Quotes About Copyright

Right, and you point out something important which is that people who don't want to pay, people who are pirates, don't get bothered by the DRM, they go out and buy the cracked books or download the cracked books for free. It's only people who are foolish enough to pay for them that get locked into these platforms.

s security expert Bruce Schneier has said, Making bits harder to copy is like making water that's less wet.

This song is Copyrighted in U.S., under Seal of Copyright #154085, for a period of 28 years, and anybody caught singin' it without our permission, will be mighty good friends of ourn, cause we don't give a dern. Publish it. Write it. Sing it. Swing to it. Yodel it. We wrote it, that's all we wanted to do.

The theory is that if the Internet can't be controlled, then copyright is dead. The thing is, the Internet is a machine for copying things cheaply, quickly, and with as little control as possible, while copyright is the right to control who gets to make copies, so these two abstractions seem destined for a fatal collision, right?

I think we should permanently cut off the internet access of any company that sends out three erroneous copyright notices. Three strikes and you're out, mate.

Digital locks are roach motels: copyrighted works check in, but they don't check out. Creators and investors lose control of their business—they become commodity suppliers for a distribution channel that calls all the shots. Anti-circumvention isn't copyright protection: it's middleman protection.

I've been thinking... Maybe you're a mockingbird... Mockingbirds imitate the songs of other birds... No, I've never heard of any copyright problems.

Is a stolen copyright a copywrong?

THE EVERLASTING HATRED Published by WND Books Washington, D.C. Copyright © 2011 by Hal Lindsey

It's the golden age of French cinema again but it's because Sarkozy had the guts to push through copyright law.

We live in an age when it is cheaper to buy the rights to movies than to make them.

A culture without property, or in which creators can't get paid, is anarchy, not freedom.

Of all the creative work produced by humans anywhere, a tiny fraction has continuing commercial value. For that tiny fraction, the copyright is a crucially important legal device.

The real harm of term extension comes not from these famous works. The real harm is to the works that are not famous, not commercially exploited, and no longer available as a result.

Cable TV was also born of a kind of piracy. When

Copyright law has got to give up its obsession with 'the copy.' The law should not regulate 'copies' or 'modern reproductions' on their own. It should instead regulate uses--like public distributions of copies of copyrighted work--that connect directly to the economic incentive copyright law was intended to foster.

Why should it be that just when technology is most encouraging of creativity, the law should be most restrictive?

Technology means you can now do amazing things easily; but you couldn't easily do them legally.

Free culture depends upon vibrant competition. Yet the effect of the law today is to stifle just this kind of competition. The effect is to produce an over-regulated culture, just as the effect of too much control in the market is to produce an over-regulated-regulated market.

The obvious point of Conrad's cartoon is the weirdness of a world where guns are legal, despite the harm they can do, while VCRs (and circumvention technologies) are illegal. Flash: No one ever died from copyright circumvention. Yet the law bans circumvention technologies absolutely, despite the potential that they might do some good, but permits guns, despite the obvious and tragic harm they do.

Contents Title Page Copyright Notice Begin Reading Preview of Summer Secrets About the Author Also by Jane Green Copyright

A brainy person does not abuse copyright; instead they respect it and uphold it.

Making movies is a very different experience in a lot of ways. It's difficult when you're used to owning the copyright and having a landlord's possessory rights - I rent my plays to the companies that do them and, if I'm upset, I can pull the play. But the only two directors I've worked with are pretty great.

Some people try to paint in my style. Some simply sell pirated copies of my work. Some claim to be my publisher or agent or even my exclusive representative, when they are not.