Archive for the ‘DRM’ Category

Copyleft regulates

Tuesday, January 31st, 2012

Copyleft as a pro-software-freedom regulatory mechanism, of which more are needed.

Existing copyleft licenses include conditions that would not exist (unless otherwise implemented) if copyright were abolished. In other words, copyleft does not merely neutralize copyright. But I occasionally1 see claims that copyleft merely neutralizes copyright.

A copyleft license which only neutralized copyright would remove all copyright restrictions on only one condition: that works building upon a copyleft licensed work (usually as “adaptations” or “derivative works”, though other scopes are possible) be released under terms granting the same freedoms. Existing copyleft licenses have additional conditions. Here is a summary of some of those added by the most important (and some not so important) copyleft licenses:

License Provide modifiable form2 Limit DRM Attribution Notify upstream3
BY-SA y y
FDL y y y
EPL y y
EUPL y y
GPL (including LGPL and AGPL) y y
LAL y
MPL (and derivatives) y y
ODbL y y y
OFL y
OSL y y
OHL y y y

I’ve read each of the above licenses at some point, but could easily misremember or misunderstand; please correct me.

There’s a lot more variation among them than is captured above, including how each condition is implemented. But my point is just that these coarse conditions would not be present in a purely copyright neutralizing license. To answer two obvious objections: “attribution”4 in each license above goes beyond the bare minimum license notice that would be required to satisfy the condition of releasing under sufficient terms, and “limit DRM” refers only to conditions prohibiting DRM or requiring parallel distribution (which all of those requiring modifiable form do in a way, indirectly; I’ve only called out those that explicitly mention DRM), not permissions5 granted to circumvent.

I’m not sure there’s a source for the idea that copyleft only neutralizes copyright. Probably it is just an intuitive reading of the term that has been arrived at independently many times. The English Wikipedia article on copyleft doesn’t mention it, and probably more to the point, none of the main FSF articles on copyleft do either. The last includes the following:

Proprietary software developers use copyright to take away the users’ freedom; we use copyright to guarantee their freedom. That’s why we reverse the name, changing “copyright” into “copyleft.”

Copyleft is a way of using of the copyright on the program. It doesn’t mean abandoning the copyright; in fact, doing so would make copyleft impossible. The “left” in “copyleft” is not a reference to the verb “to leave”—only to the direction which is the inverse of “right”.

Copyleft is a general concept, and you can’t use a general concept directly; you can only use a specific implementation of the concept.

This is very clear — the point of copyleft is to promote and protect (“guarantee” is an exaggeration) users’ freedom, and that includes their access to source. The major reason I like to frame copyleft as regulation6 is that if access to source is important to software freedom (or otherwise socially valuable), it probably makes sense to look for additional regulatory mechanisms which might (and appreciate ones that do) contribute to promoting and protecting access to source, as well as other aspects of software freedom. Such mechanisms mostly aren’t/wouldn’t be “copyleft” (though at this point, some of them would simply mandate a copyleft license), but the point is not a relationship with copyright, but promoting and protecting software freedom.

If software freedom is important, surely it makes sense to look for additional mechanisms to promote and protect it. As others have said, licenses are difficult to enforce and/or few people are interested in doing it, and copyleft can be made irrelevant through independent non-copyleft implementation, given enough desire and resources (which the largest corporations have), not to mention the vast universe of cases in which there is no free software alternative, copyleft or not. I leave description and speculation about such mechanisms for a future post.


1For example, yesterday Rob Myers wrote:

Copyleft is a general neutralization of copyright (rather than a local neutralization, like permissive licences). Nothing more.

Only slightly more ambiguously, late last year Jason Self wrote:

Copyright gives power to restrict what other people can do with their own copies of things. Copyleft is about restoring those rights: It takes this oppressive law, which normally restricts people and takes their rights away, and make those rights inalienable.

Well said…but not exactly. I point these out merely as examples, not to make fun of Myers, who is one of the sharpest libre thinkers there is, or Self, who as far as I can tell is an excellent free software advocate.

2Note it is possible to have copyleft that doesn’t require source. As far as I know, such only exists in licenses not intended for software. But I think source for non-software is very interesting. The other obvious permutations — a copyleft license for software that does not include a source requirement, and a non-copyleft license that does include a source requirement, are curiosities that do not seem to exist at all — probably for the better, although one can imagine questionable use cases (e.g., self-modifying object code and transparency as only objective).

3As I’ve mentioned previously, requiring upstream notification likely makes the TAPR OHL non-free/open. But I list the license and condition here because it is an interesting regulation.

4One could further object that one ought to consider so-called “economic” and “moral” aspects of copyright separately, and only neutralize the former; attribution perhaps being the best known and least problematic of the former.

5Although existing copyleft licenses don’t only neutralize restrictions (one that did would be another curiosity; perhaps the License Art Libre/Free Art License currently comes closest), it is important that copyright and other restrictions are adequately neutralized — in particular modern public software licenses include patent grants, and GPLv3 permits DRM circumvention (made illegal by some copyright-related legislation such as the DMCA), while version 4.0 of CC licenses will probably grant permissions around “sui generis” restrictions on databases. Such neutralization is only counter-regulatory (if one sees copyright as a regulation), not pro-regulatory, as are source and other conditions discussed above.

6Regulation in the broadest sense, including at a minimum typical “government” and “market” regulation, as I’ve said before. By the way, it could be said that those who advocate only permissive licenses are anti-regulatory, and I imagine that if lots of people thought about copyleft as regulation, this claim would be made — but it would be a problematic claim, as permissive licenses don’t do much (or only do so “locally”, as Myers obliquely put it in the quote above) against the background regulation of copyright restrictions.

DRM as a competitive threat to free software?

Wednesday, May 4th, 2011

A Day Against DRM post. I posted another at Creative Commons.

Critiques of Digital Restrictions Management fall into about 10 categories:

  1. DRM causes various product defects
  2. DRM usurps people’s control of devices they own
  3. DRM discourages tinkering and understanding technology
  4. DRM discourages sharing
  5. DRM curtails various freedoms people would otherwise enjoy
  6. DRM encourages hostile behavior toward consumers
  7. DRM encourages monopoly
  8. DRM is technical voodoo
  9. DRM is business voodoo
  10. DRM presages more forms of attempted control, each with additional properties similar to those above, increasing the probability of a dystopian future.

Eventually I may link the above bullets to the relevant posts on DRM I’ve made over the years.

Defective By Design, a project of the Free Software Foundation, coordinates the Day Against DRM and various other anti-DRM actions. It is pretty clear that several of the problems with DRM listed above, particularly 2-5, are inimical to the FSF’s values. I sometimes think the linkage to core values of software freedom could be made stronger in anti-DRM campaigns, but these are not easily packaged messages. I also think there’s usually a missed opportunity in anti-DRM campaigns to present free software (and maybe free culture) as the only systemic alternative to creeping anti-freedom technologies such as DRM.

I began writing a post for Day Against DRM because I wanted to pose a question concerning DRM’s competitive threat to free software: how significant is it in today’s circumstances, and how significant in theory?

In today’s circumstances, the use of DRM that does not support free software platforms by popular media services (currently Netflix is probably most significant; DVDs with DRM have always been a problem) seems like a major barrier to more people using free software.

In theory, it isn’t clear to me that DRM must be a competitive threat to free software adoption (though it would remain a threat to software freedom and nearby). If a mostly free software platform were popular enough, DRM implementations will follow — most obviously Android.

However, I would also hope the dominance of free software would create conditions in which DRM is less pertinent. I would love to see enumerated and explored the current and in-theory competitive threats to free software posed by DRM, and vice versa.

Fooled by common interest

Friday, June 6th, 2008

Lew McCreary, writing on the Harvard Business Review Editors’ Blog, covers two of my favorite topics (prediction markets and nipping stupidity in the bud) with How to Kill Bad Projects:

Project owners creatively spun results for political reasons—mainly to prevent funding from being yanked. Consequently, there was a gaping disconnect between the project people down at ground level and the business leaders farther up the food chain when it came to understanding how projects were actually progressing. The leaders tended to think things were going much better than they actually were.

The problem of corrupted information flows stayed with Siegel and ultimately led him to found his current company, Inkling Markets, a software-as-service venture aimed at helping companies conduct successful prediction markets. What does a prediction market have to do with eliminating spin? Siegel sees an opportunity to produce higher quality decision support in businesses by tapping anonymous input “from people who aren’t normally asked their opinions, in samples large enough to filter out individual agendas.”

In the case of an internal prediction market, employees might be asked to weigh in anonymously (wagering a sum of token currency) on a statement like this: “The Voldemort Project will meet all of its defined performance targets by the end of 2008.”

Unfortunately, the post includes just a bit of its own stupidity (emphasis added):

While many are naturally captivated by the black-swan-finding potential of prediction markets, another sweet spot may be their use as a form of institutional lie detection—guaranteeing the integrity of internal reporting and keeping the progress of business initiatives transparent.

What the heck is he talking about? I have never heard of anyone claiming that a prediction market could find — to the contrary, a black swan is almost by definition something a prediction market will fail to signal — the knowledge does not exist to be aggregated. Chris Masse quoting Nassim Taleb:

If, as Niall Ferguson showed, war bonds did not forecast the great war, it was a Black Swan

Now prediction markets and black swans both have something to do with prediction and probability, but they’re otherwise ships passing not in the night, but on opposite sides of the globe — with one in the night.

DRM strikes me as another example of people fooled by common interest, in this case of cryptography and censorshipcopyright enforcement. Both have something to do with preventing someone from getting access to information. That doesn’t make one a tool for the other (in either direction). Of course that knowledge was distributed, but apparently not visibly in the right places, resulting in lots of bad projects.

Via Inkling.

DRM: the good bullshit story that got past Doug Morris

Monday, November 26th, 2007

New York Magazine cites an interview with CEO Doug Morris from the WIRED December issue (not yet online) that supposedly shows that Morris and his industry are utterly clueless. The excerpt from NYMag, emphasis added:

“There’s no one in the record industry that’s a technologist,” Morris explains. “That’s a misconception writers make all the time, that the record industry missed this. They didn’t. They just didn’t know what to do. It’s like if you were suddenly asked to operate on your dog to remove his kidney. What would you do?”

Personally, I would hire a vet. But to Morris, even that wasn’t an option. “We didn’t know who to hire,” he says, becoming more agitated. “I wouldn’t be able to recognize a good technology person — anyone with a good bullshit story would have gotten past me.”

Actually, knowing your limitations is pretty smart. Too bad the industry did not stick to the strategy of not hiring technology people. Music startups would’ve flourished, and the industry could have snapped up the obvious winners. Instead, Morris and friends eventually fell for a complete bullshit story — — that killed nascent startups and paved the way for Apple’s much-hated dominance.

Copyright turns even really smart technologists into disingenuous and even dangerous technology idiots (including me on occasion — the claims I dismissed in that last link, while overblown, may have some substance), so non-technologists should be really wary, and consistently so.

Update 20071128: The WIRED article is now online. Despite its sneering tone, I think comes off as a shrewd businessperson.

The future of “music technology” and the “music industry”

Tuesday, September 11th, 2007

A few weeks ago I moderated a panel on DRM at a “music technology” conference. I wrote it up on the Creative Commons blog. Short version is a consensus from non-activists that music DRM is on its way out.

But what I want to complain about here is the use of “music industry” understood to mean the recording distribution industry and “music technology” understood to refer to use of the net by the same industry. Similarly, “future of music” understood to refer to the development or protection of recording distribution industry business models in the face of digital networks. Each of these gets under my skin.

My contention is that the future of music is determined by changes in music making technology and culture. The recording distribution industry has just about nothing to do with it. It seems that every new genre from ancient history to present has sprung from the latest in music making technology and cultural antecedents, and developed its essential forms before the recording distribution industry got a clue (or recently, started to sue).

I may be overstating my case, especially with regards to rock, but fuck rock stars.

If you’re interested in the actual future of music and want to look for it in an industry more narrow than “information technology”, it’s the musical instruments industry that you want.

Gratis unencumbered MP3 download is not news

Monday, February 26th, 2007

, a moderately successful band with one top 40 hit in 1997, has released their latest (2005) album as an unencumbered MP3 download with an essay explaining “why we’re releasing our latest album for free on the Internet,” covered by Cory Doctorow, Tim O’Reilly and many others.

Big deal. In 2007 re-releasing an old album as a DRM-free gratis download with no explicit rights granted to share or remix, should not be news, unless a major label is involved.

Jamendo is my current favorite example of 2,500 reasons (albums) why this is not news, but there are thousands of others.

If you need an essay to go with your music, teleport back to 1998 or earlier (I recall reading a version of Ram Samudrala’s essay in 1995).

Update 20070227: The Harvey Danger album has been available for download since September 2005 (when Doctorow wrote about it in Boing Boing, link above). It shouldn’t have been newsworthy then either, but I’m a fool for not noticing that now it is old non-news. A commenter at Techdirt pointed this out.

Disingenuous Rhetorical Manipulation

Saturday, February 10th, 2007

Copyright (DRM in particular) turns us into technology idots and makes us disingenuous too. Consider Leonardo Chiariglione’s reply (“A simple way to skin the DRM cat”) to Steve Jobs’ DRM bashing.

Chiariglione goes out of his way to muddy the waters by

  • Including rights expression or rights description (including Creative Commons) under the rubric of DRM. This is not what anyone, including Jobs, is talking about when they dismiss DRM.
  • Conflating standards generally and standards with security components in particular, with DRM.
  • Pretending there is a non-zero chance of any “interoperable DRM” (where we’re talking about , not mere description or expression) scheme gaining any traction.

Clue: a skinned cat is dead.

Via Slashdot.

Addendum: Some never learn, see Chiariglione’s , spawned late 1998, dead since early 2001.

Digital Rights Managements

Tuesday, February 6th, 2007

Even I have to admit Steve Jobs’ DRM-bashing letter is pretty good:

The third alternative is to abolish DRMs entirely. 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.

But what’s up with DRMs?

Via Tim Lee.

Addendum: Lots of people want to sell their music DRM-free at the iTunes store.

Worse than crippleware

Saturday, January 13th, 2007

Last post I went along with a NYT article (and apparently recent court case) in describing Digital Restrictions Management as . Bad call on my part.

Traditionally crippleware is free and its aim is to get you to buy a non-crippled version. With DRM you pay for crippled media and its aim to ensure the media stays crippled. Is there any widely deployed DRM that offers to turn itself off completely for the right price?

Perhaps a better term, if not from the customer’s perspective then that of certain businesses, is suicideware. Case in point, Windows Vista. I was reminded of this when Boing Boing just pointed (again) to A Cost Analysis of Windows Vista Content Protection, the “executive executive summary” of which is “The Vista Content Protection specification could very well constitute the longest suicide note in history.”

From the aforementioned customer’s perspective, traditional suicideware is just temporally crippled-ware. For a software business, perhaps suicideware (I’m making this up) is that which forgets who the customers are, tempting the gods of randomness. Rouletteware? Deathwishware?

iHandcuffs for primitives

Saturday, January 13th, 2007

Via Luis Villa, tomorrow’s New York Times has a decent article headlined Want an iPhone? Beware the iHandcuffs. The article title is right (Villa’s summary is a better description, if not a better headline: “iTunes and DRM hurts perfectly innocent customers, fails to stop piracy, and reduces competition”), but it leads off wrong:

like its slimmer iPod siblings, the iPhone’s music-playing function will be limited by factory-installed “crippleware.”

Wrong, the objects of lust can play any MP3 file that is not itself crippled. The (the handcuffs to avoid) is not factory-installed, but purchased from the — tracks crippled by DRM.

Perhaps (the media player and ITunes Store browser), some version of which I assume is factory-installed on the , is perhaps more akin to . Not the type that takes over your computer without your knowledge, but the type that presents you with many opportunities to download and perhaps pay for software and porn that will cripple your computer. It’s a fine line.

The NYT article has a great closing:

IN the long view, Mr. Goldberg said he believes that today’s copy-protection battles will prove short-lived. Eventually, perhaps in 5 or 10 years, he predicts, all portable players will have wireless broadband capability and will provide direct access, anytime, anywhere, to every song ever released for a low monthly subscription fee.

It’s a prediction that has a high probability of realization because such a system is already found in South Korea, where three million subscribers enjoy direct, wireless access to a virtually limitless music catalog for only $5 a month. He noted, however, that music companies in South Korea did not agree to such a radically different business model until sales of physical CDs had collapsed.

Pointing to South Korea, where copy protection has disappeared, Mr. Goldberg invoked the pithy aphorism attributed to the author William Gibson: “The future is here; it’s just not widely distributed yet.”

I’m skeptical that the emphasized (by me) portion above is not exaggerated, though I’ll grant that South Korea is probably some years ahead of music businesses in the U.S. and other places similarly primitive in this respect, which may undergo a transition similar to South Korea’s. But we can also look to markets that started from a very different place, e.g., China.

We could beneficially spend more time looking for examples that may be ahead of the pack or simply different, and not just in the music business.