Quote:Ubisoft include pirated soundtrack as part of Assassin’s Creed: Brotherhood digital edition
Tom Senior | News | 16/03/2011 16:09pm

Those who pre-ordered Assassin’s Creed: Brotherhood have recently been claiming their pre-order bonuses, which includes the game’s soundtrack. One eagle-eyed pre-purchaser had a close look at the files, and noticed that they have been encoded by “arsa13″, a user responsible for putting up illegal copies of the soundtrack on Torrent sites, suggesting that the MP3 soundtrack distributed as part of the Assassin’s Creed: Brotherhood is ripped from illegally uploaded files.

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Reddit user plginger noticed the connection when he had a closer look at the soundtrack files, noting the name arsa13 in the encoding credits. The same name turned up time and time again on sites distributing the tracks illegally.

According to TorrentFreak, this isn’t the first time that Ubisoft have used illegal sites to make their job easier. In 2008 they distributed a no-CD crack as a fix for Rainbow Six: Vegas 2. In 2010, Rockstar released Max Payne 2 on Steam. The exe file contained an ASCII logo for a hacking group known as Myth, suggesting that Rockstar may have used a hacked version of the game to port the game more easily.

Of course, as Ubisoft and Rockstar are the original owners of the files they’re downloading, they’re not doing anything illegal. Still, it’s interesting to see them using the same piracy services that they’ve condemned, don’t you think?

izvor: PC Gamer

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Quote:Filesharing curbs face high court delays

Plans to restrict illegal filesharing could be delayed for at least a year as measures are battled out in high court

Josh Halliday
guardian.co.uk, Monday 21 March 2011 13.22 GMT

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The high court is to rule on whether a challenge to the Digital Economy Act, which would restrict filesharing, can go ahead. Photograph: Claudio Bresciani/Scanpix/PA Photos

Government plans to curb illegal filesharing could be delayed for at least a year as its most contentious measures are battled out in the high court.

The UK's two biggest internet service providers, BT and TalkTalk, will on Wednesday challenge the Digital Economy Act in a judicial review, on the basis that its proposals to tackle illicit filesharing infringe users' "basic rights and freedoms" and received insufficient parliamentary scrutiny. The two companies together have 8.4 million subscribers, and have repeatedly expressed opposition to elements of the act.

The high court is expected to rule on whether the challenge can go ahead on Friday. If it agrees, the process of review could take until spring 2012, delaying implementation of the act even further, while content companies assert that illicit filesharing is costing UK businesses £400m annually in lost sales.

The act was due to come into force in January, but has been delayed by a series of regulatory hurdles and now by the legal challenge.

The outcome of the challenge is "critical" to the future of the act, a senior television executive told the Guardian. TV companies are increasingly concerned at the volume of their content being swapped over filesharing networks.

Under the act, rights holders will collect data about people believed to be downloading film and music from filesharing sites. ISPs will then match the rights holders' data against their customer database and send warning letters to those accused.

Repeat copyright infringers could have their internet access slowed or even blocked under secondary measures in the act. However, this second phase is understood to be about 18 months away from being considered as part of the measures.

"Since the DEA passed into law there has been a considerable amount of work to do to implement the mass notification system," said a spokesman for the Department for Culture, Media and Sport. "Secondary legislation setting out how the system will be paid for and how it will work has to be passed by parliament. Ofcom also has to set up an appeals process."

The culture secretary, Jeremy Hunt, last month passed one of the act's most contentious measures – blocking access to websites accused of enabling filesharing – to Ofcom to review whether it is workable. The communications regulator is expected to report back in the summer.

Copyright owners, largely represented by the Motion Picture Association and the British Phonographic Industry, support the act's attempt to crack down on piracy but have become discouraged at its protracted and slow progress.

The act's cost-sharing arrangements also burden film and music bodies with 75% of the costs of the "mass notification system", with ISPs footing 25% of the bill.

Film bodies are more interested in forcing ISPs to block access to allegedly infringing sites, and are understood to have drawn up a blacklist of about 90 so-called "cyberlocker" sites.

The high court's judicial review judgment is likely to face an appeal from whichever side loses, further delaying its implementation.

"The impact of online copyright infringement on the creative industries is huge," said Christine Payne, the general secretary of the creative industries trade union Equity.

"The DEA is the result of many years of discussion between government, industry and trade unions to try to provide a framework to legislate against online copyright infringement. We believe we had no choice to intervene to give the government support for this case."

izvor: Guardian
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Quote:Did file-sharing cause recording industry collapse? Economists say no
By Matthew Lasar | Last updated March 23, 2011 10:10 AM

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For the last decade, the movie and music industries have engaged in a relentless struggle against Internet file sharing. One prominent theater of this global conflict has been the UK, which last year saw the passage of the Digital Economy Act. The law, if fully implemented, could allow Internet Service Providers to disconnect "persistent infringers" of the UK's copyright rules from the 'Net.

The zeal with which Hollywood and the recording industry have pursued this ISP-as-cop approach around the world has prompted some ISPs to cry foul. "The notion of disconnection without judicial oversight violates the presumption of innocence," warned the Australian DSL service iiNet in a recent position piece . "As the penalty for possibly minor economic loss (at the individual infringer level) removal of Internet access is, therefore, both inappropriate and disproportionate."

But even though the DEA is up for judicial review at the behest of the UK's top telcos, the impetus for similar laws continues unabated. That's because the content industry may lose a particular battle (eg, trying to force iiNet to punish file swappers), but it has won a key aspect of the war: the argument that file sharing has hobbled the music and movie business, hurt artists, and cost jobs is the master narrative of file sharing—the center of most government debates about the practice.

Now comes a paper from the London School of Economics that tries to do more than just challenge the DEA. It argues that everything Big Content says about file sharing is wrong. In fact, it suggests that file sharing is the future, and that revenue downturns can largely be explained by other forces.

"The music industry is performing better than is being claimed and declining sales can be explained by other factors in addition to illegal filesharing," say Bart Cammaerts and Bingchun Meng of LSE's Department of Media Studies. "The negative framing of the debate about file-sharing and copyright protection threatens to stifle the very same creative industry the Act aims to stimulate."

Downward economic pressure

There's no question that recorded music sales have declined over the last decade—down from over $26 billion in 2000 to under $16 billion last year. But the relentless focus on P2P sharing ignores other factors, these scholars contend. The most important of these is the gradual weakening of the consumer economy over the last decade, particularly over the last two years of global recession. And it's going to get worse.

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"Downward pressure on leisure expenditure is likely to continue to increase due to rising costs of living and unemployment and drastic rises in the costs of (public) services," says the report.

Having less money for entertainment has played a huge role in the decline of items like CDs. A 2004 US Consumer Expenditure Survey showed that even spending on CDs by people who had no computer (and were therefore unlikely to download and use BitTorrent) dropped by over 40 percent from 1999 through 2004.

"Household budgets for entertainment are relatively inelastic as competition for spending on culture and entertainment increases and there are shifts in household expenditure as well," the LSE study notes.

And if file-sharing wasn't the major cause of the revenue downturn, stepping up copyright enforcement is unlikely to return the industry to those heady days.

And while it is true that many consumers have turned to illegal file sharing in bad economic times, a 2007 Journal of Political Economy study found that most downloaders would not buy that content, even if they couldn't share it.

"Downloads have an effect on sales that is statistically indistinguishable from zero," the authors flatly concluded then. "Our estimates are inconsistent with claims that file sharing is the primary reason for the decline in music sales during our study period."

But a later 2010 meta-study by the same authors concluded that piracy did, in fact, account for a bit of the decline in music sales—around 20 percent. The other 80 percent could be chalked up to the sale of digital singles rather than whole albums and the rise of other media options like video games.

The new business model

Content industry analyses of the file sharing phenomenon tend to downplay key sources of income for musicians, the LSE report charges, most notably revenue from live concert performances. In 2009, for the first time, earnings from live music events outstripped music sales in the UK. The music recording industry was worth £1.36 billion (about $2.21 billion); the live music scene was estimated around around £1.54 billion. Ticket sales rose by 5.8 percent, "secondary ticketing revenues" shot up 15 percent, and receipts for related services at concerts came to £1.54 million. (This didn't help the music labels much because few profited from better live music sales; that is starting to change.)

Legal file sharing also grew by nine percent globally in 2009, along with an eight percent increase in performance rights revenue. "Growing from a small base, the value of the global market for digital music increased by 1,000% in the period 2004 to 2010, and by 2010 represented US$4.6 billion," the LSE paper observes.

So what is emerging is an increasingly "ephemeral" global music culture based not upon the purchasing of discrete physical packages of music, but on the discovery and subsequent promotion of musicians through file sharing. The big winner in this model is not the digital music file seller, but the touring band, whose music is easily discoverable on the 'Net. As with so much of the rest of the emerging world economy, the shift is away from buying things and towards purchasing services—in this case tickets to concerts and related activities.

"Some artists and music labels are making full use of filesharing and the participatory culture it sustains rather than rejecting it," Cammaerts and Meng note. "In the process, these artists and music labels are developing useful alternative models for revenue generation."

Not-so-marginal activities

The authors of the study acknowledge that these alternative models are not going to impress SONY and EMI. "Compared to the value of the mainstream music market, dominated by the 'big four', these are relatively marginal activities," they observe.

But they may become less marginal very soon. With world mobile data traffic set to explode by a factor of 26 by 2015, and with most people in the Middle East, Sub-Saharan Africa, and South/Southeast Asia expected to link to the mobile 'Net before they get electricity, file sharing could be poised for a second great leap forward, whether Big Content approves of it or not.

These millions of new Netizens are not going to have the money to buy digital music files. They're going to use BitTorrent. That will put more and more pressure on governments to decide whether they want to criminalize a huge portion of humanity, or encourage the market to adapt to the new "ephemeral" models described by this study and others.

Among other proposals these scholars want societies to consider is a "levy on blank media use and consumer recording equipment."

The tithe could be part of the price of an ISP connection—"a kind of 'license to download'. Debate should then re-focus on the alternative means of redistribution of the proceeds from such levies."

izvor: Ars Technica
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Quote:Inspektori uskoro obilaze preduzeća po Srbiji
Rigorozna kontrola legalnosti softvera
A. E. | 28. 03. 2011. - 00:02h

BEOGRAD - Poreska uprava krenuće od aprila u opsežniju akciju kontrole legalnosti softvera. Kazne za posedovanje nelegalnog softvera kreću se od 50.000 do tri miliona dinara, a u Poreskoj upravi kažu da, ako stepen piraterije u Srbiji, koji je trenutno zastupljen sa 74 procenta, smanje za samo deset procenata, to će budžetu doneti 30 miliona evra.

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Rok firmama: Dr Dejan Vidojević

- Posebna jedinica za kontrolu legalnosti softvera, koja broji 25 inspektora, prošla je obuku u saradnji sa Privrednom komorom Srbije, Biznis softver alijansom i najvećim svetskim proizvođačima softvera, tako da kontrola i najvećih firmi, koje imaju i po hiljadu kompjutera, neće trajati duže od dva sata. Ukoliko se utvrdi da firma koristi nelegalan softver, dobiće rok u kome mora da uvede legalan softver. Ako u datom roku ne isprave prestup, biće podneta prijava nadležnom tužilaštvu. U slučaju velikih prekršaja, biće uključeni i poreska policija i MUP - kaže dr Dejan Vidojević, pomoćnik direktora Poreske uprave i načelnik odeljenja za kontrolu legalnosti softvera.

Procena je da će trebati od tri do pet godina da Srbija smanji procenat piraterije ispod 50, što je zahtev i Evropske unije. Procenat piraterije u EU je uglavnom manji, do 30, dok jedino Grčka ima 58.

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- Očekujem da će se u Srbiji već za tri godine značajno smanjiti stepen piraterije, jer su naši građani disciplinovaniji u plaćanju poreza od gotovo svih bivših jugoslovenskih republika, pa čak i od nekih zemalja EU - napominje Vidojević.

Poreska uprava poziva i domaće proizvođače softvera da legalizuju platforme na kojima prave svoje softvere. Srbija ima izuzetno veliki izvoz softvera, čak 700 miliona evra godišnje, što ga čini jednim od glavnih izvoznih proizvoda. Procenjuje se, međutim, da je gotovo tri puta više nelegalno izvezenih softvera. Piraterija je u Srbiji najviše rasprostranjena u programima koji se bave projektovanjem.

izvor: Blic
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Quote: to će budžetu doneti 30 miliona evra.

AHA! KAKO DA NE!Kolutam očima
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Pa da. To može da im bude argument u sledećim pregovorima sa prosvetarima Wink
"Samo vi prekinite štrajk, a mi ćemo da obezbedimo 30 miliona iz budžeta, samo da naplatimo od pirata." LOL
Naplatiće to od kazni Glare


Quote:Global recorded music sales fall almost $1.5bn amid increased piracy

UK loses mantle as third-largest music market after 'physical' sales of CDs collapse by almost a fifth

Mark Sweney
guardian.co.uk, Monday 28 March 2011 15.38 BST

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The UK was overtaken last year by Germany as the third largest music market. Photograph: Andy Sotiriou/Getty Images

Global recorded music sales fell by almost $1.5bn (£930m) last year as digital piracy continued to take its toll on the industry, with the UK losing its mantle as the third-largest music market after "physical" sales of CDs collapsed by almost a fifth.

Global recorded music revenues fell 8.4% last year, about $1.45bn, to $15.9bn according to the annual Recording Industry in Numbers report by international music industry body the IFPI.

Overall physical sales, the term used in the industry for sales of products such as CDs, fell by 14.2% year on year to $10.4bn.

Digital revenues grew by 5.3% year on year to $4.6bn to account for 29% of all recorded music revenues. However, the rate of digital revenue growth has halved year on year as the industry continues to struggle with piracy and winning consumers over to legal download models.

The world's two largest markets, the US and Japan, took a hammering last year accounting for 57% of the total global decline in trade revenues. In 2009 the two countries accounted for 80% of the global decline.

In the US overall sales fell by 10% with physical sales down 20% to just over $2bn and digital sales stagnating with 1.2% growth to $2bn. Japan saw an overall market decline of 8.3% with the report noting that "rapidly rising online is threatening the development of the digital market".

The UK, which had managed growth in 2009 leading some to believe a "tipping point" had been reached where digital sales take up the slack of declining physical revenues, was overtaken last year by Germany as the third-largest music market.

Overall UK sales were $1.38bn, down some $170m or 11% year on year, thanks to a 19.2% fall in physical sales to $920m. Sales through digital channels boomed by 19.6% to $347m.

In Europe digital revenue growth increased by an impressive 21.6% with most major markets – including Germany, France, Italy and the Netherlands – seeing double digit increases.

"The demand for new music seems as insatiable and diverse as ever, and record companies continue to meet it," said Frances Moore, chief executive of the IFPI. "But they are operating at only a fraction of their potential because of a difficult environment dominated by piracy."

Of the major markets ranking in the top 20 by size, just three saw year-on-year sales increases with Korea up 11.7%, India up 16.5% and Mexico up 0.9%.

izvor: Guardian
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Torrent - Robin Hud modernog doba

Krade od bogatih i deli sirotinji

Ne svadjaj se sa budalom. Prvo te spusti na svoj nivo, a onda te dotuce iskustvom...
Da citiram jedan komentar:
Quote:Oh sure, and the absolute shite quality of most of today's music has nothing to do with it?

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Većina produkcija na zapadu kompresuje muziku tako da zvuči glasnije. Više o tome možete saznati kada kucate "loudness war" na Guglu.

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