a mosaic of the Fractured Atlas staff “I’m not interested in anybody’s guilt. Guilt is a luxury that we can no longer afford. I know you didn’t do it, and I didn’t do it either, but I am responsible for it because I am a man and a citizen of this country and you are responsible for it, too, for the very same reason… Anyone who is trying to be conscious must begin to dismiss the vocabulary which we’ve used so long to cover it up, to lie about the way things are.” ~ James Baldwin A few weeks ago, Adam Huttler, Fractured Atlas’s CEO, wrote a blog post in support of the Black Lives Matter movement. In that short post, he clearly stated our commitment to fighting systemic racism and other forms of oppression. However, while the post hinted that we felt our statement was long overdue, it stopped short of sharing how Fractured Atlas has navigated deep discussions about our place in the social justice movement for almost two years. Our guilt, and a desire to not seem “trite” or late to the protest had paralyzed us.

by Courtney Duffy, Robert W. Deutsch Arts & Technology Policy Fellow at Fractured Atlas Courtney Duffy, our Robert W. Deutsch Arts & Technology Policy Fellow, shares the lowdown on the annual October celebration of the arts and humanities. You can find her on Twitter @cduffy90.

Source: Flickr user Johnny Silvercloud On Friday, Terence Crutcher was gunned down by police in Tulsa. Then yesterday, police in Charlotte shot and killed Keith Lamont Scott. They are just the latest in a terrible and seemingly unending string of unarmed black Americans who have been killed by police in this country.

Courtney Duffy’s work as Fractured Atlas Arts & Technology Policy Fellow has been made possible through the generosity of the Robert W. Deutsch Foundation. You can find her by emailing courtney.duffy@fracturedatlas.org or on Twitter @cduffy90. The Deutsch Foundation recently profiled Courtney’s fellowship on its blog, which you can find here.

Source: Flickr Members of Congress spend recess at home in the district, offering artists a great opportunity to connect Our Arts & Technology Policy Fellow, Courtney Duffy (@cduffy90), whose role is made possible through the generosity of the Robert W. Deutsch Foundation, offers the merits of connecting with elected officials in the coming weeks, along with advocacy tips for artists who choose to do so.

The Robert W. Deutsch Foundation, which generously makes my Arts & Technology Policy fellowship possible, recently connected me with an organization that shares the Fractured Atlas mission to eliminate barriers to artistic expression. Maryland Volunteer Lawyers for the Arts — or MdVLA for short — protects the legal rights of Maryland-based artists through pro bono legal referrals and education. Adam Holofcener, MdVLA’s executive director, has a background in policy work and graciously agreed to answer a few of my questions. You’ll find our conversation, which has been lightly edited for the sake of brevity, below.

Suit filed by the Electronic Frontier Foundation (EFF) contends First Amendment rights are being violated by DMCA’s anti-circumvention provisions Our Robert W. Deutsch Arts & Technology Policy Fellow, Courtney Duffy, returns with a new #CopyrightWithCourtney post on a legal challenge to the U.S. Copyright Office’s flawed system of granting exemptions to tech users who seek to break digital locks to access copyrighted works for legal purposes. The current system has major ramifications for filmmakers. Follow Courtney on Twitter @cduffy90 and join the conversation using #CopyrightWithCourtney. Last week, the Electronic Frontier Foundation (EFF) sued the U.S. Copyright Office and the Department of Justice to overturn the anti-circumvention provisions in Section 1201 of the Digital Millennium Copyright Act (DMCA), which make it illegal to circumvent digital locks on copyrighted works. Refresh my memory: What’s the DMCA, and what’s wrong with it? The Digital Millennium Copyright Act (DMCA) was signed into law in 1998 under President Clinton as an attempt to update copyright law in accordance with the changing technology of the times. Part of the law, Section 1201, makes it illegal to break digital locks placed on copyrighted material whether the intended use is legal or not. It’s the act of breaking the lock itself which is illegal. The Library of Congress, which houses the Copyright Office, has a triennial review process by which individuals and organizations can petition for exemptions to this law on behalf of those who intend to make legal uses of these copyrighted works. This review process is burdensome, and groups must spend time and money to restate their case every three years, even if they have been granted an exemption in the past. How are artists impacted by the broken DMCA? Filmmakers and authors have long held the right to make fair use of copyrighted material, transforming it for uses like criticism and commentary, making arguments, and providing historical context. But since the DMCA made it illegal — and, in some cases, a crime — to access this content by breaking encryption unless an exemption is granted, these artists are forced to restate the same case over again every three years in order to continue to be able to access these works. Veteran filmmaker Gordon Quinn, who is a Fractured Atlas member, has presented the case of the documentary filmmaking community before the Library of Congress for the past several years. In this Motherboard article Gordon and I wrote together, he details the unpredictability of the process, noting that although the filmmakers’ argument for the circumvention of digital locks on Blu-Ray disks was denied two cycles ago, it was accepted during the most recent cycle without significant changes to the argument. This unpredictability has undoubtedly stifled innovation in the field, which harms filmmakers and audiences alike. As a result, Gordon and I argued, the DMCA inadvertently chills fair use and other lawful activities that are central to free expression in a democracy, as well as the livelihoods of filmmakers around the country. What is the nature of EFF’s new lawsuit against the Copyright Office? EFF’s suit comes after years of failures by the Copyright Office to fix the broken DMCA exemption process, which involves a number of burdensome and administrative hoops for artists like Gordon Quinn to jump through every three years. EFF’s main argument in this suit is that the legal proceedings involving circumvention violate consumers’ First Amendment rights to freedom of expression. The Copyright Office, EFF alleges, “has mismanaged the process and repeatedly failed to grant valid exemptions” in violation of the First Amendment. My colleague at Public Knowledge, Kerry Maeve Sheehan, agrees: “The Office has erected a litany of administrative barriers, not required by the law itself, to scholars, technologists, consumers, and many others (like artists) ensnared by unintended consequences and indefensible applications of Section 1201,” she says. “Even when the Copyright Office does recommend exemptions, they are often so narrow as to be practically useless.” Gordon Quinn, pictured on the left, at Public Knowledge’s DMCA panel on Capitol Hill. What sort of advocacy have Fractured Atlas and Public Knowledge done already? My colleagues at Public Knowledge have been paying close attention to this issue for several years, and took a more active approach to advocacy in the fall of 2015, aligning with the most recent triennial review process. Fractured Atlas sponsored a trip for Gordon Quinn to Washington, D.C., where he represented the arts community on a Capitol Hill panel put on by Public Knowledge that focused on the DMCA’s flaws. Gordon discovered a poster of one of his films in a Congressional office during his visit. During his trip to Capitol Hill, Gordon accompanied me on face-to-face visits with a dozen Congressional offices from across the political spectrum in which he described the burdensome exemption process he endures every three years. Gordon clarified that fixing the current system will not in fact lead to additional piracy — a common misconception — because those who seek exemptions are seeking to access copyrighted works for legal uses only. Any uses of the works that do not fall under fair use would be subject to punishment under existing copyright law. Gordon articulated that as a copyright holder himself, he relies on the ability to legally incorporate copyrighted works into his new works. “In a democracy,” he said, “we cannot keep culture locked up.” We will monitor the process of EFF’s suit carefully and provide updates on the blog. Stay tuned! You can find additional blog posts Courtney has written on this subject here, here, and here.

Every week, we find the most interesting and important stories at the intersection of the Arts, technology, and business and share them with you. (If you’d like to get these in your e-mail inbox you can subscribe to here). Check back every week for insightful and eye-opening stories that peaked our interest, and hopefully yours too. Ideo: Is Jazz School The Next Great Innovation Incubator? We call our approach design thinking. Berklee doesn’t have a name for their mind-set yet (“jazz thinking” or “music thinking” come to mind), but the similarities between the two have led us to believe there are fundamental entrepreneurial traits in the professional creative process. How Does Crowdfunding Change the Picture for Artists? Digital platforms let people successfully and efficiently sort into narrow niches, to find a vibrant-yet-specialized community of interest. These better matches are game-changers for some, but it may not be a boon for everyone. Introducing a New Tool for Unlocking the Power of Media Grants Data. Developed by Foundation Center and available on the Media Impact Funders’ website, this new tool enables users to see, understand, and dig deep into the numbers, networks, and trends surrounding media and philanthropy. Web Site Offers First Ever-Live Stream of a Broadway Show for $10. While tickets to the New York production are going for $52 to $147, the streamed show — offering 10 camera angles — goes for a mere $9.99 on computers, tablets, and smartphones. Or you can enjoy it on big TV screens by using Apple TV and Roku set-top boxes, but only if you pick a $169.99 (year-long) or $14.99 (one month) subscription to BroadwayHD. U.S. Dept. Of Justice Deals Crushing Blow To Songwriters. Songwriting and music licensing is one of the most strongly regulated areas in entertainment, […] Streaming services, in particular, have greatly disrupted the industry and led to tremendous declines in the revenue paid to songwriters. However, songwriters’ hands are mostly bound, because the federal government’s Consent Decree mandates how songwriters can be paid.

Courtney Duffy, our Robert W. Deutsch Arts & Technology Policy Fellow, has the scoop on an important net neutrality opinion from the D.C. Circuit Court last month that gives the arts community cause for celebration. You can find Courtney on Twitter @cduffy90. In June, after more than six months of deliberation, the U.S. Court of Appeals for the D.C. Circuit released its opinion affirming the Federal Communications Commission’s 2015 Open Internet Order. The FCC’s historic decision, which reclassified broadband internet as a common carrier service under Title II of the Communications Act, empowered the FCC to protect a free and open internet.