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30 Days of DRM
sonofollson writes "Michael Geist, a Canadian law professor, in the middle of a 30 Days of DRM project,
which is targeting the planned introduction of the DMCA in
Canada. Each day, the project identifies an exception or
limitation that is needed to address the danger of anti-circumvention
legislation. Issues covered so far include interoperability,
privacy,
region
coding, and reverse
engineering. The project is also supporting a wiki version for
broader participation."
The guy tried to live one month on nothing but copy protection systems but choked on a dongle after 9 days.
This is a great idea. Unfortunately, the only people likely to find this are those that already know the need for exceptions to DRM laws. I hope the Canadians pass this along to their legislators and that someone actually bothers to read the blog.
Maybe if we'd had something like this before the DMCA, we could have made it a little less restrictive. (No way in hell the **AAs would have let it die)
From the article: "Region coding is not about copyright, it is about market controls and a loss of consumer property rights. It should not benefit from additional copyright legal protections that would come from anti-circumention legislation."
How about the idea that region coding is all about reducing sales and increasing unauthorized duplication of DVDs? I run into so many DVDs that are not sold in any form for my region, and will never be sold for my region. That leaves me the options (a) not buying it at all, or (b) buying it and cracking it or perhaps getting a more usable pre-cracked version (barring the ability to get a DVD player that does all regions).
Where were you when the voynix came?
But that's the problem. When you make the act of circumventing DRM a crime, it doesn't matter what content it was protecting. You still break the law by circumventing it. Which is exactly why such laws are bad. You should be able to make a copy of something in the public domain, but you can't. And don't rely on the record companies to let you off easy. It took mass negative media coverage for them to let a dead guy off the hook.
Considering Phlebas, whoever the hell he is.
There will always be a way to circumvent the DMCA.
You cannot close the "analog hole" because we are purely analog-sensory beings. We cannot reliably have digital information put into our brain and decoded into a usable form without reliable biological-neurological wiring. With that simple logic, until neural wetware becomes commonplace (scary world that'll be,) the DMCA is absolute bullshit. I can simply circumvent your protection by going to a friend's house to watch a movie they bought but I never paid for. I can store that entire movie in "memory" (if I'm capable of that type of photo-auralgenic storage like other 'geniuses.') and tell others what the whole movie is about, which may/may not discourage them to see the movie, thus resulting in a loss of profit for the movie, or even after-movie DVD/VCR sales. Kiss your "unauthorized" use clause good-bye. We can hurt the **AA cause thru that means alone, and I'll bet with the current shit crop of movies coming out (Like Talladega Nights, compared to The Descent,) the sales are going to drop even further. I can simply watch a movie, tell everyone what it's all about, and they'll decide for themselves whether or not the movie is worth watching, in their opinion. And speaking technically, I didn't pay for it, so by going to a friend's house to watch a movie they paid for, I'm getting a public performance (because they explicitly state with a sign on their property "This is not private property, whatever happens here is public and sent to the police,") without paying for the rights to view the money. Now what are you going to do, RI/MPAA? Sue me for visiting a friend who happens to be showing a movie they paid for? You've tried twice already, let's go for a third strike so we can wipe you out legally.
I apologize in advance for potential double-ranting (restating the same rant twice in the same post,) but I felt the need to drive this into people's heads. Even if the general Slashdot crowd knows about this stuff, there are many others that join every day, and are rather ignorant, as I once was before I got some extra education from more knowledgable people on Slashdot. We need to keep this type of information flow happening, in my opinion. Let's keep it up so less knowledgable people have more plain-english definitions for the layman to understand, guys.
Still waiting on Serviscope_minor to wake up to fucking reality and realize that Jessica Price isn't going to fuck him.
Michael Geist writes a weekly column on law and technology for the Toronto Star, Canada's largest newspaper. The Star is a significant venue because its middle brow (not tabloid, but not the New York Times), and always has a populist favour.
He is also frequently called on as a commentor on CBC radio (the public broadcaster, which by law can be heard by Canadians anywhere in the country). CBC radio recieves no ads and no coporate sponsorship (unlike PBS), so is generaly balanced on controversial issues.
In Canada at least, someone like Geist has a greater chance of reaching Jaques Six-Pack than he might have elsewhere.
I think you misundersand me.
Imagine an ipod in the future. The ipod doesn't play mp3s anymore - it *only* plays Apple's DRMd music. I'm a musician, and record my band playing music, but I can't put it on my ipod directly - I have to implement DRM on the music for the ipod to play it.
This could happen.
"If I am the owner of copyright in a work, why don't I have the authority to apply true and correct copyright management information to the work?"
I don't know exactly what you mean by this, but I think you're looking at it the wrong way around. If I pay you to experience your creation, by what right to you seek to regulate the way I experience it? Will you try and tell me what colour shoes I may wear, for example?
Note that there are two issues here. The first is artist renumeration. This is important, because without it people will be less inclined to produce art. The second is control, and it has nothing to do with renumeration for the artist. Instead it's about power for the distributers of the art - power over both the artist and those who wish to experience their art.
Remember that copyright is not a 'right' per se - it's a TEMPORARY incentive given by the government to help people to profit from their creations, thereby encouraging creation for the benefit of humanity.