By Sameer Hinduja
Hinduja examines the social, mental, criminological, and behavioral elements of net crime. Guided through the main fashionable normal theories of legal habit, he explores song piracy - an all too-common kind of cybercrime - by means of trying to resolution a few questions. Does pressure and pressure play a job? What approximately low strength of will? Is track piracy realized inside of intimate social teams? Do rationalizations and justifications give a contribution to participation? Is the habit reinforced or weakened via rewards and punishments? Hinduja then proposes a version which integrates either "social" and "technical" components to notify and advisor recommendations to strive against tune piracy, and most likely different variations of high-tech crime.
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Additional resources for Music Piracy and Crime Theory (Criminal Justice: Recent Scholarship)
As quoted from the United States Copyright Office, the owner of a copyright has the exclusive right to do (or authorize another to do) the following: To reproduce the work in copies or phonorecords; To prepare derivative works based upon the work; To distribute copies or phonorecords of the work to the public by sale or other transfer of ownership, or by rental, lease, or lending; To perform the work publicly, in the case of literary, musical, dramatic, and choreographic works, pantomimes, and motion pictures and other audiovisual works; 34 Music Piracy and Crime Theory To display the copyrighted work publicly, in the case of literary, musical, dramatic, and choreographic works, pantomimes, and pictorial, graphic, or sculptural works, including the individual images of a motion picture or other audiovisual work; and In the case of sound recordings, to perform the work publicly by means of a digital audio transmission.
Thus, individuals could access their music collections remotely without having to constantly carry around the physical discs themselves. com web site – a service named “Beam-It” allowed members to have a digital copy of an album placed immediately into their locker after purchasing that album from an online CD retailing partner. com’s Instant Listening Service (RIAA, 2000b). com “ripped” (the term used for extracting digital audio from a CD into a waveform audio file) and “encoded” (a term referring to the compression of a waveform file into an MP3) approximately 45,000 albums, an activity for which they did not have permission from the artist or record company to do (Swiatecki, 2000b).
The Digital Millennium Copyright Act (DMCA) of 1998 The DMCA essentially criminalizes any act of circumventing copy protection. As such, an individual may legally make MP3s from a music CD, unless that CD is copy-protected. An increasing number of CDs are created with technological restrictions to prevent digital audio extraction and subsequent conversion to MP3 files. According to the DMCA, then, any action that attempts to bypass the protection in place - even for ostensibly legitimate purposes - is unlawful and subject to sanctions.