Archive: copyright

I was pretty excited to learn this week about Domesday Reloaded. The Domesday project aimed to take a snapshot of British life in 1986. 25 years on, the BBC are looking to update it to document the changes that have taken place since then.

I have been interested in the Domesday project for a while. The idea that a snapshot of Britain was taken, in the form of maps, photographs and text. Yet, the data was unavailable to most people.

The Domesday project was as much an ambitious experiment with technology as anything else. The technology was just about available, but a lot of pioneering work had to be done, and the hardware required for it was prohibitively expensive, leaving many of the contributors somewhat miffed.

Since then, it has become one of the most famous examples of digital obsolesence. This was due to a combination of the technology required to read the discs becoming increasingly rare, and idiosyncratic code.

The Domesday project came at a time when the technology was available, but the standards were not yet there to make it stable enough for long-term preservation, or even easy access in the short term. It’s a reminder that digital technologies are hugely enabling, yet frighteningly fragile.

Then there are the copyright issues surrounding both the content and the technology.

Joys of browsing Domesday Reloaded

The BBC should be applauded for finally managing to open up some of the data to the public on the web. The Domesday project was created before the web was invented. This isn’t how the content was designed to be viewed, so navigation is a bit cumbersome.

But aside from this gripe, the Domesday Reloaded website is turning out to be a fascinating resource.

I was born in 1986, the same year in which the Domesday project disc was published. So the Britain described here is a place that I don’t remember. But enough of it is familiar for it to feel incredibly relevant to me. It’s almost like being given a little upgrade to my memory, so that I can have snippets of knowledge from just before I was born.

Take the photographs for D-block GB-328000-690000 — the centre of Kirkcaldy, my hometown (D-block being one of the 4km by 3km areas the UK was divided into). It took me a little while to recognise “Kirkcaldy’s busy High Street”. But once I spotted British Home Stores, I was right there.

Yet, despite the familiarity, it is almost a completely different world. My memory of the High Street before it was pedestrianised is very limited. But it is just within touching distance of my memory for me to feel a strong connection with it.

The text entries are also fascinating. Most of the contributions were provided by primary schools. A decision was taken by the Domesday project not to edit the contributions, so the quality and style of writing varies from area to area.

As such, what strikes me the most is that it informs you as much about the prejudices of the school pupils and their teachers as it does about the area. It also retains their poor spelling and strange grammar.

For instance, an entry from Dundee (D-block GB-336000-732000) called ‘Traffic in and out’ is a basic survey of vehicles travelling on a road, with guesses as to where the vehicles are going and why. It lacks the academic rigour you would ideally want from a historical document.

But while some of the entries may seem banal, it was designed to be this way. The aim was to genuinely document society by capturing childrens’ curiosity with everything. This way it wouldn’t leave out what adults perceive as being obvious, when it wouldn’t necessarily be so obvious to someone in 1,000 years.

Missing D-blocks in Dundee on Domesday Reloaded

The really big shame is that not every part of Britain was documented. I could understand remote rural areas not being included. But sadly some highly populated areas have also been missed out. For instance, two D-blocks that cover the centre and east of Dundee lie blank, as does much of London.

But what exists is a joy. Even in the little amount of scanning I have done, I have already learned new information about the area I live in, which has set my mind racing and inspired me to investigate further.

Challenges for the modern day equivalents

What also struck me is how we actually already have readily-accessible modern-day equivalents of the Domesday project, almost by accident. The BBC is asking for users to update the content for D-blocks that were documented in 1986, to take an equivalent snapshot of 2011. I may go out and take some photographs for that.

But this sort of local information is staggeringly well documented already. We have Wikipedia, which can be edited by anyone but retains an academic approach that the Domesday project lacked. As such, it is a treasure trove of local information that can probably be relied on more.

Meanwhile, Google Earth and Google Maps provide masses of images of all corners of the country. It absolutely dwarfs what’s on Domesday Reloaded.

But the big question, which can’t be answered at the moment, is whether the wealth of information available on the web can be packaged up into a Domesday-style snapshot and preserved forever. The challenges of web preservation are massive.

Like the Domesday project, we could find the digital information almost slipping through our hands. The BBC know that themselves. With a stroke of a pen, it was decided that a significant chunk of British web heritage will be removed when the BBC removes some of its archived pages from the web.

A couple of tools have emerged in the run-up to the European elections. They aim to help people decide who they should vote for.

This is nothing new — nowadays every election comes with its own similar tools. They are the cousins of Political Compass and the like. While they may not be totally scientific, they are quite enlightening in their own way — and a bit of fun whatever. So I have taken both tests to see what they say.

EU Profiler

This test doesn’t give you results for all the parties, but the big hitters are there. This has the advantage of also comparing your views with parties right across Europe, not just in Scotland or the UK. The Europe-wide results are interesting in themselves.

But first, here are my results for parties that I can actually vote for. The top party is the Liberal Democrats, which perhaps shouldn’t be too much of a surprise. Ideologically, they are the only party I am closely aligned to, and I have always voted for them in the past. I am a 60.3% match. Not terribly high, but higher than the other parties.

Second is the Conservatives with a 58.3% match. The SNP are a 55.2% match, while Ukip edge ahead of the Greens to be my fourth-closest match. Labour slug it out with the BNP to be my least favourites.

If you exclude the importance I attach to issues, Labour actually rise up to 4th place. Perhaps this suggests that I agree with many Labour policies — just not ones that I think are important.

I have a much closer affinity with other political parties outside the UK. My strongest match, by quite a long way, is Sweden’s Pirate Party. This is a recently-formed party which rose up in protest at over-zealous copyright laws. Makes sense I guess.

One striking thing about the Europe-wide results is the fact that three Croatian parties appear in my top five matches! Is there something about Croatia’s politics that would make me swing that way ideologically? Are there just lots of similar parties in Croatia? The three are the Social Democratic Party of Croatia, the Croatian Social Liberal Party and the Croatian People’s Party — Liberal Democrats.

The other parties in the top ten are: Liberal Democracy of Slovenia, People’s Movement Against the EU (Denmark), Estonian Reform Party, Freedom Union — Democratic Union (Czech Republic), Humanist Party (Portugal), Liberal and Centre Union (Lithuania). To be fair, having had a glance at each of these parties, they seem to vary quite a lot, so I wouldn’t put too much faith in them.

Incidentally, the Liberal Democrats are only my 65th strongest match. So in theory, there are 64 other parties across Europe that I would rather vote for. Not very good, is it?

Vote Match

Vote Match gives me very different results. My strongest match is Libertas with a score of 51/54, which seems quite high. (I’ve taken the test three separate times now, and Libertas were the top result each time.) This is despite the fact that I chose Scotland as my region and Libertas aren’t standing in Scotland.

Joint second are the Greens and the SNP with 41. The Lib Dems, the Conservatives and Labour are all joint fourth with 39. Jury Team’s Alan Wallace has 33 and Ukip have 28.

The results page on Vote Match is very comprehensive, with a table of each party’s position on each of the 30 questions. Looking down the table, it does appear as though I agree with Libertas on a lot of issues, and all of the issues that I marked as important. On all the issues I marked as unimportant, I disagreed with Libertas. This has perhaps accentuated their score.

These results just don’t sit right with me though. The list seems wrong. It is especially odd to see the Greens so high up there. Perhaps this is where differences in policies for Holyrood or Westminster and Europe come into play. But I’m taking this result with a pinch of salt.

Political Compass

This isn’t related to the European Parliamentary election, but it is the granddaddy of online political tests, and I think it is a couple of years since I have taken it. So I thought I’d take another look. My result now is:

Political Compass 2009
Economic Left/Right: 1.25

Social Libertarian/Authoritarian: -6.82

So I’m — just — on the libertarian right. But I am still more of an economic centrist, though firmly a social libertarian. This is more or less what I expected. A clear trend that I have noticed is a slow drift towards the libertarian right. The last time I took this quiz, two years ago, my economic score was 0.38 — closer to the centre, but still on the right. The social score was a slightly less libertarian -6.10.

The time before my score was 1.00 and -6.21. The time before that, in 2006, it was -0.13 and -5.08.


I still haven’t decided whether or not I will vote. However, I think if I do vote, I know which party I will vote for. I’ll report this evening on my action / inaction.

By now you may have heard of a website called Muxtape. In a way, I’m surprised it hasn’t been shut down already. It’s probably the most blatantly illegal website since YouTube. Technically, I guess, you’re meant to own the copyright to everything you upload to the service. But of course that’s not what most people use it for.

Muxtape is an enticingly simple website that lets you make a little playlist of tunes, a bit like a mixtape. Webware jokes, as if you would remember mixtapes! Meanwhile, David Title ponders if you have to be between the ages of 29-45 for the mixtape to mean anything to you!

I’m 22 (almost typed 21 there… can’t bear the adulthood), and I love the romance of mixtapes. It is like instant nostalgia. Cassettes are meant to be naff, and they are to an extent. But holding a tape is quite special, like holding a past future in your hands. Defects such as tape hiss, wow and flutter are as acceptable as surface noise. They add to the quaint beauty of the cassette.

And here is the thing. I used to make mixtapes. Then one day I decided to “upgrade” to CD-Rs. The CD-Rs would surely be more reliable and durable, right? Pah. The CD-Rs I bought were defective. For some reason iTunes (or the CD-R, I don’t know which) was making the audio of each track start two seconds before the access points. I wasted 4 CD-Rs trying to fix it, to no avail. Then it was reported to me that the CD-R wouldn’t even play! Annoying or what? The packet of faulty CD-Rs still sits beside me unused.

For all of their faults, cassettes are at least more reliable in the medium term than this. I have come to the decision that CD mixes are a bit like sending someone a letter but typing it out rather than handwriting it. You still put in the hard graft constructing it, but it is still somehow less personal, less human.

Of course, Muxtape is nothing like a mixtape. Indeed, it is probably even worse than a CD. As has been pointed out by David Title, a real mixtape is:

hours of love and care and cursing your slipping on the pause button. It’s recording little personal messages between the songs. It’s handwritting the titles and artists in painfully small print. It’s an act of love.

Muxtapes cannot even be personal. The terms (whatever they’re worth, given the dubious legality of the service) restrict you to one account only — and that’s a public account.

Nonetheless, that cute picture of the C90, the blocks of colours, the oh-so-fashionable massive Helvetica font (not that I’m guilty of that one) and the sheer simplicity of Muxtape is enough to reel you in and get you to make your own.

And make my own I did. Here is my Muxtape.

I should point out that if you like any of the tunes on my Muxtape, I think you should buy the album (the ‘Buy from Amazon’ link on Muxtape is a new addition today — a handy hint). I bought all of these. In the case of John Cage, I bought four different performances of it. In the case of Autechre, I bought the album twice.

Incidentally, there is an interesting take on the legality or otherwise of Muxtape at WebJam. The fact that Muxtape does not provide you with an easy method to download the music may be its saving grace. Besides, the cat is out of the bag. In the same way as shutting down Napster didn’t stop peer to peer filesharing, closing down Muxtape will only lead to several new clones of it.

On the simplicity of Muxtape, it is appealing — but it does make it rather light of features. There is no search function and even Google is blocked from indexing pages on Maxtape. Instead, you are presented with a random list of Muxtapes. Apart from that, you have to rely on word-of-mouth to find anyone’s Muxtape.

It’s just as well some clever fellow has created a smart Last.fm / Muxtape mashup (via Qwghlm). Enter in your Last.fm username and it will find Muxtapes containing artists that you like. Awesome.

In the meantime, it’s worth remembering that Last.fm itself has provided its own playlist service for years now, and it is on much more solid legal ground. There are some annoying restrictions — of course, you can only choose from the tracks that Last.fm has on its servers. Plus, perhaps even more frustratingly, the music is shuffled. This robs you of one of the joys of putting together a mixtape: getting the track order right. Catch my Last.fm playlist here.

There is a really interesting post about intellectual property and the woes facing the entertainment industry by James Graham. Given that I have been meaning to write about this issue for a long time, I may as well use this as the opportunity to finally get round to it.

But first, a couple of notes on copyrights and patents. James Graham says:

Both global patent and copyright laws have been extended in recent decades. The original idea behind such laws appears to have been forgotten and pure greed has taken its place. Globalisation means that the earnings potential from a new idea has massively increased; yet at the same time we’ve artificially increased it further still, and long lives will extend this still further. To take one example, J.K. Rowling, a rich woman who can afford the very best in healthcare, is likely to have a very long life. Let’s assume she lives to 100, in 2065. The copyright on her books will stay with her estate until 2135. That means that her great-great-great grandchildren will still be profiting from their ancestor’s books. Is there really any justification for that?

I quite agree. The traditional justification for strong copyright laws is to encourage innovation. You come up with a great idea, and we’ll make sure nobody else can profit from it.

Sound enough at first. But how long should this monopoly last? Is “life plus 70 years” or even “life plus 50 years” justified? Is 50 years even justified? Hardly.

Copyright was big(ish) news in the UK last year when there was a push by artists such as Cliff Richard, Paul McCartney and Bono (where’s his “altruism” now?) to get copyright extended from 50 years. Coincidentally (or not), Cliff Richard’s and Paul McCartney’s most successful recordings are soon to enter the public domain.

And let us bear in mind that this was for copyright on the recordings. So the copyright extension would have meant artists earning even more money from something that they did once, over 50 years ago, regardless of whether or not they even wrote the song. If only the rest of us could earn so much money for so long from doing a job just once!

So do strong copyright laws encourage innovation? It is difficult to imagine that Cliff Richard entered the recording booth in 1958 thinking about the money he’d be making from it in 2007. He will have been most concerned about the money he’d make from it in 1958 and a few years after that. Nobody but the most egotistical and talented musicians would imagine raking it in for any longer than 50 years.

Having copyright lasting “only” 50 years didn’t stifle innovation in the 1950s and 1960s — the rock n roll and beat music booms happened regardless. And looking at the subsequent careers of these early innovators of pop music, it is difficult to argue that these strong copyright laws have done anything but stifle innovation. After all, why would you bother to make more great music if you are still making money from 50-year-old music?

That makes sense when you think about it. Copyright laws essentially ensure that an artist has a monopoly. And monopolies are detested because of their effects on social welfare.

Cliff Richard isn’t concerned about innovation. His only incentive is to get his grubby hands on even more money. What a relief that the government rejected the proposal in the end.

So what is the optimal length of copyright? A paper by Rufus Pollock suggests that it is approximately 15 years. A far cry from the life plus 70 years for some works, or the 95 years that Cliff Richard called for.

It is a similar story with patents. The justification for patents is more or less the same as that for copyright laws. But research (PDF) by James Bessen and Eric Maskin (who I wrote about a couple of weeks ago) suggests that protection of intellectual property should be more “balanced”.

The ideal patent policy limits “knock-off” imitation, but allows developers who make similar, but potentially valuable complementary contributions.

Empirical evidence backs this up, as an extension of patent protection into the realm of software in the USA in the 1980s did not lead to an increase in innovation.

An interesting point about Rufus Pollock’s research is that he suggests that copyright laws should be weakened as the costs of production and reproduction decrease. And the past decade has seen a massive reduction in the costs of production due to advances in technology — particularly the internet.

And it is the entertainment industry’s complete inability to adapt to this reality that has left it in the mess it is currently in. That will be the subject of my next post in the series.

RIAA sues family that doesn’t own a PC:

A Rockmart family is being sued for illegal music file sharing, despite the fact that they don’t even own a computer.

Via Boing Boing, where Cory Doctorow says:

…this is probably more profitable in the long run than suing people who do share music, since those people are statistically more likely to spend money on CDs.

It’s the latest in a long line of music industry stupidity in the face of modern technology (or not, as the case may be). It must only be a matter of time before they start suing people for overhearing music from somebody else’s headphones or somesuch…

I saw this amusing comment by Fred Sanford by chance at del.icio.us:

You know how sometimes you wake up in the morning with a song in your head? That’s a copyright violation!