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Today YouTube announced on its official blog the introduction of Creative Commons support:

Have you ever been in the process of creating a video and just needed that one perfect clip to make it pop? Maybe you were creating your own music video and needed an aerial video of Los Angeles at night to spice it up. Unless you had a helicopter, a pretty powerful camera and some fierce editing skills, this would have been a big challenge. Now, look no further than the Creative Commons library accessible through YouTube Video Editor to make this happen. Creative Commons provides a simple way to license and use creative works.

Actually, YouTube had tested the implementation of Creative Commons licenses already more than two years ago (see Creative Commons blog) but has shied away from introducing it as a general feature until today. That this has now finally happened is celebrated by many Creative Commons sympathizers in the blogosphere under headings such as “Why YouTube Adopting Creative Commons Is a Big Deal” and, of course, Creative Commons officials. Read the rest of this entry »

When EMI, the smallest of the “Big Four” major labels, announced to start selling its music without technological protection measures (“Digital Rights Management”, DRM) in 2007, the other three majors quickly saw no other possibility but to follow down this road. Flanked by Apple’s CEO Steven Jobs’s “Thoughts on Music”, this move brought an astonishingly unsuccessful decade of attempts by industry incumbents to establish DRM technologies to an end.

In theory, put forward for example by industry researchers such as Mark Stefik, DRM technologies should not only prevent illegal copying practices (“piracy”) but also allow new streams of revenue by tailoring prices individually to consumer’s needs. In praxis, however, this vision never became reality: while in the world of small and many independent labels DRM never was important (see, for example, the online-store “finetunes”, which was DRM-free from the beginning), the cartel of major labels first tried to develop industry-wide and all-embracing DRM standards in the realm of a so-called “Secure Digital Music Initiative” (SDMI). Remains of this bold attempt, which was silently shut down after only two years of existence in May 2001, can only be found in the Internet archive. Controversies between content owners and hardware producers about the necessary protection levels had delayed DRM development, whose outcome was then rejected by consumers, leading DRM-mastermind Stefik to conclude in 2007: “The situation reflects the core issue that current DRM provides no compelling benefits to consumers” (see the paper “DRM Inside”).

The only refugium, where DRM solutions still prevail, is the – far from thriving – field of mobile music: supported by all four major and hundreds of independent labels, Nokia’s bundling of phone hardware and music-flatrate entitled “comes with music” uses Microsoft’s “plays for sure” DRM solution. But even in this field DRM seems to be in retreat, since Nokia recently abandoned DRM when introducing “comes with music” in China. Ironically, Nokia spokesman Doug Dawson justified waiving copy protection measures with fighting piracy (see Economic Times):

“It’s unique for China where piracy has had a stronghold.”

Does this mean DRM measures against piracy do only make sense, where piracy is weak? While such paradox lines of reasoning seem to finally herald the end of DRM in the music industry, Michael Arrington at techcrunch nevertheless reports renewed attempts of introducing DRM through the backdoor – via watermarking and cloud computing: Read the rest of this entry »

The Book

Governance across borders: transnational fields and transversal themes. Leonhard Dobusch, Philip Mader and Sigrid Quack (eds.), 2013, epubli publishers.
April 2019
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All texts on governance across borders are licensed under a Creative Commons Attribution-Share Alike 3.0 Germany License.