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IFPI Digital Music Report 2010 Music How, When, Where You Want It Contents
IFPI Digital Music Report 2010 Music how, when, where you want it Contents 3. Introduction 4. Executive Summary: Music – Pathfinder In The Creative Industries’ Revolution 8. The Diversification Of Business Models 10. Digital Music Sales Around The World 12. In Profile: Pioneers Of Digital Music 18. Competing In A Rigged Market – The Problem Of Illegal File-Sharing 20. ‘Climate Change’ For All Creative Industries 24. Graduated Response – A Proportionate, Preventative Solution 28. The World Of Legal Music Services 30. Consumer Education – Lessons Learned Music How, When, Where You Want It – But Not Without Addressing Piracy By John Kennedy, Chairman & Chief Executive, IFPI This is the seventh IFPI Digital Music in new artists, we have to tackle mass legislation to curb illegal file-sharing. Report. If you compare it to the first piracy. Second, we are progressing towards Another clear change is within the music report published in 2004, you can an effective response. The progress is sector itself. It was, until recently, rare see a transformation in a business agonisingly slow for an industry which does for artists to engage in a public debate which has worked with the advance not have a lot of time to play with – but it is about piracy or admit it damages them. of technology, listened to the consumer progress nonetheless. In September 2009, the mood changed. and responded by licensing its music Lily Allen spoke out about the impact of in new formats and channels. On page 20 of the Report, Stephen illegal file-sharing on young artists’ careers. Garrett, head of the production company When she was attacked by an abusive In 2009 globally, for the first time, more Kudos, refers to a “climate change” in online mob, others came to her support. -
Participatory Freedom
Participatory Freedom How the Free versus Proprietary Software conflict frames our culture and ultimately government. By Bryan Quigley Introduction Very few people think about the impact of software on the choices they make. Most are just happy when software doesn't get in their way and lets them achieve what the person wanted. When something doesn't work they usually assume it is a bug. Who would ever guess that it was intentional? Software dictates what formats digital artists write to and even how votes are counted in presidential elections. For the power software holds over society, it really isn't understood very well by decision makers. This paper looks at two ideological camps in software and how they frame the culture we make and the decisions governments make. To do this I first take a look at the two camps in software, look at the similar camps in culture, and finally how they relate to self governance. Beginnings The concept of free software is an old one. When computers first reached universities, they were research tools. Software source code was freely passed around, and programmers were paid for the act of programming, not for the programs themselves. -United Nations Educational, Scientific and Cultural Organization, 2001 Software started out free. It was passed around similar to scientific knowledge as most of those who had it were scientists. They shared it just like they would share scientific discoveries. Commercialization of software started with restrictions of access to the source code and the sharing started to go away. Proprietary Software Bill Gates "fired the shot heard around the world" for proprietary software and clearly has accomplished his goal of making lots of money off of his control of the source code. -
Portable Audio & Video Players
PORTABLE AUDIO & VIDEO PLAYERS 44 ARCHOS GMINI XS 100 Mini Music Player The smallest and the lightest of the Archos range, the Gmini XS100 is an affordable hard-drive based music player with great storage capacity. Available in 4 trendy colors (volcanic black, techno blue, funky pink and ice grey), it features14-hour battery life (rechargeable internal lithi- um-ion battery via USB port or optional AC adapter/charger) and 3 GB hard-drive allowing you to load up to1,500 songs, including PlaysForSure compatible files. It has a 1.7” gray-scale LCD screen, measures 1.7 x 3.6 x 0.5” (WxHxD) and weighs only 2.8 ounces. It includes stereo earbud headphones and USB 2.0 cable. Gmini XS 100 (ARGMXS1003B): Volcanic Black color ................................149.95 Gmini XS 100 (ARGMXS1003BL): Techno Blue color ..................................149.95 Gmini XS 100 (ARGMXS1003P): Funky Pink color.......................................149.95 Gmini XS 100 (ARGMXS1003S): Ice Grey color.............................................149.95 Gmini XS 100 & Gmini XS 202 Both Feature Synchronize with a PC Browse and Organize Files Autosync with Windows Media Player 9 or 10 to easily transfer songs ◆ For convenience, the players are bundled with an easy-to-use music and playlists from your PC. Download and play all your music files file management system to organize your files. Using the ARCHOS (including protected WMA PlaysforSure downloaded files) to the Gmini Double Browser, you can quickly create playlists on the go, no XS 100 using the USB 2.0 high-speed interface (USB 1.1 compatible). computer needed. Delete, rename, copy, move files and even create Play Music Files folders directly on the Gmini XS 100. -
Digital Right Management Anagement
DRM Digital Right Management Bronzetti Stefano mat: 264848 A. A. 2007/2008 1 DRM(Gestione dei diritti digitali) definizione: tutti quei sistemi tecnologici di controllo usati per limitare l’accesso e l’utili zzo a dati o hard ware. Chi detiene i diritti d’autore, può far valere i propri diritti in ambiente digitale grazie alla possibilità di rendere protetti, identificabili e tracc ia bili tu tti gli usi in rete di mater ia li adegua tamen te marchia ti. esempio: evitare duplicati senza autorizzazione (copy protection) spinti da: Chi detiene i diritti d’autore: case discografiche/cinematografiche aziende software/videogiochi/ebook osteggiati da: Gli utenti: Limitazione dei diritti degli utenti (chi compra regolarmente il materiale non può farne l’uso che vuole) DRM = DIGITAL RESTRICTION MANAGEMENT 2 FUNZIONAMENTO DEI SISTEMI DRM idea semplice: i file audio/video vengono codificati e criptati in modo da garantire la protezione contro la copia e l’inoltro verso terzi non autorizzati, consentendo così un uso limitato(ad esempio nel tempo) e predefinito nella licenza d’accesso fornita agli utenti finali. informazioni aggiuntive: la codifica permette di includere informazioni aggiuntive: copyright, licenza, biografia autore ecc.. accesso ai dati: procedure di autenticazione che permettono di distribuire i file richiesti nelle modalità previste dalla licenza sottoscritta dall’utente. EFFETTI: Utenti infastiditi e limitati anche se in buonafede. Non riescono realmente ad arginare le copie illegali, in quanto sono sempre sttitati scava lca tiiti in qua lhlche mo do. 3 PERCHE’ I DRM? nuove tecnologie: banda larga, p2p, lettori mp3/mp4, telefonini di ultima generazione, lettori divx, negozi di contenuti multimediali online. -
Ÿþu N T I T L E
MAKE IT • STREAM IT SPECIAL WEAR IT • SING IT ISSUE RIP IT • PLAY IT ULTIMATE GET MORE FROM TECHNOLOGY DIGITAL 48 COOL PRODUCTS MUSIC COMPARED MP3 PLAYERS GUIDE HEADPHONES SERVICES SIRIUS VS. XM DJ GEAR HOME STUDIO HOW TO USB GUITAR SIMPLE STREAMING TIPS KARAOKE EASY WAYS ...AND MORE! TO TAKE IT ANYWHERE ROCK STAR SECRETS FROM FLAMING LIPS, DEVO, AND MORE! Master Your Music Play it. Share it. Rip It. Stream it. Sing it. Scratch it. Take it with you. Our 15-page guide shows you every way to enjoy digital music. BY MIKE KOBRIN WHAT’S INSIDE PERHAPS YOU SUFFER FROM THE SAME 64 MP3 players serious addiction that has gripped me for much of my 66 Subscription Services life: I have to have music with me at just about every 66 Devo’s Mark step of my day. I wake up with John Coltrane on my Mothersbaugh JBL On Time clock radio, sip my morning coffee while 67 Brian “BT” Transeau listening to NPR streaming from a Sonos ZonePlayer 68 Wireless Streaming Devices 80, and catch a morning train with my iPod nano and 70 Front Row versus Ultimate Ears super.fi 5 Pro earphones. Media Center At work, I dock my iPod and switch to the Sennheiser 70 Convert Your CDs PX100 headphones. Lucky for me, my job involves testing 71 The Flaming Lips 74 Music Clothes and audio gear, so I get to use a variety of software (iTunes, Headphones WMP, Musicmatch) and services (Rhapsody, Napster, 74 Satellite Radio Audible, Vongo) nearly every day while I’m at my desk. -
Buy When We Buy Now
WHAT WE BUY WHEN WE BUY NOW Aaron Perzanowski† & Chris Jay Hoofnagle‡ 165 University of Pennsylvania Law Review __ (forthcoming 2017) “[W]hen someone buys a book, they are also buying the right to resell that book, to loan it out, or to even give it away if they want. Everyone understands this.” - Jeff Bezos, CEO of Amazon.com1 INTRODUCTION Imagine you purchase a new book from Amazon. You visit amazon.com, find a book that looks promising, click the familiar Buy Now button, wait a mere two days for Prime delivery, and promptly place that new volume on your bookshelf, waiting for the perfect rainy day to crack it open. The next morning, you wake up to find a book-sized gap on your shelf. Your book has disappeared. Just then, you receive an email from Amazon customer service explaining that—at the copyright holder’s request—the book has been recalled. † Professor of Law, Case Western Reserve University School of Law ‡ Adjunct Full Professor, UC Berkeley School of Information & UC Berkeley School of Law; Faculty Director, Berkeley Center for Law & Technology. We owe our thanks to James Grimmelmann, who offered crucial input at every stage of this project. We would also like to thank participants in workshops and presentations at the Works In Progress IP Colloquium at the University of Washington School of Law, the Intellectual Property Scholars Conference at the DePaul College of Law, Indiana University Maurer School of Law, Ohio State University Moritz College of Law, Michigan State University College of Law, and New America’s Open Technology Institute for their helpful feedback and suggestions. -
Digital Music Report 2012 Expanding Choice
Digital Music Report 2012 Expanding Choice. Going Global Digital Music Report 2012 Contents Introduction 3 Focus on France 20 n Plácido Domingo, chairman, IFPI n Hadopi: “Positive impact for years to come” n Frances Moore, chief executive, IFPI n The independent’s view: Innovation and “meaningful sanctions” Artist voices 5 Focus on the US 21 Digital Music: Expanding Choice. n ISP agreement and strong digital growth Going Global 6 n Executive Summary Focus on South Korea 22 n Global digital growth rate accelerates n A continuing success n The global top selling digital singles of 2011 n Access or ownership? You choose Developing a legitimate business in China 23 n Global expansion n Major record companies license Baidu n Progress against piracy n Intermediaries have a key role Protecting content online: Intermediaries step up 24 The business models of digital music 10 n Search engines should link to legal music n Downloads break through borders n Advertising: Cutting the funds to piracy n Digital album demand alive and kicking n Payment providers act on illegal sites n The rise of subscription n Hosting providers: A key partner n Subscription reaches new consumers n Bundling music – a route to the mass market Self-Help: Anti-piracy enforcement n Internet radio continued to expand and education 26 n Music video meets strong consumer demand n Tackling the pre-release hackers n Public education: a long term commitment The art of digital marketing 14 n A Guide to Music, Film, TV and the Internet Piracy: Improved cooperation from Digital Music -
Final 数字音乐报告完整版修订v7-0226
IFPI 2013 数字音乐报告 数字世界的引擎 FACEBOOK上 最受喜欢的 十个人中九个 是艺人 YOUTUBE上 最受欢迎的 十个视频中九个与 音乐有关 TWIttER上 最受关注的 十个人中七个 是艺人 Deezer4artists-HD_V2.pdf 1 29/01/13 19:04 Deezer4Artists. Engage with your fans. Unleash your potential with an audience of 26 million users in 180+ countries. Get started now at [email protected] or scan 2 目录 引言 4-5 音乐是数字世界的引擎 22-23 g 普拉西多·多明戈,IFPI主席 g 刺激数字式参与 g 弗朗西丝·摩尔,IFPI首席执行官 g 助推硬件的使用 g 产业踏上复苏之路:事实和数字 6-10 推动现场娱乐业 g 吸引客户,助推利润 全球畅销曲目 11-13 放眼世界:新兴市场的希望 24-27 g 畅销专辑 g 巴西:蓄势待发 g 畅销单曲 g 俄罗斯:增长的障碍可以克服 g 本地曲目销售强劲 g 印度:销售额接近历史新高 数字音乐推动创新 14-17 g 荷兰强劲的市场潜力 g 下载商店从云技术获得提振 与网络中间力量的合作 28-30 g 订阅服务正当其时 g 广告:斩断盗版音乐的主要资金来源 g 订阅改变着产业的商业模式 g 搜索引擎——一个个关键的角色 g 音乐视频的增长 g 需要ISP进一步合作 g 下一代的电台体验 g 支付服务提供商应对非法网站的措施加强 g 欧洲:授权助力数字消费 数字营销之道 18-21 打击非法网络业务 31 g 打击非法网络存储平台 g One Direction的网络总动员 g 减少发布前的泄漏 g 舞曲厂牌借力社交媒体 g 为每个粉丝提供个性视频:林肯公园 全球的数字音乐服务 32-34 g 古典音乐的数字化 封面照片:Michel Teló, Fernando Hiro拍摄。 Adele, Mari Sarii拍摄。Psy, Universal Music拍摄。 Lady Gaga, Meeno拍摄。 Michael Bublé, WMG拍摄。 本报告包含了Ipsos MediaCT在IFPI委托下所做的一个消费者研究的最新发现。 2012年11月Ipsos MediaCT使用网络调查法进对年龄在16至64岁之间具代表性的互联网用户样本行了7502次采访,这些受 访者分别来自以下国家:美国(1000次)、巴西(1002)、墨西哥(499)、英国(1000)、法国(1000)、德国(1000)、 瑞典(501)、日本(1000)、韩国(500)。这9个国家的录制音乐销量占到了全球销量的80%(来源:IFPI)。这次研 究结果进行了加权以反应每个国家年龄在16至64岁之间的互联网用户数量。 ©2013国际唱片业协会版权所有。所有数据、副本和图片均受版权保护,未经国际唱片业协会许可,不得复制、传播 或提供。 www.ifpi.org @ifpi_org 由Band设计: www.bandlondon.co.uk 3 对音乐的需求推动 数字世界的发展 普拉西多·多明戈 IFPI主席 我很荣幸地向您推荐第十版的IFPI数 字 音 乐 报 告 。这 份 报 告阐释了录制音乐如何有助于推动今天的数字经济,并突出强 调了消费者访问和体验音乐的一些令人兴奋的新方式。 围绕着音乐,数字经济不断成长。当今有各式各样的下载 商店、订阅服务和流媒体服务可用。它们让乐迷得以访问来自 世界各地艺人的数以百万的曲目。我们也看到了社交网络和在 -
File Sharing Policy
File Sharing Policy This reference page is intended to inform and educate the Oklahoma Wesleyan University Community about the growing concern of illegal online file sharing. As online music, movies and other media have become more popular, the issue of piracy and the theft of copyrighted material has increased as well. Companies who own the copyrighted material being pirated are beginning to increase their pursuit of those who are not abiding by the law. By tracking the files being transferred and the users behind the transferring, these companies are increasingly putting pressure on Internet service providers (ISP's) to reveal identities of the computer users who are infringing copyrights. Recently, a small number of students have been sued by copyright holders and required to pay substantial settlements. Oklahoma Wesleyan University provides an online network for its community to utilize as a tool to further education and communication. With that access also comes the responsibility to show its users how to use the network properly and productively for the entire Community. The idea of file sharing is like many other technological innovations. It, in itself, is not negative or a positive invention, it is only when a user decides to use it in such a fashion that the tool negates the progress of a community rather than augmenting it. Plans to “Effectively Combat” the Unauthorized Distribution of Copyrighted Material We currently employ Content Filtering with Deep Packet Inspection to block P2P traffic from the network, both inbound and outbound. Known file sharing websites are also blocked as a category on the Web Content Filter. -
Roku Soundbridge Gets Free Software Update; Now Plays Digital
Roku SoundBridge Gets Free Software Holland Ann Contact Update; Now Plays Digital Music from RealNetworks’ Rhapsody Service Becomes First Network Music Player to Seamlessly Work with All WMA- based Music Services Including Napster, MSN Music, Wal-Mart, More SoundBridge Even Streams Internet Radio without PC Connection PALO ALTO, Calif. December 13, 2004, Roku today released a new version of 650.321.1394 ext. 19 Phone free software for all Roku SoundBridge network music players. Roku continues to add features unmatched by the competition, giving consumers the most compatible and easiest-to-use network music player in the industry. The new Roku SoundBridge 2.1 software adds support for RealNetworks®’ award-winning Rhapsody® digital music service. Now, Roku customers with a Rhapsody subscription can effortlessly browse their personal Rhapsody library by artist, album, and song title, or quickly review the custom radio stations and playlists they have created using Rhapsody, and enjoy this music on their home stereos. With Rhapsody compatibility, Roku SoundBridge is the only network music player [email protected] Email to seamlessly work with all Windows Media Audio (WMA) based services. Just last month Roku added support for Windows Media Connect, Windows Media Digital Rights Management 10 and Windows Media Player 10. Roku SoundBridge can play any song in Windows Media Audio (WMA) format, including protected WMA content from music services like Napster, MSN Music and Wal-Mart. Roku SoundBridge is also part of the Microsoft PlaysForSure logo program, which gives consumers an easy way to identify devices and services verified to work together. Other Roku SoundBridge features now include more support for Windows Media Connect and “Favorite Internet Radio.” With the new 2.1 software, Roku SoundBridge can play any of a list of 10 ‘favorite’ Internet radio stations even when there are no music servers running on the network - their PC can be turned off. -
Switching to a Mac Guide You All the Way! Open the Book and Find
spine=.816” Personal Computers/Macintosh ™ 2nd Edition Switching is almost as easy Making Everything Easier! as using a Mac, and we’ll 2nd Edition Switching to a Mac to Switching guide you all the way! Open the book and find: So you’ve decided to join the more intuitive, less virus- • How a Mac can simplify your life ® prone world of the Mac? Congratulations! This book tells • Special advice for seniors and you what to expect, how to choose a Mac (if you haven’t parents of young kids already), and how to make the switch a breeze. Discover all the cool preloaded software, how to make your Mac talk to • Tips on keeping your Mac updated and secure Switching to a Mac your iPhone™ and iPod®, and how to work the Mac way. • Ways to unleash your creativity • Meet the family — compare MacBooks and the Mac mini, iMac®, with photos, audio, and video and Mac Pro • How to configure your new Mac • I’m a Mac, and you’re leaving a PC — see what’s alike and what’s different, and learn to use Apple menus and the Finder • Help with switching specialized software to your Mac • Can I keep it? — find out what peripherals will still work with your Mac • Mac networking instructions • Moving day — transfer your files, address book, and content • How to get both WiFi and backup stored on other media capability by using Time Capsule® • Get connected — set up your Internet service and e-mail application, and connect to your printer and other peripherals ® • iLove all these apps — play, buy, and organize music with iTunes®; edit, sort, and share photos with iPhoto®; -
Can Apple Take Microsoft in the Battle for the Desktop?
Search the web Search this site Search Search Amazon: Can Apple Take Microsoft in the Battle for the Desktop? Sunday, March 4, 2007 | | Del.icio.us | Technorati | About RDM | Forum : Feed | [email protected] ¿Puede Apple ganar a Microsoft la batalla de sobremesa? (en español) Some analysts are nostalgic for the days when they could appear intelligent merely by gushing about everything from Microsoft. They felt safe in recommending everything the company released, knowing that there were no real alternatives, and that anything the company could deliver would more or less have to be purchased. All their advice and analysis helped to create the general illusion that Microsoft was divinely fated to succeed, and that no rival could ever hope to challenge the company. That illusion helped to reinforce the real power wielded by Microsoft as the dominant vendor of PC desktop operating systems. Maintaining that illusion was as important to Microsoft as a properly running propaganda machine is to a banana republic dictator. As power begins to falter, maintaining an illusion of strength becomes increasingly important. Ironically, the desperate measures that are frequently taken to sustain such an illusion often serve to distract from the real problems that need to be fixed and subsequently cause greater damage. The Ghost of Past Failures Microsoft certainly isn't the first tech company to stumble in a grand way. Apple fell from its position as a leader in the tech industry in the 80s to being "hopelessly beleaguered" within a decade. In Apple's case, the company began making serious mistakes during a decade of limited competition leading up to 1995.