Professional Photographers of America (PPA).
These organizations have identified the creation of a small claims option to be their most urgent legislative priority before Congress. They assert that the cost and burden of maintaining a lawsuit in the only existing venue for hearing copyright infringement claims — federal district courts — is prohibitive and all too often leaves visual artists no way to vindicate their rights. They see a small claims process within the Copyright Office as providing a fair, cost-effective and streamlined venue in which they can seek relief for relatively modest copyright infringement claims.
The Graphic Artists Guild opines that the goal of an alternate, small-value, copyright infringement court system is to encourage proper business practices and the licensing of copyrighted works, as well as discourage unauthorized use. The procedure and system ought to be easy to use by both parties, with expeditious results and lower costs for the process, and with evidentiary requirements to deter false claims. More rights holders will be able to get monetary compensation from unauthorized users. Users will be aware that it is more cost-effective to contact the rights holder and pay a licensing fee rather than infringe, because rights holders will have easier access to legal recourse.
This negotiated document, which lays out the basic framework for small claims legislation, is in large part consistent with the legislative recommendations set out in the “Copyright Small Claims” report released in late 2013 by the U.S. Copyright Office. In some instances, the white paper offers alternative suggestions to those put forth by the Copyright Office.
The visual artists’ organizations listed above have now distributed this legislative proposal for a copyright small claims tribunal to members of Congress, the United States Copyright Office, the members of the undersigned organizations, and other important copyright stakeholders.
Multiple Instagram Accounts for Your Design or Illustration Studio? Instagram Rolls Out Support
Posted by Rebecca Blake on February 10, 2016
Instagram has rolled out multiple account managment. The change is a boon to designers and illustrators who manage both personal and professional Instagram accounts. Users can download the latest version of the app (Instagram 7.15), and add additional up to five additional accounts. From there, changing between accounts is just a simple tap. The app identifies which account is active with the profile picture, so users know where they’re posting.
The DMCA Notice: “Take Down” is Letting Down Artists
Posted by Rebecca Blake on February 03, 2016
Since the DMCA notice procedure was written into law in 1998, it’s proven to be of limited effectiveness in combating copyright infringement online. “DMCA” stands for the Digital Millennium Copyright Act, an ambitious law passed by Congress in an attempt to address, among other things, the piracy of copyrighted materials. The DMCA notice procedure creates an avenue for copyright holders to have their infringed work removed from a website by contacting the website hosting company or ISP (Internet service provider). However, the notice procedure has come under fire from all sides.
The DMCA law implemented two 1996 World Intellectual Property Organization (WIPO) treaties. To bring the US compliant with those treaties, the law criminalized the creation of systems to circumvent digital right management measures, and raised penalties for copyright infringement on the Internet. OSPs (online service providers), including ISPs, were concerned that they would be penalized for copyright infringement conducted by users of their systems. The concern was justified; by US law, anyone participating in copyright infringement or distribution of infringed work is liable. The DMCA “notice and take down process” creates a safe haven for those companies.
Essentially, OSPs are required to publish the contact information for a designated DMCA agent responsible for processing DMCA notice requests. Copyright holders can contact the OSP through the agent, and if their take down notice complies with the statutory requirements, the OSP is required to take down the infringing work. Doing so renders the OSP not liable for any infringement. The process also provides a means for the individual posting the content to appeal the take down with a counter notice. (For a instructions on how to issue a take down notice, see our article “Hey, That’s My Work on Their Web Site!” in our Tools + Resources.)
The problem with the DMCA take down notice is that it puts the burden on copyright holders to police the Internet, only to see the infringed work crop up repeatedly. In fact, the DMCA procedure has been termed “take down Whac-A-Mole.” Part of the problem is that the DMCA law did not anticipate peer-to-peer networking, which permits data transfer between users without an intermediate server. Peer-to-peer file-sharing networks such as BitTorrent have long been sources for pirated material such as films, music, books, graphic novels, software, etc. An additional problem is that OSPs have no incentive to police content before receiving a take down notice, since prior knowledge that content may be infringing would forfeit their safe harbor exemption. This concern was raised by Professor Sean O’Connor while testifying at a House Judiciary Committee hearing in 2014. (Read David Kluf’s recap of the hearing on Trademark and Copyright Blog.)
Professor Sean O’Connor being introduced at the House Judicary Committee hearing on the DMCA Take Down Notice. (screen capture from the hearing video)
For their part, technology companies complain that the DMCA take down procedure is rife with abuse, and fails to recognize fair use exemptions. During the House testimony, Paul Semienski, General Counsel for the parent company of WordPress, cited examples of a DMCA notice being used to squelch criticism, and stated that the counter notice process to appeal a takedown is largely inefficient. Reports of abuse of the take down process appear to be exaggerated, though. On the NSU legal blog, Steve Carlisle pointed out that Semienski only cited three examples of abusive uses of the notice. Google in its transparency report states that 97% of the takedown notices were removed, meaning that at most, Google challenged only 3% of the notices, which could have been abusive. By those statistics, at the time of the hearing hearing, Google was receiving up to 6.3 million legitimate notices in one week.
Paul Semienski testifying at the Judiciary Committee hearing. (screen capture from the hearing video)
Overall, Google counsel Katherine Oyama has expressed satisfaction with the DMC notice procedure. She testified at the Judiciary committee hearing that, despite the rapid growth in the number of take down notices received by Google reporting infringement on its search engine, the company was able to speed up its response time. She also recommended that rather than amending the take down procedure, means for copyright holders to police and monetize their work (such as through Google’s Content ID system) should be developed.
As proof of the success of the DMCA take down process, Google cites the extreme number of notices it processes – 560,000,000 in 2015 alone. Many of those take down notices are most likely handled by automated systems implemented by major copyright holders such as recording companies and film studios. However, as independent filmmaker Ellen Siedler reports on her blog, Vox Indie, the take down process provided by Google is an onerous 8-step procedure. Additionally, Google does not publish the contact information for their DMCA agent as is required by law. The result is a Gordian knot of a process that deters individual rights holders and probably reduces the number of take down notices Google receives.
Katherine Oyama at the Judiciary Committee hearing. (screen capture from the hearing video)
A solution mentioned by many advocates for copyright holders is modifying the existing process to a “take down and stay down” notice. Carlisle describes that process as “[o]nce a DMCA notice is filed, all files with that ID need to be taken down, not just one on one website. New postings that match that ID need to be blocked.” The result will be that repeat postings of pirated material will be blocked, the overall number of DMCA notices will decline, and OSPs will need to allocate fewer resources to process them. Dropbox has already in place a similar process. Files uploaded to Dropbox are assigned a unique code number, and, if a DMCA notice is filed on that code number, Dropbox disables further public sharing of the file.
“Take down and stay down” has its detractors. Techdirt describes the proposal as “The Rebranding of SOPA,” the hugely unpopular anti-piracy legislation that was dropped a few years ago. The Electronic Frontier Foundation (EFF) describes take down and stay down as “filter everything.” And Google’s Oyama describes the process as “problematic.” The leading reason given for the opposition to take down and stay down is concern with abusive notices, despite the fact that they represent a tiny percentage of the overall number of notices.
NYPL Adds Public Domain Images to Digital Collections for Reuse by Artists
Posted by Rebecca Blake on February 02, 2016
The New York Public Library (NYPL) has added over 674,000 public domain images to their on online database of digital collections. The public domain database includes prints, photographs, maps, video, and manuscripts, which can be downloaded in high resolution. The NYPL statements on the collection indicate that the materials are out-of-copyright, and the public is invited to “go forth and reuse!”. However, a closer look at the NYPL selection process indicates that some images may not be public domain, or may have additional rights assigned, and artists are cautioned to proceed carefully before using the images.
The collection was developed with the NYPL Labs, an interdisciplinary team within the library with the mission of positioning the Library’s collections for the digital age. The NYPL Digital Collections overall provide a great resource of research, educational, and reference material for designers and illustrators. Visitors to the Collections can search by keyword, scroll through recently uploaded items, or browse collections such as Fashion, Nature, For Designers, or Book Arts and Illustrations. For illustrators needing reference material for historic projects, for example, illustrations of 1930s era farm life, the search features and collections can be a tremendous aid. To select for public domain images within a collection, the user checks the “Show Only Public Domain” filter selection. This filters for only images the NYPL believes are out-of-copyright.
Above: When in a collection, be sure to select for only public domain images to view images the NYPL has flagged as available for reuse.
While the newly added materials are described as “public domain” (items for which the coyright has expired or doesn't exist), the Library doesn’t commit to that legal designation. The Library legal team utilizes services such as reverse image searches and the Catalog of Copyright Entries to research the copyright status of items before release. However, because of changes in US copyright law, and the lack of provenance on many images (in particular photos), the NYPL demurs to definitively state the items are public domain. Instead, their blog post on the public domain additions clarifies that the legal team was unable to find copyrights to the items, and states that the Library is unable “to guarantee that we have not made a mistake in either the facts or the law.” The rights statement on the public domain images reads “We believe that this item has no known US copyright restrictions.” The statement also warns that the items may be additionally restricted: “The item may be subject to rights of privacy, rights of publicity and other restrictions.”
In celebration of the release, the Library is inviting the public to apply for a “Remix Residency.” The NYPL Labs is accepting proposals to reuse and remix from the collection to create “transformative, interesting, beautiful new uses of our digital collections.” As examples of such uses, they’ve provided links to sample NYPL public domain remixes, such as “Navigating the Green Book,” an exploration of travel guides that showed restaurants, hotels, and other establishments open to African Americans during the age of segregation. NYPL Labs is accepting proposals through the end of February. Recipients of the residency will receive a $2,000 stipend, consultation with the Lab’s staff and curators, and workspace in the NYPL research rooms.Previous Page Next Page
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