Public Knowledge White Paper Attacks Copyright Filtering August 20, 2009
Posted by Bill Rosenblatt in Fingerprinting, Law, Watermarking.3 comments
The Washington-based advocacy organization Public Knowledge last month published Forcing the Net Through a Sieve: Why Copyright Filtering is Not a Viable Solution for U.S. ISPs. The white paper was a submission to the Federal Communications Commission in connection with its National Broadband Plan.
The paper covers many technical, policy, and legal reasons why it’s a bad idea to adopt various types of technologies to keep unauthorized copyrighted material off the Internet. Some of the considerations include inaccuracy in identifying actually infringing material (whether false positives or false negatives), hampering ISP network performance, infringing on fair use rights, and forcing ISPs to incur costs that may be passed on to consumers.
Countries outside of the US, such as France and Belgium, have been seriously considering legal mandates for filtering copyrighted material from ISPs’ networks. Some ISPs in the US, like AT&T, have been experimenting with filtering technologies — in AT&T’s case, Vobile‘s video fingerprinting — while others, like Verizon, are against it.
Unfortunately, this white paper contains some errors and mischaracterizations that dampen its value in influencing regulations. The most serious of these occur in the sections on identifying content.
The paper discusses the difficulty of identifying a piece of content through metadata, such as ID3 tags commonly used in digital music. This is true as far as it goes. But it makes no mention of content ID standards that are gaining traction in various media industry segments, such as ISRC in music, ISAN in video, and DOI in various publishing industry segments. The use of content IDs, especially in watermarks, would greatly improve the efficiency and accuracy of content identification over other schemes.
The authors also mischaracterize the state of watermarking. They say that watermarks can be removed from content, leading to a pointless “arms race” between hackers and developers of watermarking technology. To support this, they point to research done by Ed Felten and his Princeton team in 2001 in connection with the failed SDMI watermark. Not only is this research ancient history with regard to watermarking techniques used today, but it is also off-target: the SDMI watermark was intended for a different purpose and thus was designed differently from watermarks used to identify content for forensic purposes. Such watermarks can be designed so that removing them leaves content that is perceptually degraded.
Finally, the authors claim that watermark detection won’t do anything to filter content from CDs, DVDs, or camcorded movies. This is not true. These can be and are watermarked as well; and the watermarks are designed to withstand transformations such as digital-analog-digital conversion.
There are other more general, almost “rhetorical” devices used in this paper that I would call questionable. One is the persistent use of the term “downloading” to describe what an ISP must do in order to find content to filter. The report accurately describes deep packet inspection, but this need not involve “downloading,” a term that implies an operation that takes time and is a departure from the usual process of routing Internet traffic. In fact, routers already examine Internet traffic for malware and various other types of content; they do this on the fly without “downloading.” Technology companies such as Zeitera are working on hardware-based fingerprinting technology that would work similarly for content identification that could be used for filtering.
Another such rhetorical device is use of the term “underinclusive,” meaning technologies that let infringing content through instead of blocking it (i.e., false negatives) — as opposed to “overinclusive,” meaning false positives. Content owners who favor filtering technologies are not necessarily looking to eliminate false negatives. This is reminiscent of the copyleft canard that antipiracy technologies are worthless because they aren’t perfect.
Finally, the white paper makes various connections between copyright filtering and net neutrality that are conspiracy-theoretical stretches. One example is the discussion about using filtering to slow down or speed up traffic through networks. I am not aware of any copyright filtering discussion that encompasses bandwidth throttling.
There are indeed serious concerns about copyright filtering, many of which this white paper raises effectively. Network efficiency and false positives that abridge fair use rights are the two big ones. Some of the technologies that this white paper claims are being considered for copyright filtering are just bad ideas, such as traffic pattern analysis, architecture-based filtering (e.g. P2P), and protocol-based filtering (e.g. BitTorrent). But an exposition of the negative aspects of this type of technology should at least lay out the arguments without resorting to trial-lawyer-esque rhetorical devices and factual gaps.
I’m also skeptical of any legally mandated technological scheme for controlling copyright. Ultimately, assuming that the technology can be made to work adequately, the use of copyright filters ought to be a matter of economics and private sector deliberation — something that the movie and user-generated-content industries have already attempted. Public Knowledge’s white paper does address the most important economic principle, namely the question of who pays for the technology. Any scheme that saddles consumers with the burden of cost for copyright filtering, such as the one proposed in the UK’s Digital Britain report in January, is inherently flawed. Private sector deliberations over copyright filtering should use this as a starting point if they are going to arrive at a workable solution.
AP Pushes Ahead with Rights Microformat July 27, 2009
Posted by Bill Rosenblatt in Fingerprinting, Rights Licensing, Standards.4 comments
Details are emerging about the scheme that the Associated Press, the world’s largest newsgathering organization, announced back in April to protect its content and crack down on “free riders” that use it without permission. Last Thursday, the AP’s board approved a plan to integrate a set of technologies to address the problem, including a set of metatags or “microformat” called hNews and Attributor’s text fingerprinting.
The AP developed its microformat in house as a means of accomplishing two things: providing standard metadata to search engines to help them improve search results, and specifying rights. HNews is based on the microformat hAtom. One of its components is a rights expression language called hRights, which in turn is based on ccREL, the Creative Commons Rights Expression Language. CcREL is able to express Creative Commons terms such as required attribution as well as extended commercial licensing terms.
The AP is building a news registry around the microformat, and it hopes that some of its affiliates will use the news registry to facilitate discovery and tracking of their content as well. It claims that the effort is complementary to other standards efforts, most notably ACAP.
It’s true that ACAP is designed for a slightly different purpose than hRights. The purpose of ACAP is to indicate rights that search engines have to index content and display it in search results; for example, an ACAP tag set may specify that a search engine can display a snippet of a news story in search results and only for a week after the publication date. In contrast, hRights is a more general-purpose rights expression language.
Nevertheless, I can’t help but feel that the AP’s impressive effort will eclipse ACAP. The main reason is that hNews offers something fundamental that ACAP doesn’t: an incentive for search engines to adopt it. The standard metadata in the microformat is an actual benefit to search engines, and Google has expressed interest — at least in theory.
There are other reasons why hNews should eclipse ACAP. One is that hNews is built on technology with ties to Creative Commons, which could make it applicable to a flood of user-generated content from sites like Flickr. Another is that news publishers can only support a limited number of metatag sets on their content, and hNews/hRights is more general-purpose than ACAP.
The hNews microformat will contain what the AP calls a “beacon,” which a web-crawler will use to find its content throughout the web and flag unauthorized uses. The AP has not yet said what steps it will take when it finds free riders or how it intends to allow for potential fair uses.
Of course, this scheme doesn’t actually protect content; it only attaches searchable metadata to it — metadata that a determined free rider can easily strip off. That’s where Attributor comes in. Attributor’s technology uses “text fingerprinting,” or sophisticated pattern matching, to find instances of its customers’ content throughout the web and flag it in similar ways. The AP was one of Attributor’s original customers; Reuters is also an Attributor user.
The AP intends to launch the news registry and hNews technologies in phases over the coming year. It is offering the technology as an open standard and has gotten the endorsement of the Media Standards Trust, a UK-based nonprofit organization for advancing the cause of journalism.
If the AP can launch this scheme successfully over the coming year, it should easily emerge as the publishing industry’s preferred approach to online rights management. It has all the right pieces in place, including technology that is built on open standards, is designed to solve practical problems rather than boil the ocean, and has incentives for almost every legitimate entity that wants to participate.
France Weakens Progressive Response Anti-Piracy Law June 11, 2009
Posted by Bill Rosenblatt in Europe, Fingerprinting, Law, Watermarking.add a comment
France’s Constitutional Council (Conseil Constitutionnel) struck down key provisions of the Creation and Internet Law (Loi favorisant la diffusion et la protection de la création sur internet) yesterday. The law sets up an independent body to find cases of unauthorized Internet content use and to issue warnings to users followed by suspensions of their Internet accounts. The Conseil Constitutionnel found (press release in French) that the independent body can only issue warnings, not suspend accounts.
Specifically, the Conseil found articles 5 and 11 of the law unconstitutional. Article 5 calls for the creation of the independent body, known as HADOPI (Haute Autorité pour la diffusion des oeuvres et la protection des droits sur Internet), a name given to some earlier versions of the legislation. Article 11 provides surveillance rights to the body. The Conseil found that the articles violated constitutional principles of free expression and presumed innocence, and that only a judge can take an action such as suspending a consumer’s Internet account.
This law was passed by French parliament last month after having first failed in April. It would have been in the vanguard of so-called progressive response, a/k/a “three strikes” laws against unauthorized use of content online, which several countries are currently considering. To be effective, the law requires the use of content identification technologies — such as fingerprinting or watermarking — at the network service provider (ISP) level in order to find alleged infringers.
French Culture Minister Christine Albanel, one of the primary forces behind this law (along with French President Nicolas Sarkozy), was scheduled to speak about it just two days ago at the World Copyright Summit in Washington; she had to stay in France and her speech was read by someone else instead. This is a setback for her and for other political conservatives in France, while organizations such as UFC-Que Choisir, the French equivalent of Consumers Union in the US, praised the decision.
Albanel intends to go ahead with plans to set up HADOPI and issue warnings to users, although requests to suspend users’ accounts must be sent to judges.
Regardless of the constitutionality of the law, Albanel’s decision to implement HADOPI should prove to be a very interesting test for content identification technology — how accurate it is, how many false positives it generates, how easy it is to fool or circumvent, and its effects on network efficiency. Better understanding of these factors will lead to better assessments of the value of these technologies to the law as well as the market.
Gridlock at the World Copyright Summit June 9, 2009
Posted by Bill Rosenblatt in Fingerprinting, Law, Rights Licensing, Watermarking.4 comments
The World Copyright Summit convened in Washington, DC yesterday and continues today. It wouldn’t have been as attractive to call the conference the World Collecting Society Summit, but that’s mainly what it was. Many of the attendees were representatives of rights collecting societies like ASCAP, BMI, and their analogs outside of the United States. The conference was organized by CISAC, the international umbrella organization for author and composer collecting societies headquartered in Paris.
If there was one word that summed up yesterday’s proceedings, it was “gridlock.” This term was introduced by Michael Heller, a Columbia Law School professor who spoke in the morning. The word came from his book The Gridlock Economy, whose basic thesis is that too much ownership or property, including intellectual property, creates gridlock that results in underutilization of property and stunting of innovation.
As a rhetorical device, the word was extremely effective – perhaps more so than the conference’s organizers had intended. Heller’s talk was the first of a small number of bombs thrown into what was otherwise an agenda filled with speakers from rights collecting societies, primarily from the music industry. By lunchtime, “gridlock” was on everybody’s lips, and collecting society representatives found themselves forced to defend themselves against it.
It was hard to deflect charges of gridlock against content licensors when examples kept coming up of companies that had to understand and then negotiate several types of licenses to music – performance, mechanical, sync, etc. – in order to launch a service. The most prominent case was on a panel that explored the relevance of collecting society models in the digital age. Zahava Levine, chief counsel of YouTube, had to defend herself against executives from ASCAP, Harry Fox, and other agencies who ended up arguing over arcana such as unresolved differences among streaming, downloads, and cache copies of content. With statements like “All we want to do is pay creators for content, but no one can tell us how,” and “’Gridlock!’ Finally, I am diagnosed!”, Levine won the rhetorical battle handily – even as the audience simmered with thinly disguised hostility during Q&A.
Yet even hotter sparks flew over pending US legislation that would establish a performance right for sound recordings. The bill, which has cleared the House Judiciary Committee, would lead to another set of royalties that terrestrial radio stations must pay the music industry. Proponents of the bill argue that it simply brings traditional radio into line with Internet and satellite radio, both of which pay performance royalties. On a panel discussing new legislation, Ben Ivins of the NAB (the broadcasters’ trade association) had some testy exchanges with the RIAA’s Mitch Bainwol and Del Bryant of BMI over this.
While some speakers called for more efficient ways of licensing content rights, there were precious few panels on technological solutions. One panel covered fingerprinting and watermarking for play counting and royalty reporting – that is, technological automation of existing rights licensing processes. One attendee responded to a presentation by Steve Lubin of MediaGuide, a fingerprinting company owned by ASCAP, by asking why, if this technology is so widely implemented, it isn’t resulting in more accurate counting and reporting. Lubin’s revealing reply: “Go ask ASCAP.”
This panel was one of three concurrent breakout sessions; encouragingly, it was much better attended than the other two panels and was standing room only. The highlight was the presentation by John Utley of Civolution (the recent spinout from Philips Electronics), which was a superb primer on fingerprinting and watermarking and their utility in rights holder compensation processes. Utley’s talk should have been pivotally educational to many of the attendees.
Otherwise, the collecting society executives who spoke at the Copyright Summit spent much of their time onstage preaching to the choir, defending their existing models, and squabbling over slices of an increasingly amorphous pie. My unscientific poll of attendees during the opening cocktail party found that they were of two types: collecting society people, and people who said some form of “The collecting societies just don’t get it.”
It’s clear that copyright collecting societies truly appreciate the works of content creators. Two panels’ worth of artists from many fields evoked heartfelt responses.
Yet it’s equally clear that they can’t merely keep on congratulating themselves on the job they do and complaining about pirates and free riders; they have to come up with better ways of licensing content for legitimate use. Even such incremental advances as the 1997 merger of MCPS and PRS into a single UK music licensing entity seem out of reach for the US, and pan-European licensing is years away at best. It was either hard or disingenuous to refute the assertion – made by many at the conference – that people are willing to pay to license content if it’s easy enough to do so.
Congressman Robert Wexler’s (D-FL) fiery lunchtime speech promised the new Obama administration’s commitment to strong intellectual property enforcement. If Rep. Wexler stuck around the Reagan Center and listened carefully enough for the rest of the conference, he should carry the message into Congress that strong copyright is enabled by straightforward licensing schemes, along with technological innovations for greater accuracy and efficiency.
Attributor Gathers Publishers to Share Ad Revenue from Unauthorized Content Use April 22, 2009
Posted by Bill Rosenblatt in Fingerprinting, Publishing, Rights Licensing, Services.add a comment
Attributor is rolling out the next phase of its multi-pronged content monetization strategy based on its text fingerprinting technology: a consortium of publishers that will attempt to get shares of ad revenue from other websites that use their content. The company has begun publicizing the Fair Syndication Consortium, which has been in formation since January.
The Fair Syndication Consortium is meeting tomorrow in New York; one of the purposes of the meeting is to convince the major Internet ad networks to facilitate this business model. The Consortium’s publisher members, which initially include DPA (Deutsche Presse-Agentur, the German news wire service), Reuters, and Politico, intend to use Attributor’s technology to find unauthorized uses of their content on the web.
At least for now, Attributor will only flag complete uses of content, not snippets or extracts, thereby sidestepping some (though not all) Fair Use issues.
The Consortium will need to convince the ad networks to give the publishers whose content is being used a portion of the user’s ad revenue — or at least to help track usage while the users themselves pay the publishers. While publishers could threaten unauthorized users of content with infringement suits, there’s no legal force that can be used against the ad networks, not even in the broadest of secondary liability theories.
Therefore the publishers and/or Attributor will likely be talking to the ad networks about taking commissions from all that ad revenue — in addition to the fees that Attributor already collects from publishers to find instances of their content online. Attributor hopes to build critical mass around an opportunity that it claims is worth a quarter billion dollars per year.
This is a clever strategy, one that complements both Attributor’s pre-existing content licensing models and those of other services, such as iCopyright and Ozmo from Copyright Clearance Center. It’s a way to set up revenue-sharing schemes for content use that is proportional to the actual revenue being made. I’m always in favor of content licensing and monetization schemes that are based on accurate usage measurement instead of statistical samples, estimates, predictions, levies, and other blunt instruments.
And the scheme has a handy side effect: it’s a weapon against splogs, which probably account for a high percentage of those unauthorized uses.
If the Fair Syndication Consortium takes off, it will be interesting to see how it gibes with the news publishing industry’s recent efforts to get paid for content — whether this ad-based model will conflict with the more direct revenue models that news publishers have in mind.
Yet there’s one piece of evidence that news publishers may not be united in their strategies for addressing unauthorized use: AP, the prime mover behind the news industry’s new aggressive stance against free riding and an Attributor customer, is conspicuous in its absence from the Fair Syndication Consortium.
HADOPI Bill Fails in French Parliament April 13, 2009
Posted by Bill Rosenblatt in Europe, Fingerprinting, Law, Watermarking.add a comment
Last week the French legislation known as la Loi HADOPI (Haute Autorité pour la Diffusion des Oeuvres et la Protection des droits sur l’Internet) failed to muster enough votes from the ruling UMP party in French parliament and failed passage. The bill may be re-introduced later this year.
HADOPI was the leading example of so-called graduated response legislation, whereby a user who uploads copyrighted content without authorization is detected and gets a series of warnings, culminating in suspension or termination of her Internet account.
The French legislation was crafted last year following an agreement in late 2007 between the media industry and ISPs brokered by Denis Olivennes, CEO of the media product retailer FNAC. Its failure to pass in the Assemblee Nationale was a defeat for French president Nicolas Sarkozy and his party, and a victory for left-wing opposition and consumer groups.
The bill’s failure is also a setback for vendors of technology that could be used to monitor ISP traffic and detect unauthorized downloads, such as fingerprinting and watermarking. A Belgian court had already identified acoustic fingerprinting as a technology that ISPs should adopt in order to block unauthorized uploads. Similar processes are going on elsewhere now, such as in the US, in the Streamcast ligitation that was remanded to the 9th circuit appeals court by the Supreme Court after its 2005 opinion in MGM v. Grokster.
As today’s New York Times points out, legislators in various countries are finding that legislation obligating ISPs to monitor users’ traffic for illegal uploads is politically unpopular. And legislative bodies nowadays are having their attentions taken up by the economic crisis, wars, and other pressiing issues. As a result, courts will probably be the primary venues for legal decisions regarding digital copyright in the foreseeable future.
Attributor Expands Fingerprinting April 9, 2009
Posted by Bill Rosenblatt in Fingerprinting, Video.2 comments
Attributor, the company best known for its text fingerprinting technology for news wire services and other publishers, has expanded into video tracking — withTurner Broadcasting, parent of CNN and part of Time Warner, as its marquee customer. Turner has selected the video fingerprinting technology that Attributor has been working on for some time now.
In addition, the Associated Press stated earlier this week that it will be exercising greater control over usage of its news content on the web — particularly those of content aggregators and major search engines like Google and Yahoo. The AP, the world’s largest newsgathering organization, is known to be using Attributor’s text fingerprinting technology to find its content all over the web. Although the AP has not completed building its solution for finding its content and specifying licensing terms, Attributor stands to be at least part of the solution.
Attributor’s ability to fingerprint multiple media types ought to be particularly useful to news organizations. In addition to the AP, Attributor’s text fingerprinting customers include the Financial Times and Deutsche Press Agentur. The other company in the multiple-media fingerprinting space is France-based Advestigo, which has worked (naturally enough) with Agence France-Presse.
YouTube’s War with European Collecting Societies April 6, 2009
Posted by Bill Rosenblatt in Europe, Fingerprinting, Music, Rights Licensing.add a comment
The long-simmering dispute between Google and top European music collecting societies heated up again last week when talks broke down between the Internet company and GEMA, the German collecting society. The dispute was over royalty rates for music videos on YouTube in that country.
Meanwhile, two musicians’ groups in the UK called for Google to “move its tanks off our lawn” and called it a “near-monopoly.” For its own part, Google has claimed that it can’t afford to pay the collecting societies’ royalty rates because it doesn’t make enough money on advertising, yet it is insisting on paying flat rates rather than those based on the number of actual streams shown.
What a mess.
In Google’s defense, this is just more evidence that Europe poses barriers to innovative content business models through its shunning of uniform, one-stop licensing mechanisms. The European Commission has been angling for pan-European licensing but has met with stunning levels of resistance. When I attended last year’s Online Content for Creativity conference in Slovenia, I heard little enthusiasm for pan-European licensing from representatives of EU member states.
Instead, I heard two distinct arguments against pan-European licensing. One was that it is merely a ploy by American media giants to make it easier to cram their commercial, hegemonistic junk down Europeans’ throats. The other was “We have to protect and promote our indigenous content, and we have little interest in content from other member states.”
What I didn’t hear from anyone was that Europe’s insistence on requiring content service providers to make 27 (and growing) separate deals in order to offer a service in Europe poses serious barriers to innovation. Google can afford to “just say no” to the UK and Germany regarding music videos on YouTube, but startups can’t even afford the legal expertise required to enter into all those different negotiations. And by the way, Google has a lobbying team in Brussels; startups don’t.
On the other side, Google is saying in effect that it can’t be bothered running music video content because its revenues from ads don’t make it worthwhile; therefore it will accede to copyright holders’ wishes and block the content from uploads, presumably using its implementation of Audible Magic’s audio fingerprinting technology.
Moreover, Google refuses to be transparent about the actual number of streams viewed for royalty accounting purposes, data that it quite clearly has available. This strikes me as a disingenuous negotiating ploy.
Yet some of the European collecting societies have been accused — mainly by consumer electronics vendors, which pay levies on hardware and blank media — of the same lack of transparency concerning their record-keeping and payout practices. Just last July, the European Commission issued an antitrust directive last July against the national collecting societies, all but calling them monopolists themselves.
The true losers when these negotiations can’t be worked out, of course, are European consumers.
New White Paper: Digital Rights and Digital Television April 2, 2009
Posted by Bill Rosenblatt in DRM, Fingerprinting, Video, Watermarking, White Papers.1 comment so far
I have published a “new” white paper: Digital Rights and Digital Television. It’s an overview of digital rights technologies as they apply to digital TV, including watermarking and fingerprinting as well as various applications of encryption and DRM. It covers the DRM strategies of the major “axes of power” in consumer electronics and the tensions among CE, content owners, and consumers regarding DRM.
I put “new” in quotes because this white paper is actually an update of a piece I wrote over a year ago, which is a chapter in the newly published book Television Goes Digital (Springer, 2009). This in turn was created as the proceedings of a conference on digital TV at Columbia Business School in November 2007. Darcy Gerbarg organized the conference and edited the book, for which she deserves much credit.
A year went by between my submitting the book chapter and its actual publication, rendering a bit of the information in it obsolete — as is inevitable in this fast-changing field. In addition, the publisher introduced some errors during copyedit, so I wanted to set the record straight.
The overall book is a very informative overview of digital TV, with chapters written by some of the thought leaders in the field. If you buy it, I suggest that you read my white paper in lieu of Chapter 14.
Attributor Integrates Creative Commons with Text Fingerprinting March 11, 2009
Posted by Bill Rosenblatt in Fingerprinting, Publishing, Rights Licensing, Services, Standards.add a comment
The text fingerprinting provider Attributor launched a beta version of a service called FairShare last week. FairShare enables anyone with an RSS feed — bloggers, for example — to attach Creative Commons noncommercial licenses to their content and use Attributor’s technology to track where their content is to be found on the web. There’s no charge for this service.
I signed up for FairShare to track uses of content from this blog. Naturally, most of them are in splogs (spam blogs). I’m certainly glad to see that Copyright and Technology content is being used by such sites as mobilehomerefininancingloan.org and one whose URL is not printable in a family-oriented publication.
Attributor confirmed that this service is a way for Attributor to attract attention to its technology, to upsell publishers to the paid services that major news publishers like AP and the Financial Times use. They claim that less than one-third of the uses they find are in splogs, but I suspect that percentage will increase with the number of curious bloggers who sign up for the service.
Yet FairShare is also a prelude to an eventual service that will enable content creators to monetize their content — presumably through Creative Commons’s C++ commercial licensing scheme, like Copyright Clearance Center’s Ozmo augmented with text fingerprinting, or like iCopyright’s Discovery service with CC+ licensing. To launch this, Attributor will need to build the commercial licensing infrastructure or partner with an organization that already has it. Attributor also expects that ad networks will be interested in aggregating the content that FairShare finds and sharing revenue.
All this depends on the willingness of users of online content to enter into licensing deals. This may work often enough to be worthwhile if the entity making the deal is a major publisher. But I wonder how effective these online content licensing schemes will be if the licensor is a little guy without access to legal means of enforcement.

