Die Zukunft des Urheberrechts

Gepostet vor 9 Jahren, 2 Monaten in #Misc #Copyright #DigitalAge #Music-Industry #p2p

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Rasmus Fleischer hat für Cato Unbound einen genauso wunderbaren wie langen Artikel über die Geschichte und die Zukunft des Urheberrechts getippt, ich glaube, ich habe noch nie einen so langen Text online tatsächlich zu Ende gelesen. Ein wunderbarer Artikel, vielleicht nix neues für regelmäßige Nerdcore-Leser, aber doch eine mehr als gelungene Zusammenfassung.

When American troops liberated the city of Luxembourg in 1944, they made a strange capture: a machine capable of recording sound on magnetic tapes. Shortly after the war, this German military invention made its appearance in private homes. Tape recorders integrated listening and reproduction in one device, but as separate functions. That’s no longer the case with digital technology. Today, to use digital information is to copy it.

Computers operate by copying. They couldn’t care less whether the physical distance between original and copy is measured in micrometers or in miles; both work equally well for them. Copyright law, on the other hand, must somehow draw a line between use and distribution. That means putting an imaginary grid over the chaotic myriad of network nodes, delineating clusters of devices that can be attributed to individuals or households.

Whatever happens inside such a cluster is defined as private use, while any trespassing of these borders is potentially criminal. But what can this strict division between private and public mean to someone with 400 “friends” on Facebook?
Another important consideration is that the digital is larger than the online. According to one recent study 95 percent of British youth engage in file sharing via burned CDs, instant messaging clients, mobile phones, USB sticks, e-mail, and portable hard drives. [5]

Such practices constitute the “darknet,” a term popularized by four Microsoft-affiliated researchers in a brilliant 2002 paper.[6] Their thesis is simply that people who have information and want to exchange it with each other will do just that, forming spontaneous networks which may be large or small, online or offline. By being interconnected they can always keep the most popular material available. Attempts to curb open file-sharing infrastructure may only drive activity towards smaller and darker networks.

One early darknet has been termed the “sneakernet”: walking by foot to your friend carrying video cassettes or floppy discs. Nor is the sneakernet purely a technology of the past. The capacity of portable storage devices is increasing exponentially, much faster than Internet bandwidth, according to a principle known as “Kryder’s Law.” [7] The information in our pockets yesterday was measured in megabytes, today in gigabytes, tomorrow in terabytes and in a few years probably in petabytes (an incredible amount of data). Within 10-15 years a cheap pocket-size media player will probably be able to store all recorded music that has ever been released — ready for direct copying to another person’s device.

In other words: The sneakernet will come back if needed. “I believe this is a ‘wild card’ that most people in the music industry are not seeing at all,” writes Swedish filesharing researcher Daniel Johansson. “When music fans can say, ‘I have all the music from 1950-2010, do you want a copy?’ — what kind of business models will be viable in such a reality?”

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