Acknowledge the doctrine of first sale and private use.
I blogged about this in May 2005. (Sorry for the verbosity of the following but I am trying to be more precise than concise.)
Current rights without needing permission
The doctrine of first sale ( also called "first-sale" doctrine or "exhaustion rule" ) is a limitation on copyright based on common sense: If you legally acquire an instance of a copyrighted work, you are legally allowed to sell or give away that particular instance of the work without needing permission of the copyright holder.
If you purchase a Paperback Book, DVD or CD, you can sell it or give it away.
Private use is also recognised in copyright law and is also based on common sense: When you legally acquire an instance of a copyrighted work, it is assumed that you must have the right to view the content.
If you purchase a DVD, you can put in a DVD player connected to your TV and view the movie.
It is also common sense that if you legally acquire an instance of a copyrighted work, you should have the right to modify that instance without needing permission of the copyright holder. Furthermore you are legally allowed to sell or give away that particular instance of the work without needing permission of the copyright holder.
If I purchase a book, I can legally write in the margins, rip out or glue in extra pages, and if I wish to, give or sell that one instance of a modified book to someone else.
Depending on the method of content acquisition, you may have other non-permissive rights. For example in New Zealand, you have the right to make and store a temporary copy of a Television Broadcast for later viewing: Time shifting with a Video Cassette Recorder (VCR), something not actually legal in New Zealand until the copyright act was amended in the mid 1980s.
The last Labour government also recognised that it should be legal for private individuals to create "temporary" copies of legally acquired copyrighted content. It is only common sense that if you can purchase portable Ipods and MP3 players ( in some cases made by the same corporations that sell movies and music ) then you should be able to make a "temporary" copy of tracks from a legally acquired CD to play on that device, and retain and use that "temporary" copy for as long as you retain legal possession of the source CD. You should expect to have the right to keep "temporary" duplicate copies of both legally acquired downloaded music tracks and CDs on your computer, for backup and playing, and on your portable MP3 player. These rights go way beyond the limits expressed in New Zealand 1961 copyright act.
Transformation of expectations by advances in technology
The technological revolution over the last 30 years has delivered into the market and to consumers devices that can capture, transform and reproduce content beyond what anyone dreamed of when copyright laws were first conceived. What most consumers today would consider "common sense" ( or in some countries fair use ) rights to copyrighted content far exceeds what worldwide copyright legislation currently grants.
Early adopters of technology often cross the legal boundaries before the rest of the public begin to adopt the same technologies that results in shaping the generally accepted public expectation of what should be common sense in respect to copyright. Democratic institutions and the resulting changes to legislation tend to lag way behind, in most cases by more than a decade.
Modern technologically informed common sense expectations
It is common sense to ask why should one source of content be any different to another, especially when the many of the corporations producing the content are involved in the manufacturing and selling of the devices that can copy, transform, reproduce and play the same content.
Since a laptop can also store and view many DVDs why should you not be legally able do the same as you would with CDs and portable MP3 players - store "temporary" copies of movies on the laptop's hard drive for later playback.
All the expressed rights should apply to all types of physical media and legally acquired digital content. When you legally acquire an instance of a copy of copyrighted work then you should have the all rights to that particular instance. Content providers or retailers of instances of copyrighted work should not be able to hide behind "provision as a service" and/or restrictive end user licenses: when you legally acquire an instance of a particular work, you should "own" that instance.
When you legally acquire an instance of a copy of copyrighted work it is only common sense that your private use rights should extend to view,use,modify,combine,inter-operate with, dispose or resell that one instance and should not be impeded by either legislation or technology or require the permission of the copyright holder. The copyright holder's exclusive rights should not extend to the private use right to deny combining a legally acquired instance of a copyrighted work with other works.
Why should time shifting be limited to only Television broadcasts? Any instances of copyrighted works broadcast by any method or streamed on the internet should be able to be captured and "temporary" copy held for later viewing. You should expect to treat that "temporary" copy as you would any legally acquired copy during the "temporary" time you hold it. The only exception being that you cannot sell or give it away since it is a "temporary" copy.
Adding value, increasing demand
You should have the right to distribute and/or sell, patches, recipes, digitised mixing instructions ( automated DJ producer! ), annotations and add-on components that refer and link to the content of the copyrighted work, as long as the distributed items do not contain content from the original copyrighted work. The resulting combined and/or transformed work that contains content from the copyrighted work sources can not be legally redistributed without the permission of all the copyright holders.
This last ability may seem to the content creators to be a major violation of their exclusive rights to a work that copyright grants, even if the derived combined result can not be redistributed. But consider, it legally requires an "original" copy, which the recipient is free to view in its original unmodified state.
Just as extra features distributed on DVDs tempt consumers to purchase even if they have seen the movie in the theatre or on TV, third party add-ons can dramatically increase the demand for the required original product. Also fan based user generated content, especially when combined with social networking, can deliver a large audience for comparatively little outlay.
Thinking beyond "free"
Participants in illegitimate content websites and Peer to Peer (P2P) networks distribute content on the expectation of other participants providing new and differing content. They still pay for bandwidth and local storage and not all older content remains available after the initial flood. There are undoubtedly a few hard-core providers with the personal goal of all digital content being "free". However, based on statistics from pirate bay, the majority of users of these illicit services will, after the initial rush of discovering the service, download only a few songs and one or two movies a month. Many who can afford to will switch to local legitimate content providers ( Itunes, Amazon ) when they become available because the wider range of immediately available content and better download speed.
The relative size of any black market is the product of two factors . The first is the relative cost of producing and distributing a reasonable quality facsimile in comparison to the price of the legitimate item. The second is the size of the prospective market of consumers who are alienated enough to choose the cheaper illegitimate option.
There is nothing that the current content industries can do about the first factor other than lowering the price to consumers of the legitimate item. All attempts to use a combination of technological restriction/obfuscation/DRM methods and legislative enforcement have failed and will always be circumvented in the future. The secondary effect of restrictions has resulted in a larger section of the prospective market becoming even more alienated, driving many more of them to choose the cheaper illegitimate option.
There is a lot more that the content industries can do about the second factor, reducing the level of alienation:-
* The reduction of private use restrictions, for example: the recent move of legitimate music services from DRM to unencumbered MP3/AAC formats. Make your content fully accessible by all digital technology.
* Making available legitimately freely re-distributable instances of digital content. Maybe lower quality, missing features and/or incorporating advertising.
* Easy and immediate access to legitimate downloadable content, directly though as many legitimate content providers ( Itunes etc ) as possible on first worldwide public release.
* Associate marketing via blogs and social networking sites. Make as many of the potential consumers part of the legitimate economy as possible. "Amateurs" can be "paid" via loyalty program discounts, professionals can be paid in cash.
* Transparency. People like to know what proportion of their payment will actually dribble down to the artists involved.
Conclusion
The potential gains from these liberating technological leaps, especially when combined with the relatively low cost of internet distribution, can deliver far greater profit for those who can see beyond the confines of the current, and almost obsolete, business models.
The above article is licensed under the Creative Commons Attribution-Share Alike 3.0 New Zealand . Please feel free to publish it anywhere under the linked terms and attributing it to David Mohring ( http://itheresies.blogspot.com/ )