Pirate or subscriber? An exploratory study on italian consumers' music habits

Purpose of the paper: This paper analyzes Italian consumers’ music habits in terms of online piracy behaviors and their interest toward subscription-based music services (SBMS), i.e. services that for a small monthly fee give users legal access to vast music libraries across multiple devices. The objective is to try and profile a piracy-prone consumer and explore if SBMS could be a viable alternative to online music piracy in Italy, where the general piracy rate is very high. Methodology: The study is based on an empirical quantitative analysis through the collection of 505 questionnaires completed by Italian consumers. Findings: The paper highlights how Italian consumers reflect the ‘attitude-behavior gap’ in music consumption, as they perceive online music piracy as ethically wrong, yet they still show low preference for the legal, reasonably priced choice (such as SBMS). Younger, male, lower education, students have the highest propensity towards online piracy. In addition, consumers’ awareness, familiarity and interest in subscriptionbased music services are still very low. Research limitations: The limitations of the paper are linked mainly to the adapted scales, to the omission of alternative determinants of attitude towards piracy, to the composition of the sample and for analyzing only two subscription-based music services (Napster and Spotify). Managerial implications: The results call for greater efforts by music industry actors and public institutions to educate Italian consumers about the consequences of their online piracy behavior and the possible solutions offered by SBMS. Originality of the paper: This paper is the first to focus on Italian consumers’ music habits, their attitude and behavior towards online piracy and their interest toward subscription-based music services as a viable alternative

CREATe 2012-2016: Impact on society, industry and policy through research excellence and knowledge exchange

On the eve of the CREATe Festival May 2016, the Centre published this legacy report (edited by Kerry Patterson & Sukhpreet Singh with contributions from consortium researchers)

Measuring Infringement of Intellectual Property Rights

© Crown Copyright 2014. You may re-use this information (excluding logos) free of charge in any format or medium, under the terms of the Open Government Licence. To view this licence, visit http://www.nationalarchives.gov. uk/doc/open-government-licence/ Where we have identified any third party copyright information you will need to obtain permission from the copyright holders concernedThe review is wide-ranging in scope and overall our findings evidence a lack of appreciation among those producing research for the high-level principles of measurement and assessment of scale. To date, the approaches adopted by industry seem more designed for internal consumption and are usually contingent on particular technologies and/or sector perspectives. Typically, there is a lack of transparency in the methodologies and data used to form the basis of claims, making much of this an unreliable basis for policy formulation. The research approaches we found are characterised by a number of features that can be summarised as a preference for reactive approaches that look to establish snapshots of an important issue at the time of investigation. Most studies are ad hoc in nature and on the whole we found a lack of sustained longitudinal approaches that would develop the appreciation of change. Typically the studies are designed to address specific hypotheses that might serve to support the position of the particular commissioning body. To help bring some structure to this area, we propose a framework for the assessment of the volume of infringement in each different area. The underlying aim is to draw out a common approach wherever possible in each area, rather than being drawn initially to the differences in each field. We advocate on-going survey tracking of the attitudes, perceptions and, where practical, behaviours of both perpetrators and claimants in IP infringement. Clearly, the nature of perpetrators, claimants and enforcement differs within each IPR but in our view the assessment for each IPR should include all of these elements. It is important to clarify that the key element of the survey structure is the adoption of a survey sampling methodology and smaller volumes of representative participation. Once selection is given the appropriate priority, a traditional offline survey will have a part to play, but as the opportunity arises, new technological methodologies, particularly for the voluntary monitoring of online behaviour, can add additional detail to the overall assessment of the scale of activity. This framework can be applied within each of the IP right sectors: copyright, trademarks,patents, and design rights. It may well be that the costs involved with this common approach could be mitigated by a syndicated approach to the survey elements. Indeed, a syndicated approach has a number of advantages in addition to cost. It could be designed to reduce any tendency either to hide inappropriate/illegal activity or alternatively exaggerate its volume to fit with the theme of the survey. It also has the scope to allow for monthly assessments of attitudes rather than being vulnerable to unmeasured seasonal impacts

e-Factors in e-Agribusiness

The Internet offers new opportunities for small businesses to conquer new markets and to find better and cheaper suppliers. Internet-based commerce is widely perceived as the new business logic that operates in a world without boundaries; a world characterized by speed, change, interactivity and connectivity. In this global commercial environment, e-business models appear to be the central conceptual component. Information and communication technologies (ICT) are changing the way in which companies trade with their suppliers and customers. The growing complexity of the food sector drives companies to adopt more sophisticated and effective e-business solutions. If we intend to adopt an e-business solution we have to consider more “e-factors” such as technological, individual, organizational, industrial and societal aspects

A manifesto for the creative economy

The UK\u27s creative economy is one of its great national strengths, historically deeply rooted and accounting for around one-tenth of the whole economy. It provides jobs for 2.5 million people – more than in financial services, advanced manufacturing or construction – and in recent years, this creative workforce has grown four times faster than the workforce as a whole. But behind this success lies much disruption and business uncertainty, associated with digital technologies. Previously profitable business models have been swept away, young companies from outside the UK have dominated new internet markets, and some UK creative businesses have struggled to compete. UK policymakers too have failed to keep pace with developments in North America and parts of Asia. But it is not too late to refresh tired policies. This manifesto sets out our 10-point plan to bolster one of the UK\u27s fastest growing sectors

Legal, Economic, and Cultural Aspects of file sharing

This contribution seeks to identify the short- and long-term economic and cultural effects of file sharing on music, films and games, while taking into account the legal context and policy developments. The short-term implications examined concern direct costs and benefits to society, whereas the long-term impact concerns changes in the industry’s business models as well as in cultural diversity and the accessibility of content. It observes that the proliferation of digital distribution networks combined with the availability of digital technology among consumers has broken the entertainment industries’ control over the access to their products. Only part of the decline in music sales can be attributed to file sharing. Despite the losses for the music industry, the increased accessibillity of culture renders the overall welfare effects of file sharing robustly positive. As a consequence the entertainment industries, particularly the music industry, have to explore new models to sustain their busines.filesharing, downloading/uploading, entertainment industry, cultural analysis, economic analysis, legal and policy analysis.

The relationship between copyright and contract law

Contracts lie at the heart of the regulatory system governing the creation and dissemination of cultural products in two respects: (1) The exclusive rights provided by copyright law only turn into financial reward, and thus incentives to creators, through a contract with a third party to exploit protected material. (2) From a user perspective purchases of protected material may take the form of a licensing contract, governing behaviour after the initial transaction. Thus, a review of the relationship between copyright and contract law has to address both supply- and demand-side issues. On the supply side, policy concerns include whether copyright law delivers the often stated aim of securing the financial independence of creators. Particularly acute are the complaints by both creators and producers that they fail to benefit from the exponential increase in the availability of copyright materials on the Internet. On the demand side, the issue of copyright exceptions and their policy justification has become central to a number of reviews and consultations dealing with digital content. Are exceptions based on user needs or market failure? Do exceptions require financial compensation? Can exceptions be contracted out by licence agreements? This report (i) reviews economic theory of contracts, value chains and transaction costs, (ii) identifies a comprehensive range of regulatory options relating to creator and user contracts, using an international comparative approach, (iii) surveys the empirical evidence on the effects of regulatory intervention, and (iv) where no evidence is available, extrapolates predicted effects from theory

The Enigma of Digitized Property A Tribute to John Perry Barlow

Compressive Sensing has attracted a lot of attention over the last decade within the areas of applied mathematics, computer science and electrical engineering because of it suggesting that we can sample a signal under the limit that traditional sampling theory provides. By then using dierent recovery algorithms we are able to, theoretically, recover the complete original signal even though we have taken very few samples to begin with. It has been proven that these recovery algorithms work best on signals that are highly compressible, meaning that the signals can have a sparse representation where the majority of the signal elements are close to zero. In this thesis we implement some of these recovery algorithms and investigate how these perform practically on a real video signal consisting of 300 sequential image frames. The video signal will be under sampled, using compressive sensing, and then recovered using two types of strategies, - One where no time correlation between successive frames is assumed, using the classical greedy algorithm Orthogonal Matching Pursuit (OMP) and a more robust, modied OMP called Predictive Orthogonal Matching Pursuit (PrOMP). - One newly developed algorithm, Dynamic Iterative Pursuit (DIP), which assumes and utilizes time correlation between successive frames. We then performance evaluate and compare these two strategies using the Peak Signal to Noise Ratio (PSNR) as a metric. We also provide visual results. Based on investigation of the data in the video signal, using a simple model for the time correlation and transition probabilities between dierent signal coecients in time, the DIP algorithm showed good recovery performance. The main results showed that DIP performed better and better over time and outperformed the PrOMP up to a maximum of 6 dB gain at half of the original sampling rate but performed slightly below the PrOMP in a smaller part of the video sequence where the correlation in time between successive frames in the original video sequence suddenly became weaker.Compressive sensing har blivit mer och mer uppmarksammat under det senaste decenniet inom forskningsomraden sasom tillampad matematik, datavetenskap och elektroteknik. En stor anledning till detta ar att dess teori innebar att det blir mojligt att sampla en signal under gransen som traditionell samplingsteori innebar. Genom att sen anvanda olika aterskapningsalgoritmer ar det anda teoretiskt mojligt att aterskapa den ursprungliga signalen. Det har visats sig att dessaaterskapningsalgoritmer funkar bast pa signaler som ar mycket kompressiva, vilket innebar att dessa signaler kan representeras glest i nagon doman dar merparten av signalens koecienter ar nara 0 i varde. I denna uppsats implementeras vissa av dessaaterskapningsalgoritmer och vi undersoker sedan hur dessa presterar i praktiken pa en riktig videosignal bestaende av 300 sekventiella bilder. Videosignalen kommer att undersamplas med compressive sensing och sen aterskapas genom att anvanda 2 typer av strategier, - En dar ingen tidskorrelation mellan successiva bilder i videosignalen antas genom att anvanda klassiska algoritmer sasom Orthogonal Matching Pursuit (OMP) och en mer robust, modierad OMP : Predictive Orthogonal Matching Pursuit (PrOMP). - En nyligen utvecklad algoritm, Dynamic Iterative Pursuit (DIP), som antar och nyttjar en tidskorrelation mellan successiva bilder i videosignalen. Vi utvarderar och jamfor prestandan i dessa tva olika typer av strategier genom att anvanda Peak Signal to Noise Ratio (PSNR) som jamforelseparameter. Vi ger ocksa visuella resultat fran videosekvensen. Baserat pa undersokning av data i videosignalen visade det sig, genom att anvanda enkla modeller, bade for tidskorrelationen och sannolikhetsfunktioner for vilka koecienter som ar aktiva vid varje tidpunkt, att DIP algoritmen visade battre prestanda an de tva andra tidsoberoende algoritmerna under visa tidsekvenser. Framforallt de sekvenser dar videosignalen inneholl starkare korrelation i tid. Som mest presterade DIP upp till 6 dB battre an OMP och PrOMP

IFPI digital music report 2013: engine of a digital world

The global recorded music industry is on a path to recovery, fuelled by licensed digital music services and rapid expansion into new markets internationally. Recorded music is also helping drive a broader digital economy, according this report.Global recorded music industry revenues rose by an estimated 0.3 per cent to US$16.5 billion in 2012, the first year of industry growth since 1999. Digital revenues saw accelerating growth for the second year running, up 9 per cent, with most major digital revenue streams - downloads, subscription and advertising-supported - on the rise.The digital music business is globalising fast, as smartphones and new licensed services span new and emerging markets. In January 2011, the major international download and subscription services were present in 23 markets. Today, they are in more than 100.Licensed music services are demonstrably meeting consumers\u27 needs. New consumer research published today by Ipsos MediaCT, covering nine markets in four continents, shows that 62 per cent of internet users have used a licensed music service in the last six months. (A summary of the Ipsos MediaCT research is provided in annex)Canadian artist Carly Rae Jepsen topped the 2012 global singles chart with Call Me Maybe. British singer-songwriter Adele achieved phenomenal success with 21, the first album to top the global albums chart for two consecutive years since IFPI began reporting global best sellers in 2001.Despite the optimism, key barriers to further growth remain - the biggest being unfair competition from unlicensed music services. Governments have a key role to play in addressing this problem. The key priority remains to secure effective cooperation from intermediaries including advertisers, ISPs and search engines, who have a major influence on levels of copyright infringement