The RIAA battlelines
I took a cheap shot at the RIAA in my last post, and have often wondered whether DRM was really the solve (or perhaps I should say "fate") for content distribution issues.
I think the jury's still out in a big way on this topic.
Either DRM technologies will become THE way that all digital content is licensed (even if that license is simply "unrestricted"), or it'll go the way of the Dodo. The middle ground will get squeezed out on this in the next 4 years.
Obviously, publishers (distribution middle men) and to a lesser (at least less vocal), but very real extent, creators want to ensure they're properly credited for their work, both financially and artistically. On the converse side, users want access to stuff as broadly and cheaply as possible - but most importantly, as conveniently as possible, with as high fidelity as available. This last has been a HUGE boon to the movie, music, and publishing industries, generally, as technology advances have meant people are re-purchasing essentially the same content in a variety of formats (e.g. LP, Tape, CD, AAC /VHS, Laser-Disc, DVD, HD-DVD).
But that trend has delivered broadly available commercial-grade content creation tools to (essentially) consumer cost points, in combination with federated broad digital communication (read: syndication) and personal publishing channels.
Case in point: MySpace's MP3 Store and this recent article about iTunes and iPod music consumption in the real world fly directly in the face of Microsoft's Zune, iTunes, etc, with things like YouTube skirting a narrow middle. The RIAA hopes you like Apple and Microsoft.
That iTunes/iPod usage article is the most interesting - and the big question is whether the trend it reveals is of the moment, or of the future.
You know this is something the software industry has been dealing with since its inception - its done OK. I realize its easy for me to say (because I have nothing at stake in this particular debate), but sometimes sweating the threat means you squander the opportunity.
I think the jury's still out in a big way on this topic.
Either DRM technologies will become THE way that all digital content is licensed (even if that license is simply "unrestricted"), or it'll go the way of the Dodo. The middle ground will get squeezed out on this in the next 4 years.
Obviously, publishers (distribution middle men) and to a lesser (at least less vocal), but very real extent, creators want to ensure they're properly credited for their work, both financially and artistically. On the converse side, users want access to stuff as broadly and cheaply as possible - but most importantly, as conveniently as possible, with as high fidelity as available. This last has been a HUGE boon to the movie, music, and publishing industries, generally, as technology advances have meant people are re-purchasing essentially the same content in a variety of formats (e.g. LP, Tape, CD, AAC /VHS, Laser-Disc, DVD, HD-DVD).
But that trend has delivered broadly available commercial-grade content creation tools to (essentially) consumer cost points, in combination with federated broad digital communication (read: syndication) and personal publishing channels.
Case in point: MySpace's MP3 Store and this recent article about iTunes and iPod music consumption in the real world fly directly in the face of Microsoft's Zune, iTunes, etc, with things like YouTube skirting a narrow middle. The RIAA hopes you like Apple and Microsoft.
That iTunes/iPod usage article is the most interesting - and the big question is whether the trend it reveals is of the moment, or of the future.
You know this is something the software industry has been dealing with since its inception - its done OK. I realize its easy for me to say (because I have nothing at stake in this particular debate), but sometimes sweating the threat means you squander the opportunity.
6 Comments:
Q: Why do we as a society protect intellectual property at all?
A: "To promote the progress of science and useful arts..." (U.S. Constitution)
Sometimes I wonder to what extent to which these protections actually serve their intended ends, and I am amazed to see how brashly some beneficiaries of these protections thumb their noses at the public (the public whose consent makes the protections possible and for whose benefit these social constructs were created in the first place).
Yeah - the Disney copyright extenstions are a prime example; there's a company that's BENEFITED from assets in the public domain (from Cinderella to Little mermaid to the Hunchback of Notre Dame) denying the future an opportunity to stand on their shoulders :/
One the one hand, its easy to hide behind "serving the shareholders" as the high moral ground - on the other hand... well.
Um hmm. Truth is I've been sitting tight on the next Mickey Mouse for some time now. I'm just waiting for society to offer the right incentives. You might think the brand value alone would be enough to get me going--after all, Disney's been #7 in the Business Week Global Brand List for years--but I'm afraid that sort of status and wealth alone aren't going to cut it. Same with "life plus fifty"--what sort of chump would fall for that? Someone who doesn't know how to incorporate, that's who; but the same goes for "life plus seventy five" and "life plus ninety five." Mr. Kotay, I hate to say it, but I'm holding the next Mickey Mouse hostage until I "plus 125."
:)
lol - hah. Lucky that Pocahantas, the Hunchback of Notre Dame, and the Little Mermaid are well over that age :)
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