A DRM Solution Based on Social Networks and Enabling the Idea of Fair Use
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The High-Definition Multimedia Interface
technology High-Defi nition Multimedia Interface It’s the interconnect that sorts out a lot of problems we thought we had and a few that we didn’t; it’s the High-Defi nition Multimedia Interface. NIGEL JOPSON discovers a new digital connector that has all sorts of implications for the future — including the forced deactivation of analogue outputs. just 15% of new sets sold this year will include it and be able to deliver the full 1080 high resolution picture that these devices are being sold on. Unlike the disparate disc formats that have polarised manufacturers into two camps, the HDMI connector has cross-industry support. The founders include electronics manufacturers Hitachi, Matsushita Electric (Panasonic), Philips, Sony, Thomson (RCA), Toshiba, and Silicon Image. Digital Content Protection LLC (a subsidiary of Intel) is providing High-bandwidth Digital Content Protection (HDCP) for HDMI. In addition, HDMI has the very partisan support of major movie producers Fox, Universal, Warner Bros and Disney, and system operators DirecTV and EchoStar (Dish Network) as well as CableLabs and Samsung. So HDMI is an industry-supported, uncompressed, all-digital audio/video interface. The small connector provides the interface between any compatible digital audio/video source, such as a set-top box, DVD player or AV receiver and a compatible digital audio and/or video monitor. It was conceived as a sort of digital SCART, primarily a point-to-point connector; HDMI grew out of DVI and the picture side is backwards compatible (providing that copy protection is implemented). HDMI adds support for component video, multichannel audio, the so-called universal CD control, and the concept of auto-confi guration. -
Is the Idea of Fair Digital Rights Management an Oxymoron? The
Royal Holloway Series Fair Digital Rights Management Fair digital rights management HOME THE BIRTH OF DIGITAL RIGHTS Is the idea of fair digital rights management an oxymoron? The MANAGEMENT music industry has been turned upside down by the Internet, and UNFAIR DIGITAL RIGHTS has tried various methods to protect its profits. But many of its MANAGEMENT actions have been either futile or heavy-handed. Christian Bonnici A DIGITAL RIGHTS and Keith Martin examine various approaches to see which would DILEMMA be most effective and fair to all parties. A COMPROMISE SOLUTION CONCLUSION REFERENCES 1 Royal Holloway Series Fair Digital Rights Management HERE ARE FEW issues more provocative than that THE BIRTH OF DIGITAL of the management of rights to digital content. RIGHTS MANAGEMENT For some consumers the internet is seen as an We will frame our discussion around music HOME Tagent of digital freedom, facilitating free and media, which is one of the most high profile types THE BIRTH OF easy access to digital content such as music and of digital content. FIGURE 1 (page 3) shows a sim - DIGITAL RIGHTS films. For some digital content providers the ple timeline indicating some of the milestones in MANAGEMENT internet has been seen as a technology that has the development of music media. The publication UNFAIR damaged their ability to earn money from selling of the MP3 music compression algorithm in 1991 DIGITAL RIGHTS their products. represents the most significant development with MANAGEMENT The solution to providers’ fears has been vari - respect to digital rights to music media, and this A DIGITAL ous attempts to control access to digital content event is pivotal to our discussion. -
Antitrust, Intellectual Property, and the Itunes Ecosystem
533 ANTITRUST, INTELLECTU AL PROPERTY, AND THE ITUNES ECOSYSTEM: A STUDY OF THE ANTITRUST IMPLICATIONS OF APPLE’S FAIRPLAY TECHNOLOGY WITH A NOD TO THE PECULIARITIES OF • INTELLECTUAL PROPERTY WILLOW NOONAN* I. INTRODUCTION In December 2008, Apple’s iTunes online music store surpassed Wal- Mart as the largest music retailer in the world.1 In the closely related portable music player market, Apple’s iPod enjoys similar success.2 Undoubtedly, Ap- ple’s insight and innovation won much of this eminence. However, a close look at Apple’s business practices reveals some conduct that draws a suspicious eye from antitrust and intellectual property laws. The first part of this article traces the development of online music and the subsequent proliferation of copyright infringement. The next part outlines the technical details, benefits, and drawbacks of Apple’s iTunes ecosystem, a notable combination of Apple products and services. The third part undertakes a traditional antitrust analysis of Apple’s conduct and suggests the need for dee- per inquiry. The next part investigates how Apple’s conduct implicates intellec- tual property law. The fifth part reviews the doctrine of intellectual property misuse and how it might apply to Apple. The final part revisits the antitrust • 2009 IDEA Student Intellectual Property Writing Competition Winner. * Candidate for Juris Doctor, 2010, The George Washington University Law School. 1 Press Release, Apple, Inc., iTunes Store Top Music Retailer in the US (Apr. 3, 2008), http://www.apple.com/pr/library/2008/04/03itunes.html [hereinafter iTunes Store]. 2 Jessica Hodgson, Leap Year Trips Zune in Black Eye for Microsoft, WALL ST. -
Of Price Discriminiation, Rootkits and Flatrates
Of Price Discriminiation, Rootkits and Flatrates Volker Grassmuck Helmholtz-Zentrum für Kulturtechnik, Humboldt-University Berlin 19 February 2006 DRAFT VERSION – final version is slated for print publication Licensed under Creative Commons Share-Alike Germany 2.0 „Copyright owners continue to be ambivalent about the Internet. On the one hand, it represents a fantastic new medium for distribution; on the other, many in the publishing industry see it as one ‚giant, out of control copying machine.‘ ... The very technological advances that make rights management more difficult – the dramatic reduction in costs of copying and distribution – also offer a fantastic opportunity for owners of intellectual content.“1 Without scarcity there is no market. Information by its nature is a public good.2 Copyright law artificially creates scarcity by granting exclusive rights to it for a limited time. Media technology so far helped enforcability of those rights because the means of production and the means of distribution of informational goods were expensive and therefore scarce. The digital revolution does away with this scarcity. PC and Internet bring to virtually everyone the power of the printing press and the recording studio. Only now, information‘s defining qualities of non-rivalrousness and non-excludability come to full bearing. Zero cost for reproduction and distribution is indeed a fantastic value proposition for information vendors. Alas, it is undermined by the fact that for consumers the cost of copying and distribution is zero as well. Peer-to-peer networks show that transporting bits from A to B is now such a low-cost service that users can effortlessly provide it to each other. -
Information Doesn't Want to Be Free Cory Doctorow
Information Doesn’t Want to Be Free Laws for the Internet Age Cory Doctorow Copyright © 2014 Cory Doctorow Cover design by Sunra Thompson. All rights reserved, including right of reproduction in whole or in part, in any form. McSweeney’s and colophon are registered trademarks of McSweeney’s, a privately held company with wildly fluctuating resources. Printed by Thomson-Shore in Michigan. ISBN 978-1-940450-28-5 10 9 8 7 6 5 4 3 2 1 www.mcsweeneys.net v FOREWORDS Neil Gaiman viii Amanda Palmer xii 0. INTRODUCTION Detente xviii 0.1 What Makes Money? xx 0.2 Don’t Quit Your Day Job—Really xxii 1. DOCTOROW’S FIRST LAW Any Time Someone Puts a Lock on Something That Belongs to You and Won’t Give You the Key, That Lock Isn’t There for Your Benefit 1 1.1 Anti-Circumvention Explained 4 1.2 Is This Copyright Protection? 7 1.3 So Is This Copy Protection? 12 1.4 Digital Locks Always Break 14 1.5 Understanding General-Purpose Computers 21 1.6 Rootkits Everywhere 23 1.7 Appliances 26 1.8 Proto-Appliances: The Inkjet Wars 28 1.9 Worse Than Nothing 31 2. DOCTOROW’S SECOND LAW Fame Won’t Make You Rich, But You Can’t Get Paid Without It 37 2.1 Good at Spreading Copies, Good at Spreading Fame 41 2.2 An Audience Machine 43 2.3 Getting People to Care About Your Work 49 2.4 Content Isn’t King 51 2.5 How Do I Get People to Pay Me? 53 2.6 Does This Mean You Should Ditch Your Investor and Go Indie? 64 2.7 Love 66 2.8 The New Intermediaries 69 2.9 Intermediary Liability 75 2.10 Notice and Takedown 77 2.11 So What’s Next? 80 2.12 More Intermediary Liability, Fewer Checks and Balances 82 2.13 Disorganized Channels Are Good for Creators 87 2.14 Freedom Can Be Expensive, but Censorship Costs Us the World 90 vi FOREWORDS 3. -
The Public Domain: Enclosing the Commons of the Mind
37278_u00.qxd 8/28/08 11:04 AM Page i The Public Domain ___-1 ___0 ___ 1 37278_u00.qxd 8/28/08 11:04 AM Page ii Thomas Jefferson to Isaac McPherson, August 13, 1813, p. 6. -1 ___ 0 ___ 1 ___ 37278_u00.qxd 8/28/08 11:04 AM Page iii James Boyle The Public Domain Enclosing the Commons of the Mind Yale University Press ___-1 New Haven & London ___0 ___ 1 37278_u00.qxd 8/28/08 11:04 AM Page iv A Caravan book. For more information, visit www.caravanbooks.org. Copyright © 2008 by James Boyle. All rights reserved. The author has made an online version of this work available under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 License. It can be accessed through the author’s website at http://james-boyle.com. Printed in the United States of America. ISBN: 978-0-300-13740-8 Library of Congress Control Number: 2008932282 A catalogue record for this book is available from the British Library. This paper meets the requirements of ANSI/NISO Z39.48–1992 (Permanence of Paper). It contains 30 percent postconsumer waste (PCW) and is certified by the Forest Stewardship Council (FSC) -1 ___ 0 ___ 1 ___ 37278_u00.qxd 8/28/08 11:04 AM Page v Contents Acknowledgments, vii Preface: Comprised of at Least Jelly?, xi 1 Why Intellectual Property?, 1 2 Thomas Jefferson Writes a Letter, 17 3 The Second Enclosure Movement, 42 4 The Internet Threat, 54 5 The Farmers’ Tale: An Allegory, 83 6 I Got a Mashup, 122 7 The Enclosure of Science and Technology: Two Case Studies, 160 8 A Creative Commons, 179 9 An Evidence-Free Zone, 205 10 An Environmentalism for Information, 230 ___-1 Notes and Further Readings, 249 ___0 Index, 297 ___ 1 v 37278_u00.qxd 8/28/08 11:04 AM Page vi -1 ___ 0 ___ 1 ___ 37278_u00.qxd 8/28/08 11:04 AM Page vii Acknowledgments The ideas for this book come from the theoretical and practical work I have been doing for the last ten years. -
Hackere / Crackere
UNIVERSITETET I OSLO Institutt for informatikk Hackere / Crackere Masteroppgave (60 studiepoeng) Ørjan Nordvik 1. februar 2006 Sammendrag Denne masteroppgaven går kort sagt ut på å finne ut hva som karakteriserer hackere og crackere. Det er viktig å klargjøre så tidlig som mulig i oppgaven hvordan jeg tolker disse to termene. I kapittel tre vil jeg gå grundig igjennom dette, men først vil jeg her kort oppsummere hvordan jeg kommer til å bruke begrepene hacker og cracker. Hackere er dataeksperter som holder seg på den riktige siden av loven, mens crackere er de som bryter loven. For å kunne diskutere de sentrale begrepene har jeg gjort en litteraturstudie som resulterte i kapittel tre, samt en empirisk undersøkelse ved å intervjue dataeksperter, hackere og crackere. Det er den empiriske undersøkelsen som består av en rekke kvalitative intervjuer, og data fra sekundærlitteraturen som danner datagrunnlaget i denne oppgaven. Hackere og crackere er etter min mening ikke homogene grupper som lett lar seg beskrive med få setninger. Det finnes et utall av motiver som ligger bak deres handlinger enten de er hacker eller cracker. Måten de arbeider på avhenger ofte av hvilket ferdighetsnivå de har. Det klassiske bilde av hackere som kvisete, coladrikkende fjortisser med tykke briller er en myte. Hackere og crackere finnes i alle samfunnslag og er like gjerne 30 som 15 år. Forord Denne masteroppgaven inngår som en del av mastergraden min ved Institutt for Informatikk, Universitetet i Oslo våren 2006. Området for forskningen er innen Informasjonssystemer oppgaven fokuserer på karakteristikker av hackere og crackere. Oppgaven er av «lang» type og gir 60 studiepoeng. -
OPINION Defendant-Appellee
FOR PUBLICATION UNITED STATES COURT OF APPEALS FOR THE NINTH CIRCUIT STACIE SOMERS, On Behalf of No. 11-16896 Herself and All Others Similarly Situated, D.C. No. Plaintiff-Appellant, 5:07-cv-06507- JW v. APPLE, INC., OPINION Defendant-Appellee. Appeal from the United States District Court for the Northern District of California James Ware, District Judge, Presiding Argued and Submitted February 11, 2013—San Francisco, California Filed September 3, 2013 Before: Dorothy W. Nelson, Stephen Reinhardt, and Milan D. Smith, Jr., Circuit Judges. Opinion by Judge Milan D. Smith, Jr. 2 SOMERS V. APPLE, INC. SUMMARY* Antitrust The panel affirmed the district court’s dismissal of a putative class action against Apple, Inc., alleging antitrust violations in connection with Apple’s iPod and iTunes Music Store. The panel held that the plaintiff waived review of the district court’s order denying certification of a class of indirect purchasers of the iPod because she abandoned her underlying individual claim under § 2 of the Sherman Act based on inflated iPod prices. The panel also held that the plaintiff failed to allege sufficient facts to state antitrust claims for damages and injunctive relief. The plaintiff alleged that Apple encoded iTunes Music Store music files with its proprietary Digital Rights Management (DRM), called FairPlay, which rendered the music files and the iPod compatible only with each other. She alleged that through certain software updates, Apple excluded competitors and obtained a monopoly in the portable digital media player and music download markets, which inflated Apple’s music prices and deflated the value of the iPod. -
Ios Hacking Guide.Pdf
Hacking iOS Applications a detailed testing guide Prepared by: Dinesh Shetty, Sr. Manager - Information Security @Din3zh 2 Table of Contents 1. Setting Up iOS Pentest Lab ................................................................................................. 5 1.1 Get an iOS Device ................................................................................................................................ 5 1.2 Jailbreaking an iOS Device................................................................................................................... 7 1.3 Installing Required Software and Utilities ........................................................................................ 10 2. Acquiring iOS Binaries ...................................................................................................... 13 3. Generating iOS Binary (.IPA file) from Xcode Source Code: ............................................... 15 3.1 Method I – With A Valid Paid Developer Account. ........................................................................... 15 3.2 Method II - Without a Valid Paid Developer Account ....................................................................... 18 4. Installing iOS Binaries on Physical Devices ........................................................................ 23 4.1 Method I - Using iTunes .................................................................................................................... 23 4.2 Method II - Using Cydia Impactor .................................................................................................... -
Kw-V820bt Monitor with Dvd Receiver Instruction Manual
KW-V820BT MONITOR WITH DVD RECEIVER INSTRUCTION MANUAL © 2016 JVC KENWOOD Corporation B5A-1052-00 d (EN) CONTENTS BEFORE USE BEFORE USE............................................................ 2 BLUETOOTH ......................................................... 30 IMPORTANT INITIAL SETTINGS .................................................. 4 SETTINGS .............................................................. 41 To ensure proper use, please read through this Initial setup ......................................................................... 4 Settings for using applications of iPod/iPhone/ manual before using this product. It is especially Clock settings .................................................................... 4 Android ..............................................................................41 important that you read and observe WARNINGS BASICS .................................................................... 5 Selecting different sources for the front and rear and CAUTIONS in this manual. Please keep the Component names and functions ............................. 5 monitors—Zone Control .............................................42 manual in a safe and accessible place for future Common operations ....................................................... 6 Sound adjustment—Audio ........................................43 reference. Common screen operations ......................................... 7 Adjustment for video playback .................................48 ◊ WARNINGS: (To prevent accidents and -
A Secure and Fair Solution to Digital License Reselling Over the Internet
SUPPORT CONSUMERS' RIGHTS IN DRM: A SECURE AND FAIR SOLUTION TO DIGITAL LICENSE RESELLING OVER THE INTERNET A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy in the Faculty of Engineering and Physical Sciences 2012 By Tarek Gaber School of Computer Science Contents Abstract 17 Declaration 19 Copyright 21 Dedication 23 Acknowledgement 25 Abbreviations 27 Definitions 29 Notaitons 31 1 Introduction 33 1.1 Introduction to Digital Rights Management (DRM) . 33 1.2 Introduction to Concurrent Signature Scheme . 34 1.3 DRM and Consumers' Rights . 36 1.4 Research Motivation and Challenges . 38 1.5 Research Aim and Objectives . 40 1.6 Research Methodology . 41 1.7 Novel Contributions and Publications . 42 1.8 Thesis Structure . 46 2 Digital Rights Management Overview 47 2.1 Chapter Introduction . 47 2.2 What is DRM . 48 2.3 DRM History . 48 3 2.3.1 First Generation DRM Systems . 49 2.3.2 Second Generation DRM Systems . 49 2.4 DRM Fundamental Principle . 50 2.5 DRM System Entities . 52 2.6 DRM System Components . 53 2.7 How a DRM System Works . 55 2.8 Existing DRM Systems . 56 2.8.1 Windows Media DRM . 56 2.8.2 FairPlay DRM . 58 2.8.3 Open Mobile Alliance (OMA) DRM . 61 2.9 Open Issues in Current DRM Systems . 65 2.9.1 Consumer Privacy . 65 2.9.2 Interoperability . 66 2.9.3 First-sale: License Reselling . 67 2.10 Chapter Summary . 68 3 A literature Survey 71 3.1 Chapter Introduction . 71 3.2 Current License Selling Solutions . -
Audiobooks on Ipods Boost Relationships with NIST Scientists
Audiobooks on iPods BoostBoost RelationshipsRelationships withwith NISTNIST Scientists: Scientists Keeping Them Current with Management Trends Technology Services, Information Services Division Nancy Allmang, [email protected] Who We Are The National Institute of Standards and Technology What We Learned What We Learned, cont. Our Solution, cont. We began in July of 2007 with two 5th generation video (NIST) develops and promotes measurement, About digital media players: checked out for a specified time period, tracked, and standards, and technology to enhance security and downloaded from library web sites. At this time they iPods, and 6 audiobooks on each. Over the ensuing improve the quality of life. The Information Services - Apple®* media players (iPods) have an intangible cannot be played on iPods. months as demand grew we added 6 more iPods Division provides professional, scientific/technical “coolness factor” that appeals to customers (iPod Classics). We now are circulating a total of 39 information assistance to NIST research staff. The - iPods have the largest U.S. market share of all We decided to use Audible® audiobooks because they audiobooks on 8 iPods. media players NIST Research Library holds approximately 300,000 are in the format iPods require and it is simple to We developed a Responsibility Agreement for each - iPods have video screens that permit viewing of science and engineering volumes. download and transfer them to iPods. We made our borrower to sign, instructions, and complete listings of movies choice in spite of the fact they cannot easily be audiobook titles by iPod. tracked by library circulation systems, downloaded by multiple customers , and do not “expire” after a About Audiobooks specified checkout period.