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values | EmoAct float64 1 7 | EmoVal float64 1 7 | EmoDom float64 1 7 | SpkrID int64 1 3.33k | Gender stringclasses 2
values | Split_Set stringclasses 2
values | transcript stringlengths 1 353 ⌀ | emotion2vec_features listlengths 1 1 |
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N | 3.4 | 3.8 | 4 | 149 | Female | Development | a bad example, because though we may not act on them or use them here, countries that do act on them can point to ours and justify keeping theirs. | [
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N | 3 | 2.6 | 4.4 | 149 | Female | Development | note, unfortunately, because these are dark times and real life horrors. | [
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N | 3.6 | 4.4 | 4.4 | 480 | Male | Train | hello, and welcome to the techdirt podcast. i'm mike masnick.so in this podcast that you're about to hear, i just wanted to make one quick note before we get started- | [
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N | 4.2 | 3.4 | 4.8 | 480 | Male | Train | which is that we actually recorded this a couple weeks ago. and the idea was actually to put it out right after we had recorded it. so we reference events that we say happened- | [
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N | 3 | 3.8 | 3.8 | 480 | Male | Train | just last week, when actually those are now three weeks ago. we had a little problem with the service that we use to record the podcast... | [
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X | 3.6 | 5 | 4.8 | 480 | Male | Train | which is usually pretty great. had some sort of spectacular failure starting approximately a minute after we finished recording the podcast. and it sort of has- | [
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N | 3.6 | 4 | 4.2 | 480 | Male | Train | taken them a couple weeks to get things back together. and we were able to, more or less, rescue this podcast. and i thought it was a good discussion, even though- | [
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N | 4.4 | 5.2 | 4.4 | 480 | Male | Train | we had originally meant for it to be released in a little bit more timely fashion, i think it's still an interesting discussion and still worth having. and so that's that. and so- | [
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N | 3.4 | 4.2 | 3.6 | 480 | Male | Train | that's why, while we refer to things that just happened, they actually happened a few weeks ago. so i just wanted to explain that and that's about it. and from here, we'll go- | [
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X | 3.2 | 4.6 | 4.2 | 480 | Male | Train | the postings were covered by fair use. and that's an interesting discussion in its own right. as an aside, i think it was pretty clearly fair use. | [
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N | 4.6 | 4.2 | 4.6 | 480 | Male | Train | but lawyer cathy gellis had raised another issue with me in a separate discussion about whether the interviews are even copyrightable in the first place. | [
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X | 4.6 | 4.8 | 5.2 | 480 | Male | Train | and so we were discussing this back and forth for a while online. and i finally suggested that rather than just having it be the two of us in the discussion, we should discuss it on the- | [
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N | 4.4 | 5.2 | 5.2 | 480 | Male | Train | basically copyright preempted that, but the important part was that the ruling made a couple of key points. and the first was that the broadcast of live events does in fact- | [
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O | 4.2 | 4.4 | 4.2 | 480 | Male | Train | like the score of the game are certainly not protected by copyright. so to me, at least there's little question that the wider broadcast here that we're discussing about the interviews- | [
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H | 3.8 | 4.6 | 4.6 | 480 | Male | Train | take down notice. so anyway, to try and hash out this discussion further, i asked kathy galles to come on the podcast and discuss why she thinks that before we even get to- | [
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N | 3.8 | 3 | 4.4 | 1,334 | Female | Train | you have a situation. now you have to issue spot and tear it apart. and one of the things they teach in law school that non-lawyers get very upset about is- | [
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X | 5.4 | 3.4 | 5 | 1,334 | Female | Train | because i'm a lawyer i'm going to say it is probably maybe, but the fact that it's even something where there's- | [
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N | 3.8 | 3.6 | 4.2 | 1,334 | Female | Train | there's reason to doubt that the copyright answer is a clear one. that's a significant thing unto itself. and we can talk about that. but in terms of some of the facts- | [
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N | 4.4 | 3.6 | 4.8 | 1,334 | Female | Train | put it on all four sides of the soccer field. now you've got a technical director who's going to decide which camera we should cut to, depending on- | [
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N | 4.2 | 4.2 | 5.2 | 1,334 | Female | Train | how the play is unfolding. so that decision about which camera you're going to unfold, that's arguably a creative decision. that seemed to be one that congress was willing to- | [
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N | 4 | 3.2 | 4.4 | 480 | Male | Train | if anyone would legitimately make that argument. i mean, certainly you'd find somebody who could make that argument in court, but i couldn't see a judge accepting that as valid. just because i think- | [
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N | 3.8 | 3.8 | 4 | 480 | Male | Train | we sort of work under the assumption that there must be a copy right there. and you can argue, and i might agree with you that maybe we shouldn't work under that assumption- | [
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N | 4 | 4 | 4.6 | 480 | Male | Train | but i think that it's sort so well established that- | [
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N | 3.8 | 3.2 | 4.6 | 480 | Male | Train | in the same sense, to some extent, this even goes back to- | [
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N | 4.8 | 4.2 | 4.2 | 480 | Male | Train | the question of why does a photograph get copyright? i mean, that's sort of a related, connected issue, which is like, some people- | [
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N | 4.2 | 3 | 4.6 | 480 | Male | Train | have argued that a photograph, unlike a painting, for example, shouldn't necessarily get copyright because all you're doing is just taking a picture of reality. what the photograph is is- | [
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N | 3.8 | 4.2 | 4.6 | 480 | Male | Train | just the underlying facts of what you pointed the camera at. and we have historically tapped dance around that and come to the conclusion that because the photographer- | [
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N | 3.8 | 3.8 | 4.4 | 480 | Male | Train | is sort of setting up the picture and maybe deciding the angle and the lighting and the framing, therefore that gets the copyright. and so you're sort of- | [
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X | 4.4 | 2.8 | 4.2 | 480 | Male | Train | trying to make that same argument about an audio recording of an interview that because there's no significant when, if it's just two people on a mic- | [
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X | 5 | 3.4 | 4.4 | 1,334 | Female | Train | i mean, in terms of your general thesis of would any court accept? i mean, we see stuff come up where it's not necessarily clearly resolved, but in photography- | [
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N | 3.2 | 3.6 | 4.4 | 1,334 | Female | Train | was it something where it was point and shoot? was it something where, what if you are the person who stages where the camera should be, the lighting and- | [
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N | 4 | 3 | 3.8 | 1,334 | Female | Train | and a creative decision to say, "i want to take a photograph and my will to make this photograph is to give the monkey a photo and see what he does." that may be- | [
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O | 4.4 | 3.4 | 4.6 | 1,334 | Female | Train | too attenuated. but in that situation, it was too attenuated, but arguably there, he was arguing that he had least made the creative- | [
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N | 4.4 | 3.4 | 4.2 | 1,334 | Female | Train | choice to give the camera to the monkey. if you just press record, are you even making a creative choice equivalent to giving the camera to a monkey to see- | [
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N | 3.6 | 3.4 | 4 | 480 | Male | Train | that's interesting. i'm still- | [
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H | 5 | 5.6 | 5.2 | 480 | Male | Train | i don't know. you may have stumped me. i still think i would be surprised if a court would actually buy that argument, frankly. | [
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N | 3.8 | 3.6 | 3.8 | 1,334 | Female | Train | and you mentioned something in passing about the assumptions. | [
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C | 3.8 | 3.2 | 4.8 | 1,334 | Female | Train | we have, trump's term, the term is procedural posture, which is basically, where legally is this problem currently residing? what's gone on? | [
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N | 3.4 | 3.4 | 4.2 | 1,334 | Female | Train | and whether the take down notices were reviewed or not reviewed, because we know that platforms don't always get to see them. they don't always get to check them. and then even if they do check them- | [
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N | 4.2 | 3.8 | 4.2 | 1,334 | Female | Train | they may make very conservative calls. where if somebody says, "hi, i have a copyright." and it's even potentially likely that they do. they may just hand it over. | [
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O | 5 | 3.6 | 4.8 | 1,614 | Female | Development | what is actually being copied here? what's being copied here- | [
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N | 4.2 | 3.8 | 4.4 | 1,334 | Female | Train | ... and really focused on what he said, where they've gotten rid of the other pieces of the recording. i don't think they have much of stern's voice, i don't think they have much of stern- | [
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N | 3.8 | 3.4 | 5 | 1,334 | Female | Train | ... but my understanding is that they had extracted for the things he said, because they were interested in it. but with a possible thing, because i know there was- | [
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N | 4.6 | 3.2 | 4 | 1,334 | Female | Train | ... out of turn, it may include bits of howard stern. but then again... i mean, now it's looking a little bit more like if you've got a copyright- | [
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N | 4 | 3.6 | 4.4 | 1,334 | Female | Train | ... of itself may not be enough to qualify for... as an original work of authorship, because it's just bits and pieces and we just can't find enough originality. | [
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N | 2.8 | 3.6 | 4.6 | 1,334 | Female | Train | ... question of, "do we to- | [
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N | 4.2 | 3.6 | 3.8 | 1,334 | Female | Train | ... allow something to be copyrighted in order to incentivize its continued development and existence?" i think one of the things in some of the sporting game analysis, is- | [
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O | 4.4 | 4 | 4.8 | 1,334 | Female | Train | "... oh, they're still going to play games with each other." in which case, when we start tripping over each other and realizing, "oh, well, if this is copyrightable, what does that-" | [
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N | 4.4 | 3.4 | 4.4 | 1,334 | Female | Train | "... mean?" because it's copyrightable, you have an exclusive right and can exclude other people. that's a pretty high cost. | [
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N | 4 | 4.6 | 4.8 | 1,334 | Female | Train | i mean, one of the reasons that the statute actually articulates certain types of works that are copyrightable is partly because when you have a land grab for- | [
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X | 4 | 4.6 | 4.4 | 1,334 | Female | Train | ... and so that's also one of the reasons why, to your general question of would a court be inclined to ever buy these arguments, the answer is ye- | [
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O | 4.8 | 3 | 4.6 | 1,334 | Female | Train | ... because there's a huge policy problem. when you start throwing around copyright too expansively, you start to undo the whole purpose of why the statute was there and including bits that are- | [
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N | 4 | 3.8 | 4.4 | 1,334 | Female | Train | ... and the statutory in the statutory record and in the statute itself, there's all sorts of limiting language. if you cruise past the limiting language too quickly- | [
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H | 4.2 | 5.4 | 3.4 | 1,614 | Female | Development | ... teaching copyright. feel free to use- | [
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N | 4.6 | 3.8 | 3.8 | 1,334 | Female | Train | ... and i'm open to, i don't think this is... i could be wrong, i could be missing something. there could be a great case on point i am not aware of, but i think- | [
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N | 3.8 | 3.6 | 4.4 | 1,334 | Female | Train | ... we tend to presume too much about... when we jump to fair use, we are presuming there's a copyright. and as the thing goes, fair use is the right to hire- | [
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N | 4.2 | 3.4 | 4.2 | 1,334 | Female | Train | ... for a lawyer. and that's a pretty expensive thing. and i think there's a lot of reason from a policy standpoint. and even as just armchair lawyers- | [
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N | 3.4 | 3.6 | 4.2 | 1,334 | Female | Train | ... and armchair analyst on these things to want to push back on the question of, "you claim it's yours, but you need to... that's something we shouldn't presume there- | [
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N | 4 | 3.4 | 4 | 1,334 | Female | Train | ... should be a burden of proof on the people who claim that they have a copyright and something to show that, especially when it's not something that's clearly articulated- | [
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N | 3.8 | 3.8 | 4.2 | 1,334 | Female | Train | ... in the statute, that they do in fact have one and this is not something we should just presume they claimed it, so therefore it's theirs. i think there's- | [
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N | 2.6 | 2.8 | 3.4 | 1,334 | Female | Train | ... a lot of harm that flows from it. | [
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