The Null Device

First came Joy Division Oven Gloves trainers and now Microsoft are releasing a Joy Division-branded edition of their Zune MP3 player. It will apparently come engraved with the Unknown Pleasures cover artwork, and possibly some tracks or albums locked to the unit in a DRM-encumbered Windows Media format. If you don't use Windows, you may still find it useful as a paperweight.

(via Engadget) ¶ commercialisation commodification drm joy division marketing microsoft [1 comment]

The Guardian reports that users of Windows Vista are experiencing severe audio performance problems, with choppy, glitchy audio from applications, which is annoying home users and driving professional musicians to old copies of XP or else the Apple store. The Graun article gives the reasons a cursory examination, essentially writing them off as growing pains of a shift to a new, improved driver model, though somehow managing to miss the elephant in the room, i.e., that at any time when there is the possibility that a Windows Vista machine might come into contact with copyrighted audio or video content, a draconian DRM regime kicks in, diverting a large proportion of the machine's resources into ensuring that you, the user, cannot do anything with the content that you're not explicitly permitted to.

¶ audio drm fail microsoft vista windows [4 comments]

As I type this, Steve Jobs is giving his keynote speech at MacWorld. From what I can tell, he has announced a few consumer gadgets (an improved AppleTV with movie rentals (presumably in the US only) and Flickr support, iPhone and iPod Touch firmware upgrades) and a wireless Mac backup appliance named "Time Capsule". Mind you, Engadget's feed doesn't seem to be coping with the load of millions of Maccies across the world constantly hitting reload to see whether any new tidbits have appeared, and Gizmodo's feed, while more reliable, seems a bit lighter on content. It'll be interesting to see what the "one more thing" is, whether it's a solid-state, Asus Eee-sized MacBook named "Air", or whether all the rumours were all off.

The presence of Hollywood heavyweights and mention of Blu-Ray is ominous; given Blu-Ray's strict licensing conditions, any Mac with Blu-Ray would have to have the same onerous internal DRM surveillance infrastructure as Windows Vista, with the same fragility, loss of performance and the actual user generally getting the rough end of the pineapple.

Update: Nothing about Blu-Ray; though the Another Thing was, in fact, the MacBook Air, a ridiculously thin 13" laptop.

¶ apple drm gadgets mac macworld steve jobs tech [no comments]

Music download/subscription site Napster is to abandon DRM, and will offer only MP3 downloads. Now why does that sound oddly familiar?

(via Engadget) ¶ copyfight déjà vu drm mp3 napster the recording industry [no comments]

If Bruce Schneier (writing in Beyond Fear) is right, Nokia have a rather subtle technique for ensuring that their original mobile phone batteries offer better performance and value than third-party replacements:

Nokia spends about a hundred times more money per phone on battery security than on communications security. The security system senses when a consumer uses a third-party battery and switches the phone into maximum power-consumption mode; the point is to ensure that consumers buy only Nokia batteries.

(via Architectures of Control) ¶ control corporatism drm evil nokia tech [no comments]

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) ¶ authoritarianism control copyfight design drm freedom marketing [no comments]

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.

(via /.) ¶ copyfight drm newspeak orwellian [no comments]

The next version of Adobe Flash will include attention rights management, which will enable publishers of Flash content to enforce the viewing of ads. (The version after next will use the viewer's webcam (which will be ubiquitous then) and eye-tracking software to make sure that sneaky ad-dodging freeloaders aren't looking away when an ad's playing.)

(via /.) ¶ arm drm [no comments]

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.

¶ apple business copyfight drm emi itunes riaa tech [1 comment]

The next big thing after Digital Rights Management could be Attention Rights Management, or technologies to ensure that users of advertising-supported services not only see the ads but pay attention to them. Already, Microsoft have applied for a patent on a technology for enforcing the payment of attention, using CAPTCHA-style tests and face-recognition cameras. Perhaps we can expect to see this as part of the DRM layer in the version of Windows that follows Vista, opening further opportunities for premium content consumption?

(via /.) ¶ arm drm dystopia microsoft tech [no comments]

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.

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.

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.

¶ apple copyfight drm tech the recording racket [no comments]

Britain's Green Party weigh in on the environmental costs of Windows Vista:

"There will be thousands of tonnes of dumped monitors, video cards and whole computers that are perfectly capable of running Vista - except for the fact they lack the paranoid lock down mechanisms Vista forces you to use. That's an offensive cost to the environment.

"Future archaeologists will be able to identify a 'Vista Upgrade Layer' when they go through our landfill sites."

(via /.) ¶ drm environment tech [2 comments]

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) ¶ bend over copyfight drm microsoft tech windows [1 comment]

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 /.) ¶ copyfight drm emi recording racket [no comments]

In their latest attempt to buy underground street cred for their Zune music player, Microsoft approached record-store hipster bible Pitchfork to set up a Zune section on their website where hipsters could use the player's proprietary technology to post reviews and content (all under the umbrella of Microsoft's DRM, of course), and hopefully serve as opinion leaders for making the DRM-crippled, ultra-proprietary piece of crapware synonymous with indie cool as much as the spammy wasteland of MySpace has become with cutting-edge unsigned bands. Pitchfork said no.

"Pitchfork's audience looks at that site like it is the Bible," said one high-level music industry executive. "They might not take too kindly to a Microsoft pop-up on the site or a relationship with such a big corporation."

But Schreiber shot down that rationale. "It wasn't anything political, and I don't want to sell Microsoft or the Zune short," Schreiber said. "But the idea just doesn't make a whole lot of sense for us."

(via xrrf) ¶ business culture drm indie marketing music [2 comments]

Today is the Day Against DRM, a global event planned to raise awareness of the threat which digital rights management and technologically-mandated copyright maximalism pose to culture. This page lists numerous protests and activities, from putting a badge on your website to sticker distribution runs, protests against things from severe paracopyright laws to craptacular DRM-"enhanced" products like the Microsoft Zune, and numerous meetups with other copyfighters. In France, they're turning themselves in to the police for decrypting DVDs, whereas in Coffs Harbour, Australia, they're having the Shackled Banana Award.

¶ activism copyfight drm [no comments]

A new application of genetic engineering: permakittens, or cats which never mature.

Everybody loves kittens. The only thing wrong with them is that they turn into cats. So we'll make genetically modified cats that never get big. I've bounced this off a couple of honest-to-goodness biologists who assured me it is 100% doable and even gave me some tips.

(via Make) ¶ biotech cats drm [no comments]

Having all but wiped out PalmOS and the PlayStation, Microsoft now targets its heavy artillery at Apple's iPod, and unveils its "iPod Killer", the Zune. Which has an iPod-like scroll wheel, a much bigger screen and more nifty-looking user interface, and WiFi-based media-sharing capabilities.

Oh, and it is also a laboratory for a new regime of total, absolute DRM control. Everything stored on a Zune will be DRM-locked, and while you can wirelessly "share" music with friends, you can only share it with each friend once, and the copy they get dies after 3 plays or 3 days. Since we know that only a negligible proportion of music is not owned by the RIAA, this applies to all music: which means that your own home recording is DRM-locked "just in case", as if it belonged to Big Copyright. Furthermore, if you copy that Creative Commons-licensed MP3 you just downloaded by that cool nerdcore rapper all your copyfighter friends are going on about to your Zune, it gets the shackles put on it, violating its Creative Commons license. Furthermore, apparently those PlaysForSure DRM-locked Windows Media files you bought from Napster or SpiralFrog won't work with your shiny new toy at all, because it's the wrong sort of DRM. Oh, and apparently that iPod-killingly nifty WiFi capability will run the battery down like nobody's business.

My prediction: the people who bought Zunes will feel they've been ripped off, and their players will gather dust in drawers. Meanwhile, the Zune will be quietly get dropped from advertising campaigns and catalogues sometime after the Christmas it's released on, shortly before being discontinued — to make room for Microsoft's next "iPod Killer".

¶ drm microsoft tech zune [no comments]

If you liked the digital rights management systems built into the DVD standard, wait until you see what Blu-Ray has in store. Under the Blu-Ray standard, not only will discs be protected against you, the potential thief/economic terrorist, piratically shifting content to your iPod for illicit on-the-road viewing, but the studios be able to remotely kill any player whose model key has been compromised; which means that if anyone cracks the scheme, Big Copyright pushes the big red button and all players of that model go up in virtual smoke. Not only that, but the players will refuse to play any format which hasn't been cryptographically signed by the studios, thus giving Big Copyright a monopoly over any content they can play. Forget about making your own Blu-Ray content; since a Blu-Ray player cannot reliably distinguish between your indie machinima masterpiece and an illicit copy of Spiderman 3 taped with a camcorder in a cinema, all user-created content is verboten, and Blu-Ray will merely be a trough for feeding corporate content to passive consumers.

(via TechDirt) ¶ architectures of control drm galambosianism [no comments]

It looks like the new, less-draconian copyright laws in Australia won't be all that much to be happy about. Under the laws, whilst ripping non-copy-protected CDs will be legal (though only to other formats), you will only be allowed to watch a recorded TV programme once, and then obliged to delete it. Taping a TV show for a mate will be a crime. Which means that Australia will once again be a nation of criminals, unless, of course, all personal video recorders sold in Australia are configured to enforce the view-only-once restriction. And before you go off to start your BitTorrent client, keep in mind that, as a concession to Big Copyright in return for allowing you to rip your CDs, your taxes are paying for police officers to monitor internet connections, having access to the surveillance infrastructure mandated after 9/11 and using state-of-the-art automated tools to detect, trace and prosecute file sharing, and that the burden of proof has been shifted to make it harder to evade prosecution. If you break the law, the law will break you.

¶ architectures of control australia drm galambosianism [no comments]

Bruce Schneier looks at the question of whom your computer's loyalties really belong to, with not only crackers and criminals competing for them but also rightsholders, software vendors and other companies, whose behind-the-scenes deals often mean that the software they sell you serves other masters:

Entertainment software: In October 2005, it emerged that Sony had distributed a rootkit with several music CDs -- the same kind of software that crackers use to own people's computers. This rootkit secretly installed itself when the music CD was played on a computer. Its purpose was to prevent people from doing things with the music that Sony didn't approve of: It was a DRM system. If the exact same piece of software had been installed secretly by a hacker, this would have been an illegal act. But Sony believed that it had legitimate reasons for wanting to own its customers' machines.

Antivirus: You might have expected your antivirus software to detect Sony's rootkit. After all, that's why you bought it. But initially, the security programs sold by Symantec and others did not detect it, because Sony had asked them not to. You might have thought that the software you bought was working for you, but you would have been wrong.

Internet services: Hotmail allows you to blacklist certain e-mail addresses, so that mail from them automatically goes into your spam trap. Have you ever tried blocking all that incessant marketing e-mail from Microsoft? You can't.

Application software: Internet Explorer users might have expected the program to incorporate easy-to-use cookie handling and pop-up blockers. After all, other browsers do, and users have found them useful in defending against Internet annoyances. But Microsoft isn't just selling software to you; it sells Internet advertising as well. It isn't in the company's best interest to offer users features that would adversely affect its business partners.

If left to grow, these external control systems will fundamentally change your relationship with your computer. They will make your computer much less useful by letting corporations limit what you can do with it. They will make your computer much less reliable because you will no longer have control of what is running on your machine, what it does, and how the various software components interact. At the extreme, they will transform your computer into a glorified boob tube.

You can fight back against this trend by only using software that respects your boundaries. Boycott companies that don't honestly serve their customers, that don't disclose their alliances, that treat users like marketing assets. Use open-source software -- software created and owned by users, with no hidden agendas, no secret alliances and no back-room marketing deals.

¶ adware architectures of control bruce schneier drm security [no comments]

In the US, the copyright industry is pushing for a law requiring anything capable of digitising video signals to respond to hidden embedded signals, originally designed for Voltron toys in the 1980s, and to refuse to digitise the content if it is marked as copyrighted.

Meanwhile, in Australia, the same technology is being embedded into plastic dolls of a cricketer, given away with bottles of Victoria Bitter; the signals they respond to will be embedded in broadcasts of the cricket:

Booney dolls went live on Friday the 13th of January with the first match of the VB One Day series, and internet blogs and discussion sites have been debating since then what makes them tick. Booney is activated an hour before each one-day match by an internal timer set to eastern standard time (a glitch for those viewing matches televised on delay in Perth). His first words are "get me a VB, the cricket is about to start", a cross-marketing plug for VB and the cricket that sets the stage for his main performance during the game.

Booney's timer chip is programmed to trigger random comments while the match is in progress, and to announce a codeword for that day's Boonanza competition, in which viewers can win cricket memorabilia prizes (separately, those buying slabs have the chance to win three "Boonanza Utes" and 90 flat-screen TVs).

The major innovation is that Booney's chip responds to four audible triggers broadcast by Nine during matches, to generate targeted comments about bowling, batting, general play and VB advertisements.

Booney's vocabulary ranges from the inane ("Got any nachos? I love nachos") to ones that boost the two key products — the cricket ("He's seeing them like watermelons") and the beer ("Got a beer yet?").

¶ australia copyfight cricket drm galambosianism marketing usa [no comments]

It looks like the next version of Microsoft's Windows OS will require all device drivers and kernel-level code to be digitally signed. This is ostensibly to prevent kernel-level rootkits from installing themselves, though has the bonus feature of adding a ring of steel to the black iron prison the RIAA/MPAA want to build around everything handling their precious intellectual property. Oh, and it will also restrict device-driver development on Windows to those with the resources to pony up for the Verizon digital signature.

(via bOING bOING) ¶ architectures of control drm microsoft windows [2 comments]

A chilling account of how the future may look if the intellectual-property industry gets its way and gets universal digital rights management on everything capable of handling their precious content:

Going to the movies is not what it used to be. Security at the studio-owned theatres is heavy, it's not a trip to be taken lightly. But if you want to see the film everyone is talking about without waiting a year for the home release, you have little choice. When you enter the lobby the first thing you see are long ranks of tiny, thumbprint activated lockers. This is where you must leave all of your electronics, your personal server and peripherals, even your watch, and you had better not be wearing smart spectacles or contacts. As you enter the security zone you're scanned for anything you may have forgotten. Cochlea and optical implants must be capable of responding with a coded RF identification signal to indicate their systems are secure and cannot record. People with older models, or models implanted abroad where such interrogation is illegal, are turned away. Perhaps they would like to see one of the older releases?

These days it seems like every time you turn on one of your gadgets you have to fight with its DRM to get it to do what you want. The home movie of your daughter opening her birthday presents is ruined by a patch of grey fog that shifts with every movement of the camera, tracking sluggishly to keep the TV screen in the background obscured. From the codes embedded in TV's update pattern your camera had decided the show was not licensed for this form of reproduction and blocked it. You wish you had thought to turn it off at the time, but squinting into the camera's tiny screen it hadn't looked so bad.

You just don't see physical media anymore. Too easily duplicated, their security too easily cracked, they've been dropped in favour of heavily encrypted and vendor-locked streaming media. You don't 'own' copies of any music or movies these days, instead your monthly subscriptions grant you only the right to temporarily buffer a few seconds of the distributor's authorised files while you watch or listen. Ultimately, that was the reason ad-hoc networking protocols and mobile PC technologies were pushed so hard, not because the customers wanted them but because the music and movie industries needed them to replace the vulnerable duplication method normally needed for such mobile media.

The only way writers can get their novels read, or musicians have their music heard, is by signing with a content provider who will claim the work as their own and charge people for access. It's nearly impossible for artists to make money anymore. The celebrities you read about, the millionaires who's contribution to the industry was actually rewarded, are a microscopic minority. But wasn't it always that way? There is nothing to stop an author from reading a work aloud in public, or a band from performing to a live audience, but few beyond that space will hear it. Hardly anyone has access to the technology that would let them record what they're hearing, at least not in any permanent form, and even fewer have the means to share it once they have. And god forbid the artists accidentally use a sentence or lyric already claimed by one of the corporations...

(via bOING bOING) ¶ copyfight drm galambosianism grim meathook future [no comments]

Freedom To Tinker has a tutorial on how to create "copy-protected" CDs, describing how the protection works:

Notice that the tracks are grouped into two sessions -- essentially two independent CDs burned onto the same disc. Unprotected CDs that combine audio and data files contain audio tracks in the first session and a single data track in the second. The only difference in the passive protected CD you just created is that the second session contains two tracks instead of one. ... This simple change makes the audio tracks invisible to most music player applications. It's not clear why this works, but the most likely explanation is that the behavior is a quirk in the way the Windows CD audio driver handles discs with multiple sessions.

For an added layer of protection, the extraneous track you added to the disc is only 31 frames long. (A frame is 1/75 of a second.) The CD standard requires that tracks be at least 150 frames long. This non-compliant track length will cause errors if you attempt to duplicate the disc with many CD drives and copying applications.

Despite these limitations, who wouldn't enjoy finding a homemade copy-protected CD in their stocking? They're a great way to spread holiday cheer while preventing anyone else from spreading it further.

(via bOING bOING) ¶ cds copy protection drm howto tech [no comments]

Never ones to allow reality to get in the way of the Great War on MP3 Terrorism, Sony BMG, the company behind the copy-protected CD rootkit, have announced that they will be adding copy protection to CDs in Australia. Perhaps someone in the Australian office missed the memo about DRM having been thoroughly discredited throughout Sony BMG by the recent rootkit fiasco. Though the company has announced that the CDs will magically prevent users from making copies without causing the problems that affected users of their CDs in the US, so that's alright then.

(via xrrf) ¶ cds copy protection drm sony bmg the recording industry [no comments]

Jon Lech Johansen, the Norwegian hacker who cracked DVD encryption, iTunes DRM and several other things, has accepted a job in California. How much do you want to bet that the FBI will be waiting for him at the airport?

¶ copyfight drm jon lech johansen [no comments]

Reports are coming in about a new Sony Vaio computer with, wait for it, a SACD burner. Which sounds good, except for the facts that the SACD format uses an unusual extremely-high-frequency 1-bit audio encoding system requiring considerable processing to convert to/from the PCM formats used everywhere else, that SACD recordable media seems to be rather rare, and that once you burn a SACD of music (presumably from your Sony Trusted Client ATRAC jukebox application, which does the PCM-to-bizarro-world conversion in the background for you), that disc will be useless for anything other than playback in a few SACD players, and the DRM inherent in the format at every level will prevent such discs from having the positively criminal levels of flexibility and tinkerability that have made recordable CDs (and DVDs) such a hit with users everywhere. Which makes it all seem rather pointless.

(via gizmodo) ¶ chindogu dead media drm sacd sony tech [no comments]

I have been thinking about the homebrew-console-games-vs.-manufacturer-DRM issue recently.

New consoles with new capabilities come out, often containing powerful CPUs and graphics chips, and hackers and hobbyists want to have a go at writing code for them and getting them to do things other than consume titles. The manufacturers, of course, design the units so as to prevent unauthorised code running on them, primarily to protect their business model. The video-game console business model typically involves selling the consoles cheaply (often at a loss) and collecting a cut of the price of each game sold. Of course, for this to work, console makers have to strictly control what code will run on their machines, and ensure that they get a cut of every item released for them.

It's a stiflingly regressive reality, though it appears to be stable and is unlikely to go away any time soon. The alternative model (open game machines, sold at above-cost price, with anyone able to develop code for them) has been tried and failed; witness the Tapwave Zodiac PalmOS-based game machine, for example. Customers are more likely to buy cheap consoles and more expensive games for them later, in instalments, than to buy a more expensive console with cheaper software. Of course, this makes game consoles somewhat stagnant platforms (compared to, say, PCs or handhelds), though the game market seems to be able to cope with this well enough for it to be the best current business model for that kind of business.

(This ignores mobile phone J2ME games, which anyone can write and run on any compliant mobile phone without the manufacturer's blessing. Mobile phones are heavily subsidised as well, though they are subsidised by phone companies who make the money back in network usage; besides which, J2ME is a fairly weak gaming platform (for one, the low-power CPUs used in mobile phones often mean sluggish response times for navigating the internal menus, let alone games). Perhaps this will change in future.)

Nonetheless, that does not change the fact that hardware such as the PSP and Nintendo DS is tantalisingly attractive to tinkerers. When it was discovered recently that certain early Japanese PSPs could be made to execute code off a Memory Stick, a hacker community cropped up, with games, demos, utilities and ports of old console emulators popping up like mushrooms after a rain; the more recent firmware has closed off this hole, and anyone running a recent game on an old PSP will find themselves upgraded against their will.

What if, instead of locking out the hacker culture, game companies worked with it, whilst still preserving their business model? Imagine, for example, a device sold by the console manufacturer which costs about the difference between the retail and cost price of a game machine and enables it to run homebrew code. It could be a disc, a hardware dongle, or even a special cable. Unlike homebrew hacks (such as the Nintendo DS passthrough cartridge), it requires no soldering and no fabrication of circuit boards, allowing those who don't have a fetish for that sort of thing to get involved. Perhaps it comes with development tools and documentation (the GNU toolchain would be a start), or even membership of a community web site, where users can share their code. From time to time, publishers could release compilations of the best such titles, perhaps in a magazine format, doing the necessary licensing to make the releases run on standard machines.

Sony once tried something like this with their PlayStation 1; they called it "Net Yaroze", and apparently it wasn't a stellar success. I wonder whether it could be done better.

Of course, if the console makers don't throw a bone to hobbyists, makers of third-party extensions (of various levels of legality) just might; and these would be less concerned with protecting the makers' profit margins.

¶ architectures of control business drm economics homebrew open-source videogames [5 comments]

A pretty funny Clerks/bOING bOING mashup, which has Dante and Randal going through the blog's various obsessions:

Jay: Some fucker from Gizmodo fucking e-mag [link] is outside, and he says digital rights management is the wave of the fucking future that will save fucking intellectual property rights, an' still present a marketable format for files that appeals to the consumer. [link]

Dante: WHAT?!?

Jay: Yeah, he's spouting some happy horseshit about how fucking crucial it is to a capitalist economy that the fucking hermaphrodites keep their fucking videos from being copywrite-violated when pirates hack into their IPs, and the only goddamn solution is a fucking eBook reader with clout, and also convenient DRM to really break open the fucking market, or some shit. [link][link]

¶ boing boing clerks drm humour [no comments]