Yes, mind what's being used where. Having multiple versions is absolutely valid at least on a development or testing system but you always should be aware of the versions being used. First I ran sudo service mongodb stop. Then I ran sudo service mongodb start and waited about a minute.
If you try to connect to immediately you won't be able to. If not try sudo service mongodb restart and check a minute later. First of all, look for other instances of mongod running on the system using the age-old command: ps ax grep mongod If you see a line like - ??
S If so kill it and then start mongod again. This should get you going. Only authorized users can answer the question. Please sign in first, or register a free account.
EnumsAsString; it is now the default. Add where Header. Set is sufficient. Mutex on top of variables it protects. DeleteReaction URL. Rate method in favor of Response.
ListStargazers response with timestamp. GetByID method. Content as unencoded Fixes Resolves Suite still failing.. Appium in progress. Device and appium. Drafted first tests. Appium uses classes to select component types. Uint32 for decoding exit status. Prefix in confirmLocks. Context, set Response. Name type. Rukenshia mentioned this issue Jul 12, Custom Resources not available on tagged workers Sign up for free to join this conversation on GitHub. Already have an account?
Sign in to comment. You signed in with another tab or window. We record this lack of parodic intent and include it as a dummy variable in the analysis, with the reference category being all other parodies where a focus of critique was evident. Finally, we record and include variables which capture the style of address and gender of the parody performer female solo compared to male solo and mixed groups.
The data on YouTube takedowns, comprised of 1, cases, presents two challenges for analysis. One challenge relates to censoring of the data: while the observation period took place over 72 months, not all takedowns that may eventually occur are captured in our study.
A second challenge is one of survivorship bias introduced by the removal of the most egregious infringing parodies immediately upon upload. In order to address these challenges, we perform a Cox proportional hazards analysis to examine the effect of covariates on time-to-removal. Covariates include features of the parody video itself as well as features of the original commercial work full descriptive statistics are provided in Annex 1. The results of the Cox regression analysis are presented in Annex 2.
Results are reported as hazard ratios, indicating an increased risk of takedown when the ratio is greater than 1, and a reduced risk when the ratio is less than 1. Columns present the results for each of the groups of covariates, and column 5 presents the model with all main variables included. In the preceding section, we identified one set of factors related to claims by rightholders that parody harms the commercial market for their works.
To assess these claims, we analyze variables related to production values, popularity and commercial sales of original works to assess whether these factors influence the probability of rightholder action. A first observation from the analysis is that the commercial success sales rank of the underlying commercial release does not appear to have a significant impact on rightholder takedown activity.
A second commercial concern for rightholders is the possibility for substitution by parodic works, which might compel them to remove parodies most popular with viewers. We observe a significantly negative effect for number of views on the risk of a takedown. This means that more popular videos as measured in had a lower risk of being removed by rightholders. A second, related concern for rightholders is the potential for lost licensing revenue from parody videos that have commercial potential.
The proxy variable used to capture commercial potential in this analysis is the level of production values in the parody initially measured by human coders using a Likert-style rating from Parody videos with higher production values may reflect creators with access to more resources and more funding compared to amateur producers.
Overall, higher production values reduced the risk of a takedown compared to videos with average or low production values. There are several potential explanations for this result: commercially-minded YouTubers may benefit from pre-existing licensing agreements for example through membership in multi-channel networks ; highly skilled parodists may benefit from knowledge which helps avoid automated takedown for example by performing their own musical rendition to accompany the parody ; or, rightholders may be engaged in a form of brand management, trimming videos that they feel do not meet standards of quality aligned with their objectives as entertainment brands.
In the preceding section, we characterized two claims originating from rightholders that the artistic qualities of a parody might be harmful to artists. The first proposition relates to the potential for reputation harm arising from negative parodies, which target the artist or the original work. The reference category is all other mislabeled parodies where no clear intent could be ascertained. We observe that the effect on risk of takedown for both weapon and target parodies is negative.
It appears that having a clear parodic intent, even if critical of the original work, benefits the survival of parodies. A second claim was the potential for parodies to infringe the moral rights of creators one rationale for curtailing exceptions to copyright. The influence of moral rights concerns on the takedown rate is complicated by the range of potential objections that an author might have to a transformative use of their work.
It has a significantly negative effect on takedown risk, strengthening the interpretation that a clear target of attack is more beneficial than having no target at all. We analyze another set of factors related to the cultural context of music production and legal culture of the territories of the original artist.
A significant factor for likelihood of a takedown is the genre of the underlying musical work. We find that for parodies of rock music, the risk of takedown is significantly reduced compared to pop, hip hop, and electronic music. This finding remains stable and significant across different specifications. The result is surprising, counterintuitive to existing scholarship which suggests greater tolerance for sampling and re-use in art forms such as hip hop music.
Our result may reflect an overall permissive tendency in less popular, traditional music. Rock music right holders may not be interested in enforcing copyright on YouTube due to a focus on traditional commercial channels of distribution. Other than musical genre, the other main cultural factor influencing takedown was territory of the original artist.
For original works by artists based in the USA, the risk of takedown was significantly lower than for the UK and Europe. This may reflect the influence of fair use, or it may reflect greater tolerance on the part of American music rightholders to online user-generated expressive practices. Finally, we analyze factors originating from the behavior of parodists when creating and uploading their derivative works.
One significant factor in this group is a lack of parodic intent on the part of the uploader. This result may reflect elimination of parodies where the uploader has tried to disguise their use as a parody. This group of factors includes measures of the amount of borrowing from original works copied video or sound recording. Unsurprisingly, we find a significant positive relationship between the presence of an original sound recording and risk of a takedown. When parodists borrowed the underlying recorded track from a commercial work, their video was more likely to be rapidly taken down.
Borrowing the original video in a parody also increased risk of takedown, but less significantly. This may reflect the immediate detectability of copied videos, with the most egregious copies taken down immediately, leaving only more robust derivative works that withstood subsequent takedowns.
The impact of artistic borrowing on takedown rate may generally be explained by the use of ContentID by rightholders to automatically locate and policy infringing material sound and video content. Genre: rock. Note: Significant variables reported as hazard ratios. This paper has examined the rate of copyright takedown of parody music videos to assess different claims made by rightholders about the features of parody that they find threatening to the artistic integrity and commercial exploitation of their work.
Based on public policy statements, we expected to observe a higher probability of takedown for variables related to commercial substitution, as rightholders exercised their copyright to protect the market value of their works. Considering artistic factors, we expected to observe rightholders exercising their copyright to protect the artistic integrity of their expressions and reputation of artists.
Other than removal of direct forms of copying, rightholders do not appear to be acting in a way that corresponds to public statements about the artistic or commercial harm posed by parody works. One counterintuitive finding is that rightholders are not targeting the most popular or highest production value parodies, but appear to be doing the opposite.
This contradicts the expected result, which is that rightholders should be concerned about substitution, and that they should seek to suppress commercial-quality derivative uses in favor of licensing use of their material. It is likely that the ability of rightholders to track and monetize derivative uses of their copyright material via ContentID partially explains the observed result.
High-quality and popular parodies might remain live on the platform because rightholders have determined that the revenue gains from monetizing those unauthorized parodies weigh against any potentially negative effects such as substitution.
The use of ContentID monetization does not explain the disproportionate rate of takedown of parodies with lower production values, which is significant across specifications. Poor quality may be linked to a lack of copyright awareness on the part of uploaders.
Parodists with less skill may be more likely to directly copy a sound recording, making their output more easily detectable by rightholders. The significance of direct copying on the risk of a takedown reinforces this possibility. Further research is needed to ascertain why high production values appear to be an important factor in why certain derivative uses might escape a takedown request, other factors being equal.
Qualitative features of parodic treatment such as the extent of transformation, and if what was taken from the original was necessary are commonly considered in legal determinations of infringement. A second finding of our study is that rightholders do not appear to be concerned with the expressive content of parodies, even when they explicitly target or criticize the original artist or work. This contradicts the expectation, based on published opposition by rightholder groups, that widespread parody threatens the integrity of works and therefore the moral rights of creators.
The results obtained in this study suggest potential directions for future research. We have presented data on takedowns and rightholder behavior for a limited sample of internet content.
While our results invite comparisons with other studies of notice-and-takedown, [ 46 ] in fact user-generated parody videos are a unique form of expression subject to dynamics that may be different in other domains where rightholders seek to protect their work from direct infringement.
Comparative research might examine other communities where consumers appropriate commercial work to generate new expressions, for example fan fiction or machinima creator communities. The UK eventually introduced a new fair dealing exception for the purposes of parody, caricature and pastiche with effect from 1 October The effect of policy change on right holder behavior is a potential direction for future research.
This study provides the first empirical analysis of YouTube takedown behavior combining information about content as well as stated policy of rightholders.
The central finding is that rightholders appear to make complex choices that are assisted by automatic detection mechanisms, with little concern for the artistic integrity of the creative works they represent. The significant difference between musical genres suggests that rightholders, even in the same medium, behave quite differently from their peers.
Further empirical research of tradeoffs between enforcement, innovation, and freedom of expression in online platforms is urgently needed. Our study maps a new methodological path how to do this.
Annex 1: Descriptive statistics for main variables. Number of views at time of January Annex 2: Cox proportional hazards analysis of the effects of video features on takedown rate. Major label. Severity of critique.
Both legislations were conceived in a pre-social media world where the Internet Service Provider ISP was the technological orientation point.
The latest version of the Berne Convention is the Paris Act , as amended in In , the Berne Convention with the exception of Art. This was regardless of whether the country in which the request was filed prescribed these formalities or had any safe harbor laws. See the Canadian case of Google Inc. Equustek Solutions Inc. See W. Urban, J. Karaganis, B. Notice and takedown in everyday practice. Project report See also P. Mendis, M. Kretschmer, The Treatment of Parodies under Copyright Law in Seven Jurisdictions: a comparative review of the underlying principles; and 3 a synthetic summary applying the identified legal factors to the empirical findings, thus offering a range of policy options.
Acuff-Rose U. Burgess and J. Green, YouTube Polity Press. YouTube, Inc. Roma, 24 novembre , n. For a contrary view, see A. Under the fair use doctrine, factors to consider include the purpose and character e.
The case of Acuff Rose Inc. Rogers, J. Tomalin and R. Erickson, M. Kretschmer and D. Jacques, K. Garstka, M. Hviid and J. Mashed up: Music, technology, and the rise of configurable culture.
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