A CopyBot tool that replicates in-game assets has some Second Life users in an uproar. But is the best solution to ban such tools or, as with real world copy machines and digital media, let them find their place in the Second Life economy and intellectual property framework? Linden Labs' answer to this question will say much about how its in-world IP system will mirror or perhaps improve on that which exists in the real world.
Issue-spotting the Live Web, attorney Denise Howell muses about cutting edge technology-related legal issues.
Denise Howell is an appellate, intellectual property and technology lawyer who enjoys broad industry recognition for her expertise on the intersection of emerging technologies and law.
NBC Universal today launches its new comedy "broadband channel," DotComedy. The site is an interesting reflection of YouTube in a couple of ways.
Web 2.0 is a conclave of technology industry insiders, but a panel of laypeople talking about their online habits stole the show.
The music industry continues to grapple with the world of user generated content, but will it change rapidly enough to ride this wave to its future? At Web 2.0, EMI's David Munns gives insights but not many reasons to hope.
Making the once private public, the Live Web excels at exposing everything from lawyers' bad jokes to bad PR tactics
Silicon Valley law firm Fenwick & West could have chosen to market any of its practices in connection with sponsoring Web 2.0. In the past, a brochure on its intellectual property, corporate, or litigation practices might have been offered. But this year, Fenwick wants attendees to focus on the risks and rewards of blogging.
Edelman Communications is used to providing image damage control to clients. Now see how it executes when Edelman itself is fighting to regain trust and credibility. With its podcast: well.
It's not hard to dislike Michael Crook, a person who played fast and loose with the trust and personal information of various Craigslisters, then used the DMCA to stop online outlets from running an unflattering photo with their coverage. EFF has used his actions as a platform to highlight DMCA abuses by filing a related lawsuit. But does Crook have other legal grounds for objecting to the unauthorized use of his likeness? In this context, probably not.
So suggests coverage from Adweek and E! Online:Though the initial Comedy Central ban sparked dire predictions the Internet wide that YouTube's glory days were over, it seems that such fears may have been a little premature.
I love the writing in the first two paragraphs of Richard Rushfield's L.A.