Posts matching tags 'copyfight'
2008/5/1
Recently, Australia's recording industry body released a video, made for schools, in which various popular musicians (from industry stalwarts to the hottest commercial-indie bands today) talking about how file sharing is hurting them. Now one of the particupants—Lindsay McDougall, the guitarist from JJJ alternative band Frenzal Rhomb—has issued a statement that he was misled into appearing in the video, and doesn't actually disapprove of file sharing:
He said he was told the 10-minute film, which is being distributed for free to all high schools in Australia, was about trying to survive as an Australian musician and no one mentioned the video would be used as part of an anti-piracy campaign.
McDougall said: "I have never come out against internet piracy and illegal downloading and I wouldn't do that - I would never put my name to something that is against downloading and is against piracy and stuff, it's something that I believe is a personal thing from artist to artist."
"I would never be part of this big record industry funded campaign to crush illegal downloads, I'm not like [Metallica drummer] Lars Ulrich. I think it's bullshit, I think it's record companies crying poor and I don't agree with it."
"I'm from a punk rock band, it's all about getting your music out any way you can - you don't make money from the record, the record companies make the money from the record. If they can't make money these days because they haven't come onside with the way the world is going, it's their own problem."Other artists were unable to be contacted for comment.
2008/3/23
The practice of street photography, taking spontaneous photographs in public places, is under threat, as photographers find themselves lumped in with the shadowy paedoterrorist hordes who are out to kill us all and molest our children:
In the past year, the photography blogs have buzzed with tales of harassment, even violence. There's the war photographer who dodged bullets abroad only to be beaten up in his own South London backyard by a paranoid parent who (wrongly) thought his child was being photographed. There's the amateur photographer punched prostrate in the London Tube after refusing to give up his film to a stranger; the case of the man in Hull, swooped on by police after taking photographs in a shopping centre. “Any person who appears to be taking photos in a covert manner should expect to be stopped and spoken to by police ...” ran the Humberside force's statement.
Sophie Howarth is a curator specialising in street photography. She says she's noticed - despite the difficulties - a boom for the art, enabled by technology, and with London at the centre. “In France, traditionally one of the great centres of street photography, the law now says you own the rights to your own image, so street photography's become a dead art. In London there's a growing community of photographers, using digi- tal technology, not just cameras, but blogs, too, to document the city and give each other instant feedback.”When did the law in France change? Was that one of Sarkozy's neo-Galambosian intellectual-property-maximalist reforms, like pushing for EU-wide copyright term extension?
“I'm not going to belittle the issue of terrorism, but this is paranoia. And unfortunately, since Lady Di and now this link with terrorists, photography's seen by many people as something that's a little ... cheap.”
(via meimaimaggio) ¶ [no comments]
2008/3/3
They were a 1990s alternative act who hit the chart with an anthem of alienation and disaffection, before going weird and experimental, telling their record label to get lost and releasing a new record online, free for the taking. No, not Radiohead, Nine Inch Nails. Their new album Ghosts I-IV is out online, with the first 9 tracks available for free in MP3 form and the entire thing, in MP3 or lossless FLAC, costing a mere US$5. Trent Reznor even uploaded it to The Pirate Bay for you, which is probably just as well as NIN's official server's not holding up very well. There will also be a series of deluxe versions, including heavyweight vinyl, signed prints of artwork and Blu-Ray discs full of high-resolution separate tracks for making your own remix (which you're free to do as you please with, given that it's under the Creative Commons).
Musically, don't expect the same old Hot Topic teen-angst-noise; if anything, freed from his contract to "alternative" sausage factory Interscope, Trent Reznor has gone towards a more introspective ambient minimalism, with the odd touch of electric guitar or choppy breakbeat here and there, like a sort of black-clad Scott Walker. It's a bit repetitive in places, and parts (such as the opening track) carry their 1990s alternative legacy in the form of a sort of jarring dissonance in the harmonies that is of that generation. (Or at least this is the case with Ghosts I; I haven't heard the rest yet.) Also, the booklet is lovely; a collection of artful Lomo photographs of empty landscapes and fields of light and shade.
Last year, the Gowers report, commissioned by the British government, rejected the recording industry's call to extend sound recording copyrights in Europe. Recently, however, the recording industry scored a coup, in putting a copyright-extension directive before the EU. Here is a petition against it, organised by the EFF and Open Rights Group:
Copyright is a bargain. In exchange for their investment in creating and distributing sound recordings to the public, copyright holders are granted a limited monopoly during which are allowed to control the use of those recordings. This includes the right to pursue anyone who uses their recordings without permission. But when this time is up, these works join Goethe, Hugo and Shakespeare in the proper place for all human culture – the public domain. In practice, because of repeated term extensions and the relatively short time in which sound recording techniques have been available, there are no public domain sound recordings.The idea of copyright as a bargain, a deliberately limited monopoly, is one which has largely been erased from the public consciousness, through the introduction of a new concept a few decades ago—the concept of "intellectual property". When one thinks of ideas as property, copyright seems not as an unnatural, and mercifully limited, restriction on the natural flow of culture, but as an injustice in the opposite direction—the only form of property which expires in a few decades—and the idea of perpetual copyright, towards which we have been moving with copyright-term-extension bills and harmonisation treaties every few decades, seems, for a moment, like a much-needed correction of an unjust oversight, rather than the greedy, neo-feudal abomination it is. Whoever came up with the term "intellectual property" is a powerful sorcerer indeed.
(via Boing Boing) ¶ [no comments]
2008/2/28
Don't want your ideas and creative work to be locked up for 90 years after you die? You could always put one of these stickers on your driver's licence (as is, apparently, the done thing for organ donations in the US).
Not sure how legally binding they would be (the most likely answer is "not very"). If you really want your scrapbooks of poetry and Garageband recordings to go to the public domain, you'd probably be better off writing a will. Or you could consider releasing them under a Creative Commons licence while you're still alive.
(via Gizmodo) ¶ [no comments]
2008/2/5
Copyfighter turned anti-corruption campaigner Lawrence Lessig on why he backs Barack Obama ahead of Hillary Clinton; and here is a transcript. (Summary: it's not so much due to policy differences, of which there are few, as questions of character and integrity.)
(via MeFi) ¶ [no comments]
2008/1/8
Music download/subscription site Napster is to abandon DRM, and will offer only MP3 downloads. Now why does that sound oddly familiar?
(via Engadget) ¶ [no comments]
2007/9/17
Apple's newest iPods have come with an unwelcome surprise: a cryptographic checksum in the database file, preventing users from using third-party software to load music onto them, effectively locking out anyone wanting to use, say, Linux for filling their iPod. Now it appears that, in the space of a few days, the checksum has been cracked, allowing anyone to get the encoding key from just their iPod serial number. It appears that someone at Apple hadn't heard of public-key cryptography.
I wonder what will happen now; will Apple play cat-and-mouse with the hackers, Sony PSP-style, by releasing a steady stream of iPod/iTunes revisions with tighter encryption schemes? Will they prosecute those hosting the hack under the DMCA and similar laws elsewhere? In any case, if you're not willing and able to run iTunes, you may want to avoid buying an iPod.
(via Boing Boing, /.) ¶ [no comments]
2007/9/13
A new report from the US Computer and Communications Industry Association has found that fair use exemptions to copyright add more than three times as much value to the US economy as copyright industries. Fair use exemptions account for more than US$4.5 trillion of revenue to the US, whereas the copyright industries brought in US$1.3 trillion. Which sounds like an argument against new neo-Galambosian erosions of fair use and extensions and expansions of intellectual-property rights of the sort that Big Copyright has been pushing for.
(via /.) ¶ [no comments]
2007/8/28
The Boston Globe has an article about the
Yet steampunk has also evolved as an aesthetic unto itself, drawing on a number of diverse references. Goth, which has its own anachronistic sensibility, borrowing heavily from Victorian styles such as corsets, offers an early glimpse of steampunk. Punk lent elements of leather and metal, as well as the DIY attitude. The film "Brazil" is of particular inspiration, where technology looks like junk, and the rebel fights against a technocratic authority. But one of the most important influences has to be Japanese animation, or anime, which is replete with images of mechanical robots, neo-Zeppelin starships, goggle-wearing hackers, and the melding of the techno with the organic.
Objects like the Infumationizer show that steampunk is also simply a love of the fantastic. Steampunk hackers are often science fiction geeks at heart. There's a love of things that don't exist, except in some alternate world, like the "Peltier-Seebeck Recycled Energy Generating Device" and the "Aetheric Flux Agitator Mk2." One of Datamancer's other inventions is a modified enclosure for his desktop computer, which he calls "The Nagy Magical-Movable-Type Pixello-Dynamotronic Computational Engine." He used the cabinet of 1920 tube radio, a turn of the century Underwood typewriter, and various parts and pieces to create a functional, completely anachronistic, impossibly real computer.
In all of the new steampunk design there is a strong nostalgia for a time when technology was mysterious and yet had a real mark of the craftsperson burnished into it, like the "Nagy" of Datamancer's "computational engine." In the Victorian era and at the turn of the century, people watched in astonishment as technology changed their lives, but they were also in awe of the inventors and scientists, some of whom became celebrities in their own right, like Edison and Tesla.The article mentions that steampunk is partly a rejection of the disposable, opaquely unmodifiable nature of consumer electronics today, and a sort of technological libertarianism, akin to the copyfighters who oppose DRM and the hackers who crack the locks on gadgets from XBoxes to iPhones because the locks' presence offends them.
(via Make) ¶ [no comments]
2007/8/17
A new front has opened in the War On Intellectual Property Theft: a campaign to block users of the open-source web browser Firefox from websites, because Firefox enables users to block ads ("steal content"):
While blanket ad blocking in general is still theft, the real problem is Ad Block Plus's unwillingness to allow individual site owners the freedom to block people using their plug-in. Blocking FireFox is the only alternative. Demographics have shown that not only are FireFox users a somewhat small percentage of the internet, they actually are even smaller in terms of online spending, therefore blocking FireFox seems to have only minimal financial drawbacks, whereas ending resource theft has tremendous financial rewards for honest, hard-working website owners and developers..
Since the makers of Ad Block Plus as well as the filter subscriptions that accompany it refuse to allow website owners control over their own intellectual property, and since FireFox actively endorses Ad Block Plus, the sites linking to this page are now blocking FireFox until the resource theft is stopped.The site goes on to advise pissed-off Firefox users to switch to Internet Explorer. (Had they some advice to those browsing on Linux, it'd probably look like "get a Windows PC, you bum".)
It is not clear how many sites are participating in the anti-Firefox campaign.
(via /.) ¶ [5 comments]
2007/8/9
Jens Lekman talks to Pitchfork about his upcoming album, Night Falls over Kortedala, his travel plans, and the travails of sample clearance:
He's thinking about setting up shop in Melbourne, Australia, as part of "a huge exploration next year in the Southern Hemisphere. We're actually thinking about going to Antarctica, for a while... I've been saving for years to go there."
Jens likened his situation to that of French author/soldier Xavier de Maistre, who penned the 1794 essay Voyage Autour de Ma Chambre (Journey Around My Room). "I haven't read it myself but I think it's amazing. It's about a young man who's imprisoned in his own home, and he wrote this parody of travel stories-- you know, back in the 18th century when everyone wrote about their journeys to China and the East and West. So he wrote about traveling around in his living room. I think it's amazing. And then he wrote a sequel, A Nocturnal Journey Around My Room (Expedition nocturne de ma chambre, published in 1825 --ed.]. It was like the exact same thing except it was at night.
Frequent readers of Jens' blog may have encountered a somewhat embittered recent entry regarding securing the rights for the samples on the new record-- in which Jens expressed disappointment toward his U.S. label-- followed a few days later by a reconciliation. "I can't really talk about it that much," Jens explained, "but let's just say it worked out. I was able to replace one sample that was extremely expensive; it was like the one bad guy. And I had a guy who played with Steely Dan play it, and it came out exactly the way it sounded on the sample."
(via Bowlie) ¶ [no comments]
2007/7/25
The British government has rejected the recording industry's push to extend copyright terms on music recordings from 50 years to 90. The European parliament previously rejected the same proposal, and the recording industry lobbied Britain, historically one of the global powerbases of Big Copyright and one of the most Atlanticist and pro-corporate governments in the EU. For a while it looked as if the government was going to buy the IFPI/BPI's argument and dismiss the Gowers Report (which argued that copyright term extension was a bad idea), but common sense prevailed and they stuck to their guns.
The Reuters article linked above, however, seems to almost have been written from an IFPI press release; it quotes the recording industry's spokesreptiles at great length, and perpetuates the misconception that recording artists who were around 50 years ago stand to lose huge parts of their incomes and be left penniless in their old age, by mentioning the plights of the likes of Cliff Richard, whose first hit, recorded in 1958, is likely to fall to the ignominy of being in the public domain — whilst neglecting the fact that the vast majority of Richard's catalogue will remain in copyright, quite probably for the rest of his life. Meanwhile, the arguments which swayed Gowers and the British government, such as economic analyses on why copyright extension does more harm than good, are not even mentioned, given the impression that either the honourable MPs were careless, lazy, corrupt, or else under the influence of mind-control rays fired from Cory Doctorow's hot-air balloon, and thus a grievious injustice has been done.
(via Boing Boing) ¶ [no comments]
2007/7/9
Legal fictions are a powerful thing; firstly unlicensed reproduction of copyrighted materials was equated with violent robbery at sea by being termed "piracy", and soon, at least in Sweden, it may be categorised as a form of paedophilia. Well, it had to be either that or terrorism...
(via /.) ¶ [no comments]
2007/6/21
Lawrence Lessig, one of the leading figures of the fight against intellectual-property absolutism and the expansion of copyright laws into a new system of corporate feudalism, is moving on from that fight to a bigger one (which encompasses similar issues): the fight against a pervasive corruption of our legislative processes, to the point where corporate money buys bad laws:
Think, for example, about term extension. From a public policy perspective, the question of extending existing copyright terms is, as Milton Friedman put it, a "no brainer." As the Gowers Commission concluded in Britain, a government should never extend an existing copyright term. No public regarding justification could justify the extraordinary deadweight loss that such extensions impose.
Yet governments continue to push ahead with this idiot idea -- both Britain and Japan for example are considering extending existing terms. Why?
The answer is a kind of corruption of the political process. Or better, a "corruption" of the political process. I don't mean corruption in the simple sense of bribery. I mean "corruption" in the sense that the system is so queered by the influence of money that it can't even get an issue as simple and clear as term extension right. Politicians are starved for the resources concentrated interests can provide. In the US, listening to money is the only way to secure reelection. And so an economy of influence bends public policy away from sense, always to dollars.
2007/5/17
Blog of the day: Architectures Of Control. Written by an industrial designer, it looks at how products or systems are designed to control the behaviour of their users, explicitly or implicitly. It has posts covering everything from public seating designed to discourage sleeping or lingering to the way that packaged food portion sizes subliminally influence how much people eat to interactive museum exhibits subtly forcing people to learn things embedded in the context of a game, to deliberately incompatible light sockets which require compact fluorescent bulbs, and of course, the DRM/"trusted computing" debate. For some reason or other, this blog is blocked in China.
(via Boing Boing) ¶ [no comments]
2007/5/11
A US broadcasting executive has called for the industry to ditch digital rights management (DRM), because of the bad reputation it has with consumers. From now on, instead of DRM, the industry should use Digital Consumer Enablement (DCE), which does much the same thing, only sounds nicer. You see, instead of restricting what you, the potentially thieving consumer, can do, it enables you to enjoy the content in ways that your benevolent corporate elder siblings want you to:
Digital Consumer Enablement, would more accurately describe technology that allows consumers "to use content in ways they haven't before," such as enjoying TV shows and movies on portable video players like iPods. "I don't want to use the term DRM any longer," said Zitter, who added that content-protection technology could enable various new applications for cable operators.Though as someone pointed out in the comments, every time Hollywood come up with a freshly sanitised name, someone will come up with a more honest acronym for it, like, for example, Digital Captivity Enforcement.
(via /.) ¶ [no comments]
2007/4/5
For those reading this in (the vicinity of) London: next Wednesday evening, the Open Rights Group is having a party at Bar Kick in Shoreditch, from 6 to 11pm. There will be "free culture" music and visuals, guest speakers and a raffle, with prizes including signed copies of books by copyfight luminaries like Lawrence Lessig and Bruce Schneier, a PC keyboard signed by Neil Gaiman, and the chance to be written into a Cory Doctorow novel. Your Humble Blogger will sort of be DJing there (there aren't DJs as the place doesn't have a live music licence, but I will be preparing a mix CD of freely distributable music and such that will be queued up on the PA). Attendance is free, if you bring one new ORG supporter.
2007/4/2
Major recording label EMI has confirmed that it will sell its entire music catalogue in high-quality, DRM-free formats. In a joint announcement in London with Apple's Steve Jobs, EMI's CEO announced that the "premium" versions will be available on iTunes from May for 99p a track, with upgrades from previous downloads available for 15p; standard-quality, DRM-encumbered tracks will remain available for 79p. It is anticipated that the DRM-free downloads will become available on other services (presumably in MP3 or FLAC formats). Doing this, EMI becomes the first major label to join a slew of indie labels selling MP3s through services like EMusic.
Apple boss Steve Jobs shared the platform with Mr Nicoli and said: "This is the next big step forward in the digital music revolution - the movement to completely interoperable DRM-free music."
He added: "The right thing to do is to tear down walls that precluded interoperability by going DRM-free and that starts here today."
Other record companies would soon follow EMI's lead, predicted Mr Jobs.Reports of Edgar Bronfman Jr. throwing a chair through the Warner Music boardroom window have not been confirmed.
2007/3/26
There is now a Richard Stallman as Che Guevara T-shirt, perfect for wearing to copyfighter meetups, showing your free-software/Creative Commonist sympathies and/or taking the piss out of over-earnest Penguinistas.
A web-based sports news site is bypassing Rupert Murdoch's Sky TV's exclusive rights to broadcast the Cricket World Cup by displaying a computer-animated reconstruction of the match, from public domain information gathered by employees. The process resembles a modern version of the studio reconstructions of cricket matches on radio broadcasts before television (where announcers would "call" the match from descriptions, tapping microphones with pencils to create the sound effects), only this time, it's legal rather than technological limitations that are the motivation. And they look likely to get away with it:
Cricinfo, which is owned by Wisden, the company behind the Wisden Cricketing Almanac, uses data gathered by employees to simulate the action. The involvement of humans in the process is crucial, says Kim Walker, Head of Intellectual Property with Pinsent Masons, the law firm behind OUT-LAW.COM.
Wisden said that it had carefully consulted lawyers before going ahead with the simulations in this week's World Cup. "Cricinfo 3D is based on public domain information gathered by our scorers who record a number of factors such as where the ball pitched, the type of shot played and where the ball goes in the field," said a Wisden statement. "That data is then fed as an xml to anyone who has Cricinfo 3D running on their desktops and the software generates an animation based on this data."
(via Boing Boing) ¶ [2 comments]
2007/3/23
Another triumph for the EFF: this time, they have successfully had Clear Channel/Live Nation's patent on instant CDs of live performances invalidated, allowing independent artists and concert promoters to sell CDs of their gigs without doing this on Live Nation's terms.
(via /.) ¶ [5 comments]
2007/2/7
In a dramatic about-turn, Steve Jobs denounces digital rights management (DRM), claiming that Apple only use DRM on their iTunes downloads because labels demand it, and urging everyone to join hands and imagine a DRM-free future:
Imagine a world where every online store sells DRM-free music encoded in open licensable formats. In such a world, any player can play music purchased from any store, and any store can sell music which is playable on all players. this is clearly the best alternative for consumers, and Apple would embrace it in a heartbeat. If the big four music companies would license apple their music without the requirement that it be protected with a DRM, we would switch to selling only DRM-free music on our itunes store. every iPod ever made will play this DRM-free music.which probably has a lot to do with the fact that, thanks to the various Cory Doctorows of this world, DRM is definitely not cool, and Apple is all about being (seen to be) cool. Though some critics are skeptical about how deep the conversion really is:
Mr Johansen pointed to a New York Times report that showed that tracks wrapped in DRM from iTunes are also available through other download services without copy protection. The implication being that not all record labels insist on DRM, but Apple uses it anyway.Also, it is a matter of public record that iTunes has refused to sell DRM-free music from copyright holders who didn't want DRM, instead insisting that DRM is a mandatory part of the iTunes infrastructure. I wonder whether they'll put their money where their mouth is and change this policy.
Another thing to watch is Apple's iPhone, whose system is locked down like Fort Knox (software running on it will need to be cryptographically signed by Apple), a state of affairs which has nothing to do with the RIAA holding a gun to Apple's head and seems to have everything to do with Apple wanting to maintain total control.
2007/1/14
Leo Stoller, self-styled "intellectual property entrepreneur", revolutionised the monetisation of trademarks a few years ago. He did this by registering a large number of words, including "Stealth", "Sentra", and (perhaps appropriately) "Chutzpah", as trademarks and then aggressively going after anyone in any field using them, often extracting substantial settlements. Unfortunately for him, the bonanza came to an end when defendants began fighting back and losing lawsuits, and judges started invalidating his patents. Even worse for him, when he tried to declare bankruptcy, a judge ordered the liquidation of all his assets, and found that his personal and corporate assets were one and the same. Couldn't happen to a nicer guy...
(via Boing Boing) ¶ [no comments]
2007/1/13
The Principality of Sealand, a micronation situated on a platform off the mouth of the Thames, has recently suffered a number of problems, including a catastrophic fire, and is apparently facing bankruptcy. And so, Swedish anti-copyright group and file-sharing site The Pirate Bay has stepped in with a plan to buy Sealand, presumably turning it into a copyright-free hub of free downloads for all. That is, up until the RAF put a bomb through it once and for all. (After all, it could be seen as an act of war against the countries whose economies depend on intellectual-property licensing fees, much as currency counterfeiting is considered an act of war.)
(via Boing Boing) ¶ [1 comment]
2006/12/27
When Windows Vista comes out, it won't just have a Mac-killingly cool user interface; it will also include the most total intellectual-property protection regime ever developed, designed to keep your thieving fingers off Hollywood's precious content. Peter Gutmann has an analysis of the costs of this regime, and it's alarming: it looks like we're all going to be footing the bill (in terms of increased costs, decreased performance, and reduced reliability and interoperability) of Hollywood and the RIAA's demands (and Microsoft's ambitions for control of the content-delivery system).
Beyond the obvious playback-quality implications of deliberately degraded output, this measure can have serious repercussions in applications where high-quality reproduction of content is vital. For example the field of medical imaging either bans outright or strongly frowns on any form of lossy compression because artifacts introduced by the compression process can cause mis-diagnoses and in extreme cases even become life-threatening. Consider a medical IT worker who's using a medical imaging PC while listening to audio/video played back by the computer (the CDROM drives installed in workplace PCs inevitably spend most of their working lives playing music or MP3 CDs to drown out workplace noise). If there's any premium content present in there, the image will be subtly altered by Vista's content protection, potentially creating exactly the life-threatening situation that the medical industry has worked so hard to avoid. The scary thing is that there's no easy way around this - Vista will silently modify displayed content under certain (almost impossible-to-predict in advance) situations discernable only to Vista's built-in content-protection subsystem [Note E].
Once a weakness is found in a particular driver or device, that driver will have its signature revoked by Microsoft, which means that it will cease to function (details on this are a bit vague here, presumably some minimum functionality like generic 640x480 VGA support will still be available in order for the system to boot). This means that a report of a compromise of a particular driver or device will cause all support for that device worldwide to be turned off until a fix can be found. Again, details are sketchy, but if it's a device problem then presumably the device turns into a paperweight once it's revoked. If it's an older device for which the vendor isn't interested in rewriting their drivers (and in the fast-moving hardware market most devices enter "legacy" status within a year of two of their replacement models becoming available), all devices of that type worldwide become permanently unusable.
Vista's content protection requires that devices (hardware and software drivers) set so-called "tilt bits" if they detect anything unusual. For example if there are unusual voltage fluctuations, maybe some jitter on bus signals, a slightly funny return code from a function call, a device register that doesn't contain quite the value that was expected, or anything similar, a tilt bit gets set. Such occurrences aren't too uncommon in a typical computer (for example starting up or plugging in a bus-powered device may cause a small glitch in power supply voltages, or drivers may not quite manage device state as precisely as they think). Previously this was no problem - the system was designed with a bit of resilience, and things will function as normal... With the introduction of tilt bits, all of this designed-in resilience is gone. Every little (normally unnoticeable) glitch is suddenly surfaced because it could be a sign of a hack attack. The effect that this will have on system reliability should require no further explanation.
In order to prevent active attacks, device drivers are required to poll the underlying hardware every 30ms to ensure that everything appears kosher. This means that even with nothing else happening in the system, a mass of assorted drivers has to wake up thirty times a second just to ensure that... nothing continues to happen. In addition to this polling, further device-specific polling is also done, for example Vista polls video devices on each video frame displayed in order to check that all of the grenade pins (tilt bits) are still as they should be [Note H].
As part of the bus-protection scheme, devices are required to implement AES-128 encryption in order to receive content from Vista. This has to be done via a hardware decryption engine on the graphics chip, which would typically be implemented by throwing away a rendering pipeline or two to make room for the AES engine.
I see some impressive class-action suits to follow if this revocation mechanism is ever applied. Perhaps Microsoft or the content providers will buy everyone who owns a device that inadvertently leaks content and is then disabled by the revocation process replacement hardware for their system. Some contributors have commented that they can't see the revocation system ever being used because the consumer backlash would be too enormous, but then the legal backlash from not going ahead could be equally extreme. For anyone who's read "Guns of August", the situation seems a bit like pre-WWI Europe with people sitting on step 1 of enormously complex battle plans that can't be backed out of once triggered, no matter how obvious it is that going ahead with them is a bad idea. Driver revocation is a lose/lose situation for Microsoft, they're in for some serious pain whether they do or they don't. Their lawyers must have been asleep when they let themselves get painted into this particular corner - the first time a revocation takes out a hospital, foreign government department, air traffic control system, or whatever, they've guaranteed themselves first-person involvement in court proceedings for the rest of their natural lives.
(via Schneier) ¶ [1 comment]
2006/12/10
Britain's professional recording artists are so angry about their copyrights expiring after 50 years that some even rose from the dead to sign a recording-industry petition for copyright term extension:
If you read the list, you'll see that at least some of these artists are apparently dead (e.g. Lonnie Donegan, died 4th November 2002; Freddie Garrity, died 20th May 2006). I take it the ability of these dead authors to sign a petition asking for their copyright terms to be extended can only mean that even after death, term extension continues to inspire.
(via Boing Boing) ¶ [no comments]
2006/12/8
In the wake of the consumer backlash against DRM, major label EMI (you know, the ones who made all their CDs "Copy Controlled" a while ago) have started tentatively experimenting with selling unencrypted MP3s. Will wonders never cease?
Don't get too excited yet, though; the only things EMI are selling as easily-copiable MP3s are adult-contemporary and Christian rock, because nobody'd want to pirate those the audiences for those would be less inclined to copy them. And even so, there was apparently tremendous opposition to this move within the label's management. So don't expect to be able to buy official MP3s of Hot Chip or I'm From Barcelona just yet.
(via /.) ¶ [no comments]
2006/12/6
Alan McGee, founder of the Creation and Poptones labels, on why music copyright terms should not be extended:
One argument the industry used is that the revenue generated from back catalogues is what underpins record companies' ability to invest in new artists, so to close of this endless stream of cash would impoverish the quality of new music. This doesn't seem such an unreasonable point until you reflect that they have had fifty years to rake in billions from The Beatles. Also, the notion of the back catalogue acting as crutch to fund new talent seems to imply that more contemporary acts have brought home peanuts. This would be very sad indeed if it were anywhere near the truth.
In the case of early blues and country, the lapse of copyright has had numerous positive consequences. The songs being highly accessible and the constant repackaging and proliferation of different compilations has helped to keep interest alive and, if anything, spread the influence of some of the most important music of all time throughout the generation
More importantly, though: Why should the legacy of The Beatles be treated as some sacred cash cow and held at arm's length from those that gave and continue to give The Beatles their success - the fans? Without people's initial support and continuing identification with the music, The Beatles would be a long forgotten name.
2006/12/5
The Australian government has backed down slightly on its draconian copyright laws. It still is considerably more severe and pro-Big Copyright than the existing laws, though at least now consumers don't face the possibility of on-the-spot fines for possession of iPods or general-purpose computers, and search engines don't need to obtain permission in advance for indexing web pages. Share a file with a friend, however, and the law will, if you're unlucky, break you.
"While Labor still has some reservations about the Government's overall approach to copyright, the bill that passed the Senate today is a million times better than the one Mr Ruddock pushed through the house," she said in a statement.
"The Free Trade Agreement with the United States means the worst aspects of the American Copyright system has been imported into Australian law but with none of the consumer safeguards such as open ended fair use rights that exist in the United States," said Greens senator Kerry Nettle.
(via Boing Boing) ¶ [no comments]