A fresh look at copyright and net neutrality

In the last few weeks I had the opportunity to read 4 interesting and unexpectedly interrelated books.

-       Tim Wu. The Master Switch

-       Robert Levine. Free Ride

-       Jaron Lanier. You are not a Gadget

-       Douglas Rushkoff. Programme or be programmed

As I read them on my beloved Kindle, I am happy to share my favourite excerpts: My Clippings.

In particular the first two provided me with a refreshing consideration of the issues of copyright and net neutrality, and with many contrasting feelings.

The first consideration is that the debate over copyright and net neutrality is ultimately an issue of industrial policy. It’s government somehow deciding which sectors of the economy should be priviledged.

There are 4 economic sectors involved:

  1. Content industry (possibly divided between authors and publishers such as RIAA);
  2. Internet companies (such as Google);
  3. Telecom (divided between incumbents and new players such as Telecom Italia and Tiscali); and
  4. Consumer electronics (such as Apple).

Decisions over net neutrality and copyright law affect each sector. Basically each sector is in favouring of opening up the other layers. Telecom favour non-restrictive copyright since free content drove broadband uptake and are against net neutrality; Internet players and consumer electronics favour net neutrality and low copyright enforcement; content industry favours strong copyright and net neutrality.

This leads to shifting alliances, particularly unstable since the actors continuously change position in the value chain (see the cooperation turned competition between Apple and Google).

Government decisions are based on various criteria, oscillating between political opportunism and genuine evaluation of societal benefits, and between robust evidence and popular wisdom.

At best, government decide based on overall societal benefits. Where can jobs and growth be created, in the long term? Are they generated by web companies, protected through “safe harbour” provisions and loose enforcement of copyright; or by protecting the content industry and making sure it is not wiped out by piracy?

This leads to the demand for evidence about the economic impact of the web: how many jobs are created? How many jobs are destroyed in the content industry? In the long term, does stronger copyright protection stifle innovation, by allowing legitimate services such as Spotify to emerge, or hinder it by lowering the freedom to experiment of services like Youtube? The same goes for net neutrality.

Obviously the direct economic impact is not everything: you then need to consider creativity, cultural identity, democracy and free speech, quality of life, indirect economic impact such as a better educated workforce.

At worst, government decide based on political opportunism. Who is better at lobbying between Telecom, Content industries and Internet Companies? Telecoms have certainly the strongest fire power, but Google has recently increased significantly its expenditure in lobbying. In addition, Google is effective in making look like its interest are the interests of democracy and free speech, while Telecoms are effective in claiming their importance based on number of employees.

Overall, I came out with a less ideological vision. It has confirmed my previous impression that the decision not to enforce copyright was largely an industrial policy decision in favour of telecoms, aimed at promoting the uptake of broadband.

More in general, I am no longer convinced that copyright enforcement and laws like Hadopi are bad and it’s clear to me that free music is not a basic human right. There is a legitimate argument that web companies and telcos are hijacking revenues previously going to content producers, and that these content producers start to lack alternative business model to justify production. Piracy hurts Spotify as well as Sony Music. It is true that open access is still without a sustainable business model; that newspaper are being destroyed by the decision to make their content available on the web. And evidence about the economic impact of the web, as I previously argued, is not robust – but the same went for ICT. This is why I particularly liked the take of Neelie Kroes in her latest speech, which focussed on “Who feeds the artist?

I have no final answer, and I very much enjoyed two opposite positions such as Wu and Levine. I am now more aware that my previous web-friendly position that dismissed the content industry as old-fashioned and “not fit for the web” was superficial and somehow driven by sympathy rather than evidence. At the same time, I remain not sympathetic with the telecom industries position, which seems to deter innovation and be overly influential in policies.

I think this discussion is crucial, and I now realize how important government regulation is to steer the industrial development.

But most of all, I want to thank Wu and Levine for the high quality of their arguments.

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7 Responses to A fresh look at copyright and net neutrality

  1. I like your initial thoughts, but I would challenge your conclusion. “Feeding the artist” is something the copyright system is notoriously bad at doing: 90% of the members of SIAE – the Italian IRP-collecting association of authors and publisher – generate from their rights less money than they need to pay the SIAE yearly fee. I have been a moderately successful songwriter and belong to the more fortunate 10%, but that does not mean that I find the system either efficient or fair. “Feed the artist” is the mantra of IFPI; it would be great, except it means “feed very well the top .005% artists that dominate commercial outlets in a media landscape of artificial scarcity”. The only reason why civilians believe this stuff is that they never saw the pre-Internet system at work: that system was very effective at starving very, very many people who produce creative content that did not even get a ticket to enter the race because it is filtered out by professional broadcasters and A&R people. And those of us who won, but did not win big (my sales have been in the hundreds of thousands, not in the millions) made money for publishers and record companies. One day I’ll show my old record deals.

    Take it from a copyright holder: tight copyright enforcement is bad. It is inefficient, and it makes for really bad industrial policy. Just look around: this business is producing Christmas compilations, for heaven’s sake. Job creation? Nope. At the peak of the 90s, the market leading record company in Italy, Universal Music, had perhaps 25 employees. Whatever your musical taste, it is very hard to make a case for the government to protect these guys!

  2. Subscribing to follow ups.

  3. osimod says:

    I agree that SIAE and similar organisations are not effective, and that is why i like it that Neelie Kroes focusses the debate on the gain of the individual artists.
    However I don’t believe in the idea that music should be free because the marginal cost of distribution is 0 .
    I believe that copyright enforcement should make piracy not impossible but more inconvenient. In this sense, Hadopi-like measures are not crazy. And so far, as far as I can tell, they were never applied but they might have served as a disincentive to donwload illegally.
    Finally, I think now that Hadopi was not using copyright as a way to control web access, but that there was a genuine case for it with regard to cultural production.
    The solution lies in between Hadopi-like measures on one hand, and self-regulation on the other – for instance the kind of control that Youtube now exercise over its videos.

  4. osimod says:

    I have developed some fundamental ideas:
    - I dont sympathise with collective rights organisations like SIAE because they are ineffective and oppose opening up the market at EU level
    - I don’t like people running P2P services who make money out of it and pretend they are fighting an ideological battle. I dislike Pablo Soto http://www.elpais.com/articulo/tecnologia/Pablo/Soto/industria/discografica/siempre/va/paso/detras/elpeputec/20111221elpeputec_3/Tes

  5. David, look. There is a good argument for superstar effects to be the product of economies of scale AND excludability in consumption. If you remove excludability for recorded music, what you get is a pre-XX centrury landscape: people hear Liszt through supports (at the time, scores that other musicians played), or they go to the theater when Liszt himself is in town. Liszt is well-off and famous. But he is not mega-rich (U2 have 70 full time staff). I don’t see anything inherently wrong with this picture, especially if that means militarizing our communication. Nobody ever said that we owe, say, Shakira a multimillion dollar wealth (but not, say, Brian Arthur). She should do well, in proportion to the joy she brings. Not more.

    Also rememember that copyright the way it is blocks business opportunities. I personally lost a deal with an American company that does syncing with fims, because they use only material that the author is the sole owner of – but everybody with a record deal signs off publishing rights to the record company. Reason: corporate holders of rights are dominated by lawyers who make licensing long, exhausting and expensive. So, the company said to me: Universal Music? Sorry, deal’s off. Come back when you have new music that you own 100% of the rights of.

    So, soft , short-lived copyright with lax enforcement may be a solution. Another one is what my friends at Beatpick are trying: creative commons non commercial licenses. You download the music, it’s free. You want to use it for a commercial or an art installation, you contact the company and buy a license.

  6. osimod says:

    I fully agree that current copyright does not work, that music industry and authors’ societies are blocking the market.

    But my point is fixing some basic points:
    We don’t have a right to free music.
    The boss of Megaupload is a criminal that should be prosecuted.
    The notion that marginal cost should determine market price is unreasonable.
    But I disagree with you on limiting the superstar effect, and I dont believe Creative Commons is a sustainable mainstream solution for the industry.

    On the other hand: we just cant risk Internet freedom. It’s just more important than the business model of content producers.

    I think we need to make piracy just slightly more inconvenient.
    Current measures as far as I understand seems to be about:
    - cutting out the users as the Hadopi law does (based on monitoring what users download…). Yet no-one has been cut off so far.
    - shutting down online services like Megaupload as the Spanish law Sinde

    Both can be very dangerous. It’s interesting that Obama opposes SOPA and at the same time closes MegaUpload based on the existing laws. Is this the third way?

    I’m not an expert on that, just exploring the territory after reading the two books. I just want to have a “laic” perspective and cut off some false arguments.

  7. [...] Discussin…Is “social com… on Why ForumPA will be my last ke…osimod on A fresh look at copyright and …Looking for the best… on Policy-making 2.0: a refined…Looking for the best… on [...]

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