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経済産業省は、工場を建設する目的で平成27年（1月～12月期）に1,000平方メートル以上の用地を取得した製造業、ガス業、熱供給業、電気業の事業者を対象に「工場立地動向調査」を実施し、結果を取りまとめました。

4月5日から9日まで、韓国のソウルにおいて、日中韓自由貿易協定(FTA)交渉の第10回交渉会合(局長/局次長会合)が開催されます。

経済産業省は、昨年10月に「活力あふれる『ビンテージ・ソサエティ』の実現に向けた取組に係る研究会」を立ち上げ、検討を重ね、今般報告書をとりまとめました。

交通事故の削減や渋滞緩和、環境負荷低減等の課題解決が期待される協調ITS（※）の実現普及に必要とされる地図データベースの整備や維持・更新のコスト削減に役立つ日本発の国際規格が制定されました。

平成28年3月4日に、東京電力からありました改正電気事業法に基づく会社分割に係る申請について、このたび申請のとおり認可しました。

We're taking part in Copyright Week, a series of actions and discussions supporting key principles that should guide copyright policy. Every day this week, various groups are taking on different elements of copyright law and policy, and addressing what's at stake, and what we need to do to make sure that copyright promotes creativity and innovation.

Copyright owners increasingly claim more draconian copyright law and policy will fight back against big tech companies. In reality, copyright gives the most powerful companies even more control over creators and competitors. Today’s copyright policy concentrates power among a handful of corporate gatekeepers—at everyone else’s expense. We need a system that supports grassroots innovation and emerging creators by lowering barriers to entry—ultimately offering all of us a wider variety of choices.

Pro-monopoly regulation through copyright won’t provide any meaningful economic support for vulnerable artists and creators. Because of the imbalance in bargaining power between creators and publishing gatekeepers, trying to help creators by giving them new rights under copyright law is like trying to help a bullied kid by giving them more lunch money for the bully to take.

Entertainment companies’ historical practices bear out this concern. For example, in the late-2000’s to mid-2010’s, music publishers and recording companies struck multimillion-dollar direct licensing deals with music streaming companies and video sharing platforms. Google reportedly paid more than $400 million to a single music label, and Spotify gave the major record labels a combined 18 percent ownership interest in its now- $100 billion company. Yet music labels and publishers frequently fail to share these payments with artists, and artists rarely benefit from these equity arrangements. There’s no reason to think that these same companies would treat their artists more fairly now.

AI Training

In the AI era, copyright may seem like a good way to prevent big tech from profiting from AI at individual creators’ expense—it’s not. In fact, the opposite is true. Developing a large language model requires developers to train the model on millions of works. Requiring developers to license enough AI training data to build a large language model would  limit competition to all but the largest corporations—those that either have their own trove of training data or can afford to strike a deal with one that does. This would result in all the usual harms of limited competition, like higher costs, worse service, and heightened security risks. New, beneficial AI tools that allow people to express themselves or access information.

For giant tech companies that can afford to pay, pricey licensing deals offer a way to lock in their dominant positions in the generative AI market by creating prohibitive barriers to entry.

Legacy gatekeepers have already used copyright to stifle access to information and the creation of new tools for understanding it. Consider, for example, Thomson Reuters v. Ross Intelligence, the first of many copyright lawsuits over the use of works train AI. ROSS Intelligence was a legal research startup that built an AI-based tool to compete with ubiquitous legal research platforms like Lexis and Thomson Reuters’ Westlaw. ROSS trained its tool using “West headnotes” that Thomson Reuters adds to the legal decisions it publishes, paraphrasing the individual legal conclusions (what lawyers call “holdings”) that the headnotes identified. The tool didn’t output any of the headnotes, but Thomson Reuters sued ROSS anyways. A federal appeals court is still considering the key copyright issues in the case—which EFF weighed in on last year. EFF hopes that the appeals court will the in this overbroad interpretation of copyright law. But in the meantime, the case has already forced the startup out of business, eliminating a would-be competitor that might have helped increase access to the law.

Requiring developers to license AI training materials benefits tech monopolists as well. For giant tech companies that can afford to pay, pricey licensing deals offer a way to lock in their dominant positions in the generative AI market by creating prohibitive barriers to entry. The cost of licensing enough works to train an LLM would be prohibitively expensive for most would-be competitors.

The DMCA’s “Anti-Circumvention” Provision

The Digital Millennium Copyright Act’s “anti-circumvention” provision is another case in point. Congress ostensibly passed the DMCA to discourage would-be infringers from defeating Digital Rights Management (DRM) and other access controls and copy restrictions on creative works.

Section 1201 has been used to block competition and innovation in everything from printer cartridges to garage door openers

In practice, it’s done little to deter infringement—after all, large-scale infringement already invites massive legal penalties. Instead, Section 1201 has been used to block competition and innovation in everything from printer cartridges to garage door openers, videogame console accessories, and computer maintenance services. It’s been used to threaten hobbyists who wanted to make their devices and games work better. And the problem only gets worse as software shows up in more and more places, from phones to cars to refrigerators to farm equipment. If that software is locked up behind DRM, interoperating with it so you can offer add-on services may require circumvention. As a result, manufacturers get complete control over their products, long after they are purchased, and can even shut down secondary markets (as Lexmark did for printer ink, and Microsoft tried to do for Xbox memory cards.)

Giving rights holders a veto on new competition and innovation hurts consumers. Instead, we need balanced copyright policy that rewards consumers without impeding competition.

We're taking part in Copyright Week, a series of actions and discussions supporting key principles that should guide copyright policy. Every day this week, various groups are taking on different elements of copyright law and policy, and addressing what's at stake, and what we need to do to make sure that copyright promotes creativity and innovation.

There’s a crisis of creativity in mainstream American culture. We have fewer and fewer studios and record labels and fewer and fewer platforms online that serve independent artists and creators.  

At its core, copyright is a monopoly right on creative output and expression. It’s intended to allow people who make things to make a living through those things, to incentivize creativity. To square the circle that is “exclusive control over expression” and “free speech,” we have fair use.

However, we aren’t just seeing artists having a time-limited ability to make money off of their creations. We are also seeing large corporations turn into megacorporations and consolidating huge stores of copyrights under one umbrella. When the monopoly right granted by copyright is compounded by the speed and scale of media company mergers, we end up with a crisis in creativity. 

People have been complaining about the lack of originality in Hollywood for a long time. What is interesting is that the response from the major studios has rarely, especially recently, to invest in original programming. Instead, they have increased their copyright holdings through mergers and acquisitions. In today’s consolidated media world, copyright is doing the opposite of its intended purpose: instead of encouraging creativity, it’s discouraging it. The drive to snap up media franchises (or “intellectual properties”) that can generate sequels, reboots, spinoffs, and series for years to come has crowded out truly original and fresh creativity in many sectors. And since copyright terms last so long, there isn’t even a ticking clock to force these corporations to seek out new original creations. 

In theory, the internet should provide a counterweight to this problem by lowering barriers to entry for independent creators. But as online platforms for creativity likewise shrink in number and grow in scale, they have closed ranks with the major studios.  

It’s a betrayal of the promise of the internet: that it should be a level playing field where you get to decide what you want to do, watch, listen to, read. And our government should be ashamed for letting it happen.  

　　沖縄県民の4人に1人が命を落とした沖縄戦から80年。「二度と沖縄を戦場にしない」と県民が改めて誓ったその年に、あろうことか、就任間もない高市早苗首相の「台湾有事は存立危機事態」という国会答弁や「非核三原則見直し」発言が、一挙に戦争を引き寄せてしまった。　１９７２年の日中共同声明をはじめ、日中間の基本文書で繰り返し確認されてきた過去の戦争への日本の反省と、「台湾問題は中国の内政問題である」という認識を覆した高市発言に対する中国側の反応は、極めて厳しい。　「台湾有事は日本有事..

Festoが提供する複数の製品には、製品の機能に関する技術的な情報の提供が不十分な問題が存在します。

Schneider Electricが提供するUni-Telwayドライバには、不適切な入力確認の脆弱性が存在します。

Schneider Electricが提供する複数の製品には、複数の脆弱性が存在します。

エフサステクノロジーズ株式会社が提供するServerView Agents for Windowsのインストーラーには、DLLを読み込む際の検索パスに問題があり、意図しないDLLを読み込んでしまう脆弱性が存在します。

Ruijie Networks Co., Ltd.が提供するAP180シリーズには、OSコマンドインジェクションの脆弱性が存在します。

複数のマイクロソフト製品には、脆弱性があります。マイクロソフトは、今回修正された一部の脆弱性を悪用する攻撃をすでに確認しているとのことです。この問題は、Microsoft Updateなどを用いて、更新プログラムを適用することで解決します。詳細は、開発者が提供する情報を参照してください。

We're taking part in Copyright Week, a series of actions and discussions supporting key principles that should guide copyright policy. Every day this week, various groups are taking on different elements of copyright law and policy, and addressing what's at stake, and what we need to do to make sure that copyright promotes creativity and innovation.

Imagine every post online came with a bounty of up to $150,000 paid to anyone who finds it violates opaque government rules—all out of the pocket of the platform. Smaller sites could be snuffed out, and big platforms would avoid crippling liability by aggressively blocking, taking down, and penalizing speech that even possibly violates these rules. In turn, users would self-censor, and opportunists would turn accusations into a profitable business.

This dystopia isn’t a fantasy, it’s close to how U.S. copyright’s broken statutory damages regime actually works.

Copyright includes "statutory damages,” which means letting a jury decide how big of a penalty the defendant will have to pay—anywhere from $200 to $150,000 per work—without the jury necessarily seeing any evidence of actual financial losses or illicit profits. In fact, the law gives judges and juries almost no guidelines on how to set damages. This is a huge problem for online speech.

One way or another, everyone builds on the speech of others when expressing themselves online: quoting posts, reposting memes, sharing images from the news. For some users, re-use is central to their online expression: parodists, journalists, researchers, and artists use others’ words, sounds, and images as part of making something new every day. Both these users and the online platforms they rely on risk unpredictable, potentially devastating penalties if a copyright holder objects to some re-use and a court disagrees with the user’s well-intentioned efforts.

On Copyright Week, we like to talk about ways to improve copyright law. One of the most important would be to fix U.S. copyright’s broken statutory damages regime. In other areas of civil law, the courts have limited jury-awarded punitive damages so that they can’t be far higher than the amount of harm caused. Extremely large jury awards for fraud, for example, have been found to offend the Constitution’s Due Process Clause. But somehow, that’s not the case in copyright—some courts have ruled that Congress can set damages that are potentially hundreds of times greater than actual harm.

Massive, unpredictable damages awards for copyright infringement, such as a $222,000 penalty for sharing 24 music tracks online, are the fuel that drives overzealous or downright abusive takedowns of creative material from online platforms. Capricious and error-prone copyright enforcement bots, like YouTube’s Content ID, were created in part to avoid the threat of massive statutory damages against the platform. Those same damages create an ever-present bias in favor of major rightsholders and against innocent users in the platforms’ enforcement decisions. And they stop platforms from addressing the serious problems of careless and downright abusive copyright takedowns.

By turning litigation into a game of financial Russian roulette, statutory damages also discourage artistic and technological experimentation at the boundaries of fair use. None but the largest corporations can risk ruinous damages if a well-intentioned fair use crosses the fuzzy line into infringement.

“But wait”, you might say, “don’t legal protections like fair use and the safe harbors of the Digital Millennium Copyright Act protect users and platforms?” They do—but the threat of statutory damages makes that protection brittle. Fair use allows for many important re-uses of copyrighted works without permission. But fair use is heavily dependent on circumstances and can sometimes be difficult to predict when copyright is applied to new uses. Even well-intentioned and well-resourced users avoid experimenting at the boundaries of fair use when the cost of a court disagreeing is so high and unpredictable.

Many reforms are possible. Congress could limit statutory damages to a multiple of actual harm. That would bring U.S. copyright in line with other countries, and with other civil laws like patent and antitrust. Congress could also make statutory damages unavailable in cases where the defendant has a good-faith claim of fair use, which would encourage creative experimentation. Fixing fair use would make many of the other problems in copyright law more easily solvable, and create a fairer system for creators and users alike.

電波監理審議会　有効利用評価部会(第55回)会議資料

第45回政策評価審議会（第44回政策評価制度部会と合同）（令和7年12月23日開催）資料・議事要旨