DRM  

Today in Science, members of the Facebook data science team released a provocative study about adult Facebook users in the US “who volunteer their ideological affiliation in their profile.” The study “quantified the extent to which individuals encounter comparatively more or less diverse” hard news “while interacting via Facebook’s algorithmically ranked News Feed.”*

Source: multicast » Blog Archive » The Facebook “It’s Not Our Fault” Study

Adobe has just given us a graphic demonstration of how not to handle security and privacy issues.A hacker acquaintance of mine has tipped me to a huge security and privacy violation on the part of Adobe. That anonymous acquaintance was examining Adobe’s DRm for educational purposes when they noticed that Digital Editions 4, the newest version of Adobe’s Epub app, seemed to be sending an awful lot of data to Adobe’s servers.My source told me, and I can confirm, that Adobe is tracking users in the app and uploading the data to their servers. Adobe was contacted in advance of publication, but declined to respond. Edit: Adobe responded Tuesday night.And just to be clear, I have seen this happen, and I can also tell you that Benjamin Daniel Mussler, the security researcher who found the security hole on Amazon.com, has also tested this at my request and saw it with his own eyes.

via Adobe is Spying on Users, Collecting Data on Their eBook Libraries – The Digital Reader.

So, Did Tim Ferriss’s BitTorrent Book Gamble Work? – ReadWrite.

So, Did Tim Ferriss's BitTorrent Book Gamble Work? – ReadWrite.

Last night, robots shut down the live broadcast of one of science fictions most prestigious award ceremonies. No, youre not reading a science fiction story. In the middle of the annual Hugo Awards event at Worldcon, which thousands of people tuned into via video streaming service UStream, the feed cut off — just as Neil Gaiman was giving an acceptance speech for his Doctor Who script, “The Doctors Wife.” Where Gaimans face had been were the words, “Worldcon banned due to copyright infringement.” What the hell?Jumping onto Twitter, people who had been watching the livestream began asking what was going on. How could an award ceremony have anything to do with copyright infringement?Bestselling science fiction author Tobias Buckell tweeted: tobiasbuckell@tobiasbuckell Oh, FFS. Ustream just shut down live worldcon feed for copyright infringement.2 Sep 12 ReplyRetweetFavoriteAnd then it began to dawn on people what happened. Gaiman had just gotten an award for his Doctor Who script. Before he took the stage, the Hugo Awards showed clips from his winning episode, along with clips from some other Doctor Who episodes that had been nominated, as well as a Community episode.Wrote Macworld editorial director Jason Snell: Jason Snell@jsnell Ustream just shut down the #Hugos live stream because they showed clips of the TV nominees. Automated copyright patrols ruin more things.2 Sep 12 ReplyRetweetFavoriteThis was, of course, absurd. First of all, the clips had been provided by the studios to be shown during the award ceremony. The Hugo Awards had explicit permission to broadcast them. But even if they hadnt, it is absolutely fair use to broadcast clips of copyrighted material during an award ceremony. Unfortunately, the digital restriction management DRM robots on UStream had not been programmed with these basic contours of copyright law.

via How copyright enforcement robots killed the Hugo Awards.Last night, robots shut down the live broadcast of one of science fictions most prestigious award ceremonies. No, youre not reading a science fiction story. In the middle of the annual Hugo Awards event at Worldcon, which thousands of people tuned into via video streaming service UStream, the feed cut off — just as Neil Gaiman was giving an acceptance speech for his Doctor Who script, “The Doctors Wife.” Where Gaimans face had been were the words, “Worldcon banned due to copyright infringement.” What the hell?Jumping onto Twitter, people who had been watching the livestream began asking what was going on. How could an award ceremony have anything to do with copyright infringement?Bestselling science fiction author Tobias Buckell tweeted: tobiasbuckell@tobiasbuckell Oh, FFS. Ustream just shut down live worldcon feed for copyright infringement.2 Sep 12 ReplyRetweetFavoriteAnd then it began to dawn on people what happened. Gaiman had just gotten an award for his Doctor Who script. Before he took the stage, the Hugo Awards showed clips from his winning episode, along with clips from some other Doctor Who episodes that had been nominated, as well as a Community episode.Wrote Macworld editorial director Jason Snell: Jason Snell@jsnell Ustream just shut down the #Hugos live stream because they showed clips of the TV nominees. Automated copyright patrols ruin more things.2 Sep 12 ReplyRetweetFavoriteThis was, of course, absurd. First of all, the clips had been provided by the studios to be shown during the award ceremony. The Hugo Awards had explicit permission to broadcast them. But even if they hadnt, it is absolutely fair use to broadcast clips of copyrighted material during an award ceremony. Unfortunately, the digital restriction management DRM robots on UStream had not been programmed with these basic contours of copyright law.

via How copyright enforcement robots killed the Hugo Awards.

Douglas County Libraries, in Colorado, is trying something new: buying eBooks directly from publishers and hosting them on its own platform. That platform is based on the purchase of content at discount; owning—not leasing—a copy of the file; the application of industry-standard DRM on the library’s files; multiple purchases based on demand; and a “click to buy” feature.Its new DCL Digital Branch is one outcome of this strategy. As of this writing, more than 800 publishers have signed up, and their works are seamlessly integrated into and delivered from the library catalog, rather than from third-party sites.After integrating the ebooks it owns into its catalog, Douglas County Libraries began installing digital branch hardware and software in six of its Colorado locations in February.In a physical library, the digital branch features interactive touch-screen technology that allows library patrons to browse digital content from multiple platforms, including eBooks hosted by DCL, Overdrive, 3M and Freegal music. It integrates seamlessly with DCL’s library catalog, patron database, and its mobile app, DCL to Go. This same experience is also available online.The digital branch allows patrons to view and explore digital content using their hands and eyes the same way they might explore a traditional collection, with added functionality like immediate access to staff recommendations, most popular titles, and new content. Digital branch technology and features will change and improve as Douglas County Libraries’ eContent collection grows and patron use of digital content evolves.Douglas County Libraries’ model for purchasing eBooks directly from publishers is gaining interest from more and larger publishers, with five more joining just in the last week. DCL’s revolutionary distribution model is attracting not just publishers, but libraries across the nation. Marmot Library Consortium on Colorado’s western slope and Anythink Libraries in Adams County will soon provide eContent hosted by DCL. Other library systems have shown interest as well, from regions including California, New England, New York and New Jersey, and the Colorado State Library has created eVoke, an internet portal for libraries wishing to replicate DCL’s eBook model.

via Libraries set out to own their ebooks – Boing Boing.Douglas County Libraries, in Colorado, is trying something new: buying eBooks directly from publishers and hosting them on its own platform. That platform is based on the purchase of content at discount; owning—not leasing—a copy of the file; the application of industry-standard DRM on the library’s files; multiple purchases based on demand; and a “click to buy” feature.Its new DCL Digital Branch is one outcome of this strategy. As of this writing, more than 800 publishers have signed up, and their works are seamlessly integrated into and delivered from the library catalog, rather than from third-party sites.After integrating the ebooks it owns into its catalog, Douglas County Libraries began installing digital branch hardware and software in six of its Colorado locations in February.In a physical library, the digital branch features interactive touch-screen technology that allows library patrons to browse digital content from multiple platforms, including eBooks hosted by DCL, Overdrive, 3M and Freegal music. It integrates seamlessly with DCL’s library catalog, patron database, and its mobile app, DCL to Go. This same experience is also available online.The digital branch allows patrons to view and explore digital content using their hands and eyes the same way they might explore a traditional collection, with added functionality like immediate access to staff recommendations, most popular titles, and new content. Digital branch technology and features will change and improve as Douglas County Libraries’ eContent collection grows and patron use of digital content evolves.Douglas County Libraries’ model for purchasing eBooks directly from publishers is gaining interest from more and larger publishers, with five more joining just in the last week. DCL’s revolutionary distribution model is attracting not just publishers, but libraries across the nation. Marmot Library Consortium on Colorado’s western slope and Anythink Libraries in Adams County will soon provide eContent hosted by DCL. Other library systems have shown interest as well, from regions including California, New England, New York and New Jersey, and the Colorado State Library has created eVoke, an internet portal for libraries wishing to replicate DCL’s eBook model.

via Libraries set out to own their ebooks – Boing Boing.

WordPress is web software you can use to create a beautiful website or blog. We like to say that WordPress is both free and priceless at the same time.

via WordPress › Blog Tool, Publishing Platform, and CMS.

Unfortunately, the side effect in this less-than-successful attempt to fight piracy is the hours it takes users to retrieve, rip, and back up their music when a services shuts down, is sold, or simply decides DRM wasn’t the right way to go sometimes in as little as five months. The following is a brief history of the rise and fall of DRM in music services.

via The DRM graveyard: A brief history of digital rights management in music | opensource.com.

“We’re a broken record on this,” Newell told me,. “This belief that you increase your monetization by making your game worth less through aggressive digital rights management is totally backwards . It’s a service issue, not a technology issue. Piracy is just not an issue for us.”And it’s not because Steam avoids regions of the world known for their software piracy, they actually embrace them.”When we entered Russia everyone said, ‘You can’t make money in there. Everyone pirates,'” Newell said.But when Valve looked into what was going on there they saw that the pirates were doing a better job of localizing games than the publishers were.”When people decide where to buy their games they look and they say, ‘Jesus, the pirates provide a better service for us,'” he said.So Valve invested in getting the games they sold there localized in Russian. Now Russia is their largest European market outside of the UK and Germany.”The best way to fight piracy is to create a service that people need,” he said. “I think publishers with strict DRM will sell less of their products and create more problems.

via Why Portal’s Publishers Don’t Fear Piracy, Competition.

LibraryGoblin sez, “HarperCollins has decided to change their agreement with e-book distributor OverDrive. They forced OverDrive, which is a main e-book distributor for libraries, to agree to terms so that HarperCollins e-books will only be licensed for checkout 26 times. Librarians have blown up over this, calling for a boycott of HarperCollins, breaking the DRM on e-books–basically doing anything to let HarperCollins and other publishers know they consider this abuse.”

I've talked to a lot of librarians about why they buy DRM books for their collections, and they generally emphasize that buying ebooks with DRM works pretty well, generates few complaints, and gets the books their patrons want on the devices their patrons use. And it's absolutely true: on the whole, DRM ebooks, like DRM movies and DRM games work pretty well.

But they fail really badly. No matter how crappy a library's relationship with a print publisher might be, the publisher couldn't force them to destroy the books in their collections after 26 checkouts. DRM is like the Ford Pinto: it's a smooth ride, right up the point at which it explodes and ruins your day.

HarperCollins has some smart and good digital people (they're my UK/Australia/South Africa publisher, and I've met a ton of them). But batshit insane crap like this is proof that it doesn't matter how many good people there are at a company that has a tool at its disposal that is as dangerous and awful as DRM: the gun on the mantelpiece in act one will always go off by act three.

And that's why libraries should just stop buying DRM media for their collections. Period. It's unsafe at any speed.

I mean it. When HarperCollins backs down and says, “Oh, no, sorry, we didn't mean it, you can have unlimited ebook checkouts,” the libraries' answers should be “Not good enough. We want DRM-free or nothing.” Stop buying DRM ebooks. Do you think that if you buy twice, or three times, or ten times as many crippled books that you'll get more negotiating leverage with which to overcome abusive crap like this? Do you think that if more of your patrons come to rely on you for ebooks for their devices, that DRM vendors won't notice that your relevance is tied to their product and tighten the screws?

You have exactly one weapon in your arsenal to keep yourself from being caught in this leg-hold trap: your collections budget. Stop buying from publishers who stick time-bombs in their ebooks. Yes, you can go to the Copyright Office every three years and ask for a temporary exemption to the DMCA to let your jailbreak your collections, but that isn't Plan B, it's Plan Z. Plan A is to stop putting dangerous, anti-patron technology into your collections in the first place.

The publisher also issued a short statement: “HarperCollins is committed to the library channel. We believe this change balances the value libraries get from our titles with the need to protect our authors and ensure a presence in public libraries and the communities they serve for years to come.”

Josh Marwell, President, Sales for HarperCollins, told LJ that the 26 circulation limit was arrived at after considering a number of factors, including the average lifespan of a print book, and wear and tear on circulating copies.

As noted in the letter, the terms will not be specific to OverDrive, and will likewise apply to “all eBook vendors or distributors offering this publisher's titles for library lending.” The new terms will not be retroactive, and will apply only to new titles. More details on the new terms are set to be announced next week.

For the record, all of my HarperCollins ebooks are also available as DRM-free Creative Commons downloads. And as bad as HarperCollins' terms are, they're still better than Macmillan's, my US/Canadian publisher, who don't allow any library circulation of their ebook titles.

via HarperCollins to libraries: we will nuke your ebooks after 26 checkouts – Boing Boing.

Slashdot

“Ambiguity surrounds the real impact of digital book piracy, notes Brian O’Leary in an interview with O’Reilly Radar, but all would be better served if more data was shared and less effort was exerted on futile DRM. ‘The publishing industry should be working as hard as we can to develop new and innovative business models that meet the needs of readers. And what those look like could be community-driven. I think of Baen Books, for example, which doesn’t put any DRM restrictions on its content but is one of the least pirated book publishers. As to sales, Paulo Coelho is a good example. He mines the piracy data to see if there’s a burgeoning interest for his books in a particular country or market. If so, he either works to get his book out in print or translate it in that market.'”

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