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{{Redirect|DRM (computing)||DRM (disambiguation){{!}}DRM}} | |||
'''Digital Rights Management''' ('''DRM''') is a class of technologies<ref name="Ross">{{cite book | url=http://www.cl.cam.ac.uk/~rja14/book.html | title=Security Engineering | publisher=WILEY | chapter=22: Copyright and DRM}}</ref> that are used by hardware manufacturers, publishers, ] holders, and individuals with the intent to control the use of digital content and devices after sale;<ref name="Ross" /><ref name="WillStep">{{cite book | url=http://www.giantstepsmts.com/digitalrightsbookpreface.htm | title=Digital Rights Management: Business and Technology | publisher=M&T Books | chapter=The Changing Attitude Toward DRM}}</ref><ref>. Dl.acm.org. Retrieved on 2013-07-29.</ref> there are, however, many competing definitions.<ref name="">{{cite book | url=http://books.google.com/books?id=y__ea3Vj_IMC&dq=digital+rights+management&source=gbs_navlinks_s | title=Digital Rights Management: Technological, Economic, Legal and Political Aspects (Lecture Notes in Computer Science) | chapter=Definitions, Aspects, and Overview}}</ref> With first-generation DRM software, the intent is to control copying; With second-generation DRM, the intent is to control executing, viewing, copying, printing and altering of works or devices. The term is also sometimes referred to as '']'', ''copy prevention'', and ''copy control'', although the correctness of doing so is disputed.<ref>. Priv.gc.ca (2006-11-24). Retrieved on 2013-07-29.</ref> DRM is a set of ] technologies.<ref name="act11">{{cite book | url=http://books.google.com/books?id=0rVfRwcIPYgC&pg=SA9-PA26&dq=DRM+%22access+control+technology%22&hl=en&sa=X&ei=Jv6IUZ3RJZT09gSI04HYCA&ved=0CEAQ6AEwAQ#v=onepage&q=DRM%20%22access%20control%20technology%22&f=false | title=Computer Forensics: Investigating Network Intrusions and Cybercrime | publisher=] | pages=9–26}}</ref><ref name="act2">{{cite book | url=http://books.google.com/books?id=ntsJqzfwFhkC&pg=PA302&dq=DRM+%22access+control+technology%22&hl=en&sa=X&ei=Jv6IUZ3RJZT09gSI04HYCA&ved=0CE8Q6AEwBA#v=onepage&q=DRM%20%22access%20control%20technology%22&f=false | title=Multimedia Networking: From Theory to Practice | publisher=] | author=Hwang, Jenq-Neng | year=2009 | page=410}}</ref> Companies such as ], ], ], <!-- If you intend to remove -->],<!-- from this list, please remember that they have been one of history's foremost sellers of DRM-protected content, and even after they stop selling DRM-protected music, they will still have a very large TV & movies selection that is DRM-protected --> ],<ref>{{cite web|url=http://support.google.com/books/partner/answer/170424?hl=en+|title=DRM options for downloads of books on Google Play|date=March 6, 2013|accessdate=2013-04-29|publisher=Google}}{{dead link|date=April 2014}}</ref> ], ], ], ], and ] use digital rights management. In 1998, the ] (DMCA) was passed in the United States to impose criminal penalties on those who make available technologies whose primary purpose and function are to circumvent content protection technologies.<ref>], 112 Stat. 2863, 17 U.S. Code 1201–1205.</ref> | |||
The use of digital rights management is not universally accepted. Some content providers claim that DRM is necessary to fight copyright infringement and that it can help the copyright holder maintain ]<ref>{{cite web|url=http://www.artistscope.com/protection.asp|title=Images and the Internet}}</ref> or ensure continued revenue streams.<ref>{{cite web|url=http://www.streamingmedia.com/r/printerfriendly.asp?id=8306|title=Making Money with Streaming Media|author=Christopher Levy|date=February 3, 2003|accessdate=2006-08-28|publisher=streamingmedia.com|archiveurl=http://web.archive.org/web/20060514024614/http://www.streamingmedia.com/r/printerfriendly.asp?id=8306|archivedate=2006-05-14}}</ref> Proponents argue that digital locks should be considered necessary to prevent "intellectual property" from being copied freely, just as physical locks are needed to prevent personal property from being stolen.<ref name=cbc>{{cite news|url=http://www.cbc.ca/news/technology/story/2009/08/06/tech-digital-locks-drm-tpm-rights-management-protection-measures-copyright-copy-protection.html|title=The pros, cons, and future of DRM|publisher=Cbc.ca|date=2009-08-07|accessdate=2012-01-07}}</ref> Those opposed to DRM contend there is no evidence that DRM helps prevent copyright infringement, arguing instead that it serves only to inconvenience legitimate customers, and that DRM helps big business stifle innovation and competition.<ref>{{cite web|url=https://www.eff.org/issues/drm|title=DRM | Electronic Frontier Foundation|publisher=Eff.org|accessdate=2012-01-07}}</ref> Furthermore, works can become permanently inaccessible if the DRM scheme changes or if the service is discontinued.<ref name="opensource1">{{cite web|url=http://opensource.com/life/11/11/drm-graveyard-brief-history-digital-rights-management-music|title=The DRM graveyard: A brief history of digital rights management in music|publisher=opensource.com |date=3 November 2011 |accessdate=2012-01-07}}</ref>. | |||
Digital locks placed in accordance with DRM policies can also restrict users from exercising their ] under copyright law, such as backing up copies of CDs or DVDs, lending materials out through a library, accessing works in the public domain, or using copyrighted materials for research and education under the US ] laws,<ref name=cbc/> and under French law.<ref name="Christophe R. vs Warner Music">{{cite web|title=Christophe R. vs Warner Music: French court bans private-copying hostile DRM|url=http://www.indicare.org/tiki-read_article.php?articleId=180|publisher=INDICARE|accessdate=31 May 2014|author=Natali Helberger|date=01/03/06}}</ref> The ] (EFF) and the ] (FSF) consider the use of DRM systems to be ].<ref>{{cite web|url=https://www.eff.org/deeplinks/2004/05/fairplay-another-anticompetitive-use-drm|title=FairPlay: Another Anti-competitive Use of DRM|accessdate=2012-09-06}}</ref><ref>{{cite web|url=http://w2.eff.org/IP/DRM/fair_use_and_drm.html|title=Fair Use and DRM|publisher=W2.eff.org|accessdate=2012-01-07}}</ref>. | |||
==Introduction== | |||
{{refimprove section|date=May 2014}} | |||
DRM technologies attempt to give control to the seller of digital content or devices after it has been given to a consumer. For digital content this means preventing the consumer access, denying the user the ability to copy the content or converting it to other formats. For devices this means restricting the consumers on what hardware can be used with the device or what software can be run on it. Long before the arrival of digital or even ], ]s, ] and other financially or artistically interested parties had business and legal objections to copying technologies. Examples include: ] rolls early in the 20th century, ], and ] (e.g., the "]" in the ]). Copying technology thus exemplifies a ]. | |||
The advent of digital media and analog/digital conversion technologies, especially those that are usable on mass-market general-purpose personal computers, has vastly increased the concerns of copyright-dependent individuals and organizations, especially within the music and movie industries, because these individuals and organizations are partly or wholly dependent on the revenue generated from such works. While ] media inevitably loses quality with each ], and in some cases even during normal use, digital media files may be duplicated an unlimited number of times with no degradation in the quality of subsequent copies. | |||
The advent of ]s as household appliances has made it convenient for consumers to convert media (which may or may not be copyrighted) originally in a physical/analog form or a broadcast form into a universal, digital form (this process is called ]) for location- or ]. This, combined with the ] and popular ] tools, has made ] (also called digital piracy) much easier. | |||
DRM technologies enable content publishers to enforce their own access policies on content, like restrictions on copying or viewing. In cases where copying or some other use of the content is prohibited, regardless of whether or not such copying or other use is legally considered a "fair use", DRM technologies have come under fire. DRM is in common use by the ] (e.g., audio and video publishers).<ref name=devices>{{cite web|url=http://www.mediapost.com/publications/?fa=Articles.showArticle&art_aid=117244|title=MediaDaily News, "QuickPlay Distributes TV Over Mobile Wi-Fi" November 12, 2009|publisher=Mediapost.com|accessdate=2012-02-20}}</ref>{{dead link|date=March 2013}} Many ], such as ]'s ], as well as many ] publishers also use DRM, as do cable and satellite service operators to prevent unauthorized use of content or services. However, Apple quietly dropped DRM from all iTunes music files in about 2009.<ref>{{cite web|author=Bobbie Johnson, San Francisco|url=http://www.guardian.co.uk/technology/2009/jan/06/apple-drops-itunes-copy-protection|title=Apple drops copy protection from iTunes|publisher=Guardian|date=6 January 2009|accessdate=2012-06-06}}</ref> | |||
===Common DRM techniques=== | |||
Digital Rights Management Techniques include: | |||
* Restrictive Licensing Agreements: The access to digital materials, copyright and public domain is controlled. Some restrictive licenses are imposed on consumers as a condition of entering a website or when downloading software<ref>"Digital Rights Management (DRM) Systems and Copy Protection Schemes," {{dead link|date=April 2014}} DRM</ref> | |||
* ], Scrambling of expressive material, and embedding of a tag: This technology is designed to control access and reproduction of information. This includes backup copies for personal use.<ref>Kranich, Nancy. "Chap 1(pg.8)." The Information Commons. Creative Commons, 2004. Print.</ref> | |||
==Technologies== | |||
===DRM and computer games=== | |||
====Limited install activations==== | |||
Computer games sometimes use DRM technologies to limit the number of systems the game can be installed on by requiring authentication with an online server. Most games with this restriction allow three or five installs, although some allow an installation to be 'recovered' when the game is uninstalled. This not only limits users who have more than three or five computers in their homes (seeing as the rights of the software developers allow them to limit the number of installations), but can also prove to be a problem if the user has to unexpectedly perform certain tasks like upgrading operating systems or reformatting the computer's hard drive, tasks which, depending on how the DRM is implemented, count a game's subsequent reinstall as a new installation, making the game potentially unusable after a certain period even if it is only used on a single computer. | |||
In mid-2008, the publication of '']'' marked the start of a wave of titles primarily making use of ] for DRM and requiring authentication with a server. The use of the DRM scheme in 2008's '']'' ] and there were protests, resulting in a considerable number of users seeking a pirated version instead. This backlash against 3 activation limit was a significant factor in ''Spore'' becoming the most pirated game in 2008, with ] compiling a "top 10" list with ''Spore'' topping the list.<ref>{{cite web|author=Ernesto|url=http://torrentfreak.com/top-10-most-pirated-games-of-2008-081204/|title=Top 10 Most Pirated Games of 2008|publisher=TorrentFreak|date=December 4, 2008|accessdate=2011-11-24}}</ref><ref>{{cite web|author=Andy Greenberg|author2=Mary Jane Irwin|url=http://www.forbes.com/2008/09/12/spore-drm-piracy-tech-security-cx_ag_mji_0912spore.html|title=Spore's Piracy Problem|publisher=Forbes|date=2008-09-12|accessdate=2011-10-22}}</ref> However, Tweakguides concluded that the presence of intrusive DRM does not appear to increase piracy of a game, noting that other games on the list such as '']'', '']'' and '']'' use ] DRM, which has no install limits and no online activation. Additionally, other video games that do use intrusive DRM such as '']'', '']'', and ''Mass Effect'', do not appear on the list.<ref name="Tweakguides: PC Game Piracy Examined: Page 4">{{cite web|author=Koroush Ghazi|url=http://www.tweakguides.com/Piracy_4.html|title=PC Game Piracy Examined: Page 4|publisher=Tweakguides|date=2008-12-14|accessdate=2011-11-24}}</ref> | |||
====Persistent online authentication==== | |||
{{main|Always-on DRM}} | |||
Many mainstream publishers continued to rely on ] DRM throughout the later half of 2008 and early 2009, including ], ], ], and ], '']'' being a notable exception in the case of Electronic Arts.<ref>{{cite web|url=http://www.1up.com/do/newsStory?cId=3173495|title=The Sims 3 Will Not Use DRM: News from|publisher=1UP.com|date=2009-03-29|accessdate=2010-08-31}}</ref> Ubisoft broke with the tendency to use online DRM in late 2008 with the release of ''Prince of Persia'' as an experiment to "see how truthful people really are" regarding the claim that DRM was inciting people to use pirated copies.<ref>{{cite web|last=Kuchera|first=Ben|url=http://arstechnica.com/gaming/news/2008/12/pc-prince-of-persia-contains-no-drm-its-a-trap.ars|title=PC Prince of Persia contains no DRM. It's a trap!|publisher=Arstechnica.com|date=2008-12-12|accessdate=2010-08-31}}</ref> Although Ubisoft has not commented on the results of the "experiment", Tweakguides noted that two ] on ] had over 23,000 people downloading the game within 24 hours of its release.<ref name="Tweakguides: PC Game Piracy Examined: Page 8">{{cite web|author=Koroush Ghazi|url=http://www.tweakguides.com/Piracy_8.html|title=PC Game Piracy Examined: Page 8|publisher=Tweakguides|date=2008-12-11|accessdate=2012-12-03}}</ref> | |||
Ubisoft formally announced a return to online authentication on 9 February 2010 through its ] online gaming platform, starting with '']'', '']'', and '']''.<ref>{{cite web|author=Ubisoft|url=https://www.ubisoftgroup.com/en-US/press/detail.aspx?cid=tcm:99-30202-16&ctid=tcm:95-27313-32|title=Ubisoft Press Release|publisher=Ubisoft|date=February 9, 2010|accessdate=2010-03-04}}</ref> ''Silent Hunter 5'' was first reported to have been compromised within 24 hours of release,<ref>{{cite web|author=Nic Simmonds|url=http://www.mygaming.co.za/news/pc/5515-Ubisofts-contentious-DRM-scheme-already-hacked.html|title=Ubisoft's contentious DRM scheme already hacked|publisher=MyGaming|date=March 4, 2010|accessdate=2010-03-04}}</ref> but users of the cracked version soon found out that only early parts of the game were playable.<ref>{{cite web|author=Andy Chalk|url=http://www.escapistmagazine.com/news/view/98843-Ubisoft-Denies-Launch-Day-Crack-for-Silent-Hunter-5-DRM|title=Ubisoft Denies Launch Day Crack for Silent Hunter 5 DRM|publisher=Escapist Magazine|date=March 4, 2010|accessdate=2010-03-27}}</ref> The Uplay system works by having the installed game on the local PCs incomplete and then continuously downloading parts of the game-code from Ubisoft's servers as the game progresses.<ref>{{cite web|author=Ben Kuchera|url=http://arstechnica.com/gaming/news/2010/02/ubisoft-details-drm.ars|title=Official explanation of controversial Assassin's Creed 2 DRM|publisher=Escapist Magazine|date=February 18, 2010|accessdate=2010-03-27}}</ref> It was only more than a month after the PC release in the first week of April that software was released that could bypass Ubisoft's DRM in ''Assassin's Creed II'', demonstrating its strength. The software did this by emulating a Ubisoft server for the game. Later that month, a real crack was released that was able to remove the connection requirement altogether.<ref>{{cite web|url=http://www.tomshardware.com/news/assassins-creed-crack-hack-drm-ac2,10260.html|title=Ubisoft's DRM for Assassin's Creed II is Cracked|publisher=Tomshardware.com|date=23 April 2010|accessdate=2010-08-31}}</ref><ref>{{cite web|last=Lowensohn|first=Josh|url=http://news.cnet.com/8301-27076_3-20003120-248.html|title=Ubisoft's controversial 'always on' PC DRM hacked|publisher=News.cnet.com|date=21 April 2010|accessdate=2010-08-31}}</ref> | |||
In early March 2010, Uplay servers suffered a period of inaccessibility due to a large-scale ], causing around 5% of game owners to become locked out of playing their game.<ref>{{cite web|author=John Leyden|url=http://www.theregister.co.uk/2010/03/08/ubisoft_anti_drm_hack_attack/|title=Ubisoft undone by anti-DRM DDoS storm|publisher=The Register|date=March 8, 2010|accessdate=2010-03-27}}</ref> The company later credited owners of the affected games with a free download, and there has been no further downtime.<ref>{{cite web|author=Andre Yoskowitz|url=http://www.afterdawn.com/news/article.cfm/2010/03/26/ubisoft_apologizes_to_users_affected_by_always_on_drm|title=Ubisoft apologizes to users affected by 'always on' DRM|publisher=Afterdawn|date=March 8, 2010|accessdate=2010-03-27}}</ref> | |||
Other developers, such as ] are also shifting to a strategy where most of the game logic is on the "side" or taken care of by the servers of the game maker. Blizzard uses this strategy for its game ] and Electronic Arts used this same strategy with their reboot of ], the necessity of which has been questioned.<ref>{{cite web|author=Summer Walker|url=http://www.gamebreaker.tv/pc-games/simcity-modder-catches-ea-lying/|title=SimCity Modder Catches EA Lying|publisher=Gamebreaker TV|date=March 20, 2013|accessdate=2013-03-28}}</ref> | |||
====Software tampering==== | |||
] have used a form of technology since '']'', wherein if the game is suspected of being pirated, annoyances like guns losing their accuracy or the players being turned into a bird are introduced.<ref>{{cite web|author=Nathan Grayson|url=http://www.pcgamer.com/2011/11/17/interview-bohemia-interactives-ceo-on-fighting-piracy-creative-drm/|title=Interview: Bohemia Interactive's CEO on fighting piracy, creative DRM|publisher=pcgamer.com|date=November 17, 2011}}</ref> | |||
], the company that released '']'' in November 2011, implemented a different form of DRM wherein, instead of displaying error messages that stop the pirated version of the game from running, it causes a special invincible foe in the game to appear and constantly attack the player until they are killed.<ref>{{cite web|author=John Walker|url=http://www.rockpapershotgun.com/2011/12/07/serious-sams-drm-is-a-giant-pink-scorpion/|title=Serious Sam's DRM Is A Giant Pink Scorpion|publisher=rockpapershotgun.com|date=December 7, 2011|accessdate=2011-12-09}}</ref><ref>{{cite web|author=socketboy|url=http://ve3d.ign.com/articles/news/63236/Serious-Sam-3-Non-Traditional-DRM-Solutions-Part-2|title=Serious Sam 3 Non-Traditional DRM Solutions Part 2|publisher=ign.com|date=December 8, 2011|accessdate=2011-12-09}}{{dead link|date=April 2014}}</ref> | |||
===DRM and documents=== | |||
'''Enterprise digital rights management''' ('''E-DRM''' or '''ERM''') is the application of DRM technology to the control of access to corporate documents such as ], ], and ] files, emails, and ] web pages rather than to the control of consumer media.<ref>{{cite web|url=http://www.networkworld.com/news/tech/2006/121806techupdate.html|title="DRM vs. ERM: Battle to Control Data", Network World|accessdate=2008-04-02}}</ref> E-DRM, now more commonly referenced as IRM (]), is generally intended to prevent the unauthorized use (such as ] or inadvertent release) of proprietary documents. IRM typically integrates with ] system software but corporations such as ] also develop their own custom DRM systems.<ref>{{cite web|url=http://www.sds.samsung.com/popup/solution/epoint.jsp|title=NASCA is a DRM solution...|accessdate=2013-07-16}}</ref> | |||
DRM has been used by organizations such as the ] in its ] to permit worldwide access to substantial numbers of rare (and in many cases unique) documents which, for legal reasons, were previously only available to authorized individuals actually visiting the Library's document centre at Boston Spa in England.{{Citation needed|date=March 2007}} | |||
===DRM and e-books=== | |||
] read on a personal computer or an ] typically use DRM technology to limit copying, printing, and sharing of e-books. E-books (alternatively “ebooks”) are usually limited to be used on a certain number of reading devices and some ]s prevent any copying or printing. Some commentators believe that DRM makes e-book publishing complex.<ref>{{cite web|url=http://www.tinhat.com/ebooks_epublishing/epublishers_drm.html|title=eBooks and Digital Rights Management (DRM), for ePublishers|author=TinHat|date=June 2006|accessdate=2008-05-28|publisher=tinhat.com}}</ref> | |||
There are five main ebook formats at present. ], ], Topaz,<ref>{{cite web|url=http://wiki.mobileread.com/Topaz|publisher=mobileread.com |work=Mobileread.com|title=Topaz|accessdate=21 August 2012}}</ref> ] and ]. The Amazon Kindle uses Mobipocket, KF8 and Topaz; it also supports native PDF format ebooks and native PDF files. Other ebook readers mostly use ePub format ebooks, but with differing DRM schemes. | |||
There are four main ebook DRM schemes in common use today, one each from Amazon, Adobe, Apple, and the Marlin Trust Management Organization (MTMO). | |||
* Amazon's DRM is an adaption of the original Mobipocket encryption, and is applied to Amazon's Mobipocket, KF8 and .azw4 format ebooks. Topaz format ebooks have their own encryption system. | |||
* Adobe's Adept DRM is applied to ePubs and PDFs, and can be read by several third-party ebook readers, as well as Adobe Digital Editions software. Barnes & Noble uses a DRM technology provided by Adobe, and is applied to ePubs and the older Palm format ebooks. In 2014, Adobe announced a new DRM scheme to replace the old one, to become available as soon as March 2014. | |||
* Apple's Fairplay DRM is applied to ePubs, and can currently only be read by Apple's iBooks app on iOS devices. | |||
* The Marlin DRM was developed and is maintained in an open industry group known as the Marlin Developer Community (MDC) and is licensed by MTMO. (Marlin was founded by five companies, ], Panasonic, Philips, Samsung and Sony.) The Kno online textbook publisher uses Marlin to protect ebooks it sells in the ePub format. These books can be read on the Kno App for iOS and Android tablets. | |||
In one instance of DRM that caused a rift with consumers, ] remotely deleted purchased copies of ]'s '']'' and '']'' from customers' ]s after providing them a refund for the purchased products.<ref>{{cite news|url=http://www.nytimes.com/2009/07/18/technology/companies/18amazon.html|title=Amazon Erases Orwell Books From Kindle Devices|date=2009-07-18|publisher=New York Times|first=Brad|last=Stone|accessdate=2010-05-01}}</ref> Commentators have widely described these actions as ], and have alluded to ] from Orwell's ''Nineteen Eighty-Four''.<ref>{{cite news|url=http://pogue.blogs.nytimes.com/2009/07/17/some-e-books-are-more-equal-than-others/|title=Some E-Books Are More Equal Than Others|date=2009-07-17|publisher=New York Times|author=David Pogue}}</ref><ref>{{cite web|url=http://mashable.com/2009/07/17/amazon-kindle-1984/|title=Big Brother: Amazon Remotely Deletes 1984 From Kindles|date=July 17, 2009|author=Pete Cashmore}}</ref><ref>{{cite web|url=http://boingboing.net/2009/07/17/amazon-zaps-purchase.html|title=Amazon zaps purchased copies of Orwell's 1984 and Animal Farm from Kindles |date=July 17, 2009|author=Mark Frauenfelder}}</ref><ref>{{cite web|title=Amazon recalls (and embodies) Orwell's '1984'|url=http://news.cnet.com/8301-13860_3-10289983-56.html|date=July 17, 2009|author=Ina Fried}}</ref> After Amazon CEO ] issued a public apology, the ] wrote that this was just one more example of the excessive power Amazon has to remotely censor what people read through its software, and called upon Amazon to free its e-book reader and drop DRM.<ref>{{cite web|url=http://www.fsf.org/news/amazon-apologizes|title=Amazon's CEO Jeff Bezos apologizes for Kindle ebook deletion. Free Software Foundation calls upon Amazon to free the ebook reader.|date=July 23, 2009|author=]}}</ref> Amazon then revealed that the reason behind its deletion was the ebooks in question were unauthorized reproductions of Orwell's works, which were not within the public domain and to which the company that published and sold them on Amazon's service had no rights.<ref>{{cite web|url=http://arstechnica.com/tech-policy/news/2009/07/amazon-sold-pirated-books-raided-some-kindles.ars|title=Why Amazon went Big Brother on some Kindle e-books|date=July 17, 2009|publisher=]}}</ref> | |||
Websites including ] (shut down by court order on February 15, 2012), ] and Library Genesis have emerged which allow downloading ebooks by violating copyright.<ref>Kelty, Christopher M., "", ], March 1, 2012</ref> | |||
===DRM and film=== | |||
An early example of a DRM system is the ] (CSS) employed by the ] on film ]s c. 1996. CSS uses an ] to encrypt content on the DVD disc. Manufacturers of DVD players must license this technology and implement it in their devices so that they can decrypt the encrypted content to play it. The CSS license agreement includes restrictions on how the DVD content is played, including what outputs are permitted and how such permitted outputs are made available. This keeps the encryption intact as the video material is played out to a TV. In 1999, ] released an application called ] which allowed a CSS-encrypted DVD to play on a computer running the ] operating system, at a time when no licensed DVD player application for Linux had yet been created. In the same year, Windows came out with ], which read instructions from media files in a rights management language that stated what the user may do with the media.<ref name="SecurityEngineeringRA">{{cite book | url=http://www.cl.cam.ac.uk/~rja14/book.html | author=] | title=Security Engineering | isbn = 0-471-38922-6 | page=705 }}</ref> The language can define how many times the media file can be played, if it can be burned to a CD, if it can be printed, forwarded, or saved to the local disk.<ref>{{cite web | url=http://www.directionsonmicrosoft.com/sample/DOMIS/update/2003/04apr/0403rmctte.htm|title=Rights Management comes to the Enterprise|accessdate=2013-06-22}}{{dead link|date=April 2014}}</ref> Later versions of Windows Media DRM also allow producers to declare whether or not the user may transfer the media file to other devices,<ref>{{cite web|url=http://windows.microsoft.com/en-us/windows7/windows-media-player-drm-frequently-asked-questions|title=Windows Media Player DRM: frequently asked questions|accessdate=2013-06-22}}</ref> to implement music subscription services that make downloaded files unplayable after canceled subscription, and implement ].<ref name="Ross" /> | |||
Microsoft's ] contains a DRM system called the ], which contains the Protected Video Path (PVP). PVP tries to stop DRM-restricted content from playing while unsigned software is running in order to prevent the unsigned software from accessing the content. Additionally, PVP can encrypt information during transmission to the monitor or the graphics card, which makes it more difficult to make unauthorized recordings. | |||
] (AACS) is a DRM system for ] and ]s developed by the AACS Licensing Administrator, LLC (AACS LA), a ] that includes ], ], Microsoft, ] (Panasonic), ], ], ] and Sony. In December 2006 a process key was published on the internet by ], enabling unrestricted access to AACS-protected HD DVD content.<ref>{{cite web|url=http://www.boingboing.net/2006/12/28/report-hddvd-copy-pr.html|title=Report: HD-DVD copy protection defeated|author=Xeni Jardin|date=2006-12-28|work=BoingBoing|accessdate=2008-01-01}}</ref> After the cracked keys were revoked, further cracked keys were released.<ref>{{cite web|url=http://www.boingboing.net/2007/05/30/new-aacs-processing-.html|title=New AACS processing key leaks onto the net|author=Cory Doctorow|date=2007-05-30|work=BoingBoing|accessdate=2008-01-01}}{{dead link|date=April 2014}}</ref> | |||
] is a technology that is developed and maintained in an open industry group known as the Marlin Developer Community (MDC) and licensed by the Marlin Trust Management Organization (MTMO). Founded in 2005 by five companies: Intertrust, Panasonic, Philips, Samsung, and Sony, Marlin DRM has been deployed in multiple places around the world. In Japan the acTVila IPTV service uses Marlin to encrypt video streams, which are permitted to be recorded on a DVR in the home. In Europe, Philips NetTVs implement Marlin DRM. Also in Europe, Marlin DRM is required in such industry groups as the ] and national initiatives such as YouView in the UK, Tivu in Italy, and HDForum in France, which are starting to see broad deployments. | |||
===DRM and music=== | |||
====Audio CDs==== | |||
Discs with DRM schemes are not standards-compliant ]s (CDs) but are rather ] media. Therefore they all lack the CD logotype found on discs which follow the standard (known as ]). These CDs can not be played on all ]s or personal computers. Personal computers running ] sometimes even crash when attempting to play the CDs.<ref>{{cite web|author=Lewis, Rita|title=What is DRM and Why Should I Care?|date=January 8, 2008|publisher=Firefox News|accessdate=July 10, 2008|url=http://firefox.org/news/articles/1045/1/What-is-DRM-and-why-should-I-care/Page1.html}}</ref> | |||
In 2005, ] which installed DRM software on users' computers without clearly notifying the user or requiring confirmation. Among other things, the installed software included a ], which created a severe security vulnerability others could exploit. When the nature of the DRM involved was made public much later, Sony BMG initially minimized the significance of the vulnerabilities its software had created, but was eventually compelled to recall millions of CDs, and released several attempts to patch the surreptitiously included software to at least remove the rootkit. Several ]s were filed, which were ultimately settled by agreements to provide affected consumers with a cash payout or album downloads free of DRM.<ref>{{cite web|author=McMillan, Robert|title=Settlement Ends Sony Rootkit Case|date=May 23, 2006|publisher=]|accessdate=April 8, 2007|url=http://www.pcworld.com/article/id,125838-page,1-c,unresolvedtechstandards/article.html}}</ref> | |||
] actually had only a limited ability to prevent copying, as it affected only playback on Windows computers, not on other equipment. Even on the Windows platform, users regularly bypassed the restrictions. And, while the Sony BMG DRM technology created fundamental vulnerabilities in customers' computers, parts of it could be trivially bypassed by holding down the "shift" key while inserting the CD, or by disabling the ] feature. In addition, audio tracks could simply be played and re-recorded, thus completely bypassing all of the DRM (this is known as the ]). Sony BMG's first two attempts at releasing a ] which would remove the DRM software from users' computers failed. | |||
In January 2007, ] stopped publishing audio CDs with DRM, stating that "the costs of DRM do not measure up to the results."<ref>{{cite web|author=Marechal, Sander|url=http://lxer.com/module/newswire/view/78008/index.html|title=DRM on audio CDs abolished|date=January 9, 2007}}</ref> Following EMI, ] was the last publisher to abolish DRM completely, and audio CDs containing DRM are no longer released by the four record labels.<ref>{{cite web | |||
|author=Holahan, Catherine|url=http://www.businessweek.com/technology/content/jan2008/tc2008013_398775.htm|title=Sony BMG Plans to Drop DRM|date=January 4, 2008}}</ref> | |||
====Internet music==== | |||
Many internet music stores employ DRM to restrict usage of music purchased and downloaded. | |||
* Prior to 2009, Apple's iTunes Store utilized the ] DRM system for music. Apple did not license its DRM to other companies, so only Apple devices and Apple’s ] media player could play iTunes music.<ref name="Ross" /><ref name="opensource1"/> In May 2007, EMI tracks became available in ''iTunes Plus'' format at a higher price point. These tracks were higher quality (256 kbit/s) and DRM free. In October 2007, the cost of iTunes Plus tracks was lowered to US$0.99.<ref>{{cite web|url=http://arstechnica.com/journals/apple.ars/2007/10/15/itunes-plus-drm-free-tracks-expanding-dropping-to-99-cents|title=iTunes Plus DRM-free tracks expanding, dropping to 99 cents|work=Apple News from ARS Technica|accessdate=2007-10-16|date=2007-10-16}}</ref> In April 2009, all iTunes music became available completely DRM-free. (Videos sold and rented through iTunes, as well as iOS Apps, however, were to continue using Apple's FairPlay DRM.) | |||
* ] offers a subscription-based approach to DRM alongside permanent purchases. Users of the subscription service can download and stream an unlimited amount of music transcoded to ] while subscribed to the service. But when the subscription period lapses, all of the downloaded music is unplayable until the user renews his or her subscription. Napster also charges users who wish to use the music on their portable device an additional $5 per month. In addition, Napster gives users the option of paying an additional $0.99 per track to burn it to CD or for the song to never expire. Music bought through Napster can be played on players carrying the ] logo (which, notably, do not include ]s or even Microsoft's own ]). As of June 2009, Napster is offering DRM free MP3 music, which can be played on iPhones and iPods. | |||
* Wal-Mart Music Downloads, another music download store, charges $0.94 per track for all non-sale downloads. All Wal-Mart downloads are able to be played on any Windows PlaysForSure marked product. The music does play on the ]'s ] ], for example, but must be copied to the player's ]. It cannot be played through the player's ] card slot, which is a problem that many users of the mp3 player experience. | |||
* Sony operated a music download service called "]" which used Sony's proprietary ] DRM technology. Music downloaded from this store (usually via Sony's ] software) was only playable on computers running Microsoft Windows and Sony hardware (including the ] and some ] phones). | |||
* ] is one of a few services offering a subscription-based pricing model. However, music downloads from the Kazaa website are DRM-protected, and can only be played on computers or portable devices running Windows Media Player, and only as long as the customer remains subscribed to Kazaa. | |||
The various services are currently not interoperable, though those that use the same DRM system (for instance the several Windows Media DRM format stores, including Napster, Kazaa and Yahoo Music) all provide songs that can be played side-by-side through the same player program. Almost all stores require client software of some sort to be downloaded, and some also need ]. Several colleges and ], such as ], have made arrangements with assorted Internet music suppliers to provide access (typically DRM-restricted) to music files for their students, to less than universal popularity, sometimes making payments from student activity fee funds.<ref name="freelegal&ignored">{{cite news|url=http://online.wsj.com/public/article/SB115214899486099107-vuoIhGUthiYcFwsQK0DjegSRPwQ_20070706.html|title=Free, Legal and Ignored|author=Nick Timeraos|work=] (Wall Street Journal)|date=July 6, 2006|accessdate=2006-11-27}}</ref> One of the problems is that the music becomes unplayable after leaving school unless the student continues to pay individually. Another is that few of these vendors are compatible with the most common portable music player, the Apple iPod. The ] (to HMG in the UK; 141 pages, 40+ specific recommendations) has taken note of the incompatibilities, and suggests (Recommendations 8—12) that there be explicit ] exceptions to copyright allowing libraries to copy and format-shift between DRM schemes, and further allowing end users to do the same privately. If adopted, some of the acrimony may decrease. | |||
Although DRM is prevalent for Internet music, some ] such as ], ], ], and ], do not use DRM despite encouraging users to avoid sharing music. Major labels have begun releasing more music without DRM. Eric Bangeman suggests in Ars Technica that this is because the record labels are "slowly beginning to realize that they can't have DRMed music and complete control over the online music market at the same time... One way to break the cycle is to sell music that is playable on any digital audio player. eMusic does exactly that, and their surprisingly extensive catalog of non-DRMed music has vaulted it into the number two online music store position behind the iTunes Store."<ref>{{cite web|url=http://arstechnica.com/news.ars/post/20061206-8368.html|title=Testing DRM-free waters: EMI selling a few MP3s through Yahoo Music|author=Eric Bangeman|publisher=Ars Technica|date=December 6, 2006}}</ref> Apple's ] called on the music industry to eliminate DRM in an open letter titled ].<ref>{{cite web|url=http://macdailynews.com/2007/02/06/apple_ceo_steve_jobs_posts_rare_open_letter_thoughts_on_music/|author=Steve Jobs|title=Thoughts on Music}}</ref> Apple's iTunes Store will start to sell DRM-free 256 kbit/s (up from 128 kbit/s) ] encoded music from EMI for a premium price (this has since reverted to the standard price). | |||
In March 2007, Musicload.de, one of Europe's largest internet music retailers, announced their position strongly against DRM. In an open letter, Musicload stated that three out of every four calls to their customer support phone service are as a result of consumer frustration with DRM.<ref>{{cite news|author=Ken Fisher|date=March 18, 2007|title=Musicload: 75% of customer service problems caused by DRM|publisher=Ars Technica|url=http://arstechnica.com/news.ars/post/20070318-75-percent-customer-problems-caused-by-drm.html|accessdate=2007-03-20}}</ref> | |||
=====Mobile Ring Tones===== | |||
The ] created a standard for interoperable DRM on mobile devices. The first version of OMA DRM consisted of a simple rights management language and was widely used to protect mobile phone ringtones from being copied from the phone to other devices. Later versions expanded the rights management language to similar expressiveness as Fairplay, but did not become widely used.<ref name="Ross" /> | |||
===DRM and television=== | |||
The ] standard is used by cable television providers in the United States to restrict content to services to which the customer has subscribed. | |||
The ] concept was developed by Fox Broadcasting in 2001 and was supported by the ] and the U.S. ] (FCC). A ruling in May 2005 by a US Court of Appeals held that the FCC lacked authority to impose it on the TV industry in the US. It required that all HDTVs obey a stream specification determining whether or not a stream can be recorded. This could block instances of fair use, such as ]. It achieved more success elsewhere when it was adopted by the ] (DVB), a consortium of about 250 broadcasters, manufacturers, network operators, software developers, and regulatory bodies from about 35 countries involved in attempting to develop new digital TV standards. | |||
An updated variant of the broadcast flag has been developed in the Content Protection and Copy Management group under DVB (]). Upon publication by DVB, the technical specification was submitted to European governments in March 2007. As with much DRM, the CPCM system is intended to control use of copyrighted material by the end-user, at the direction of the copyright holder. According to Ren Bucholz of the ], which paid to be a member of the consortium, "You won't even know ahead of time whether and how you will be able to record and make use of particular programs or devices".<ref>{{cite web|url=http://w2.eff.org/IP/DVB/dvb_briefing_paper.php|title=Who Controls Your Television?|work=Electronic Frontier Foundation|accessdate=2008-01-01}}</ref> The DVB claims that the system will harmonize copyright holders' control across different technologies, thereby making things easier for end users.{{citation needed|date=December 2011}} The normative sections have now all been approved for publication by the DVB Steering Board, and will be published by ETSI as a formal European Standard as ETSI TS 102 825-X where X refers to the Part number of specification. Nobody has yet stepped forward to provide a ] regime for the standard (though several are rumoured to be in development), so it is not presently possible to fully implement a system, as there is nowhere to obtain the necessary device certificates. | |||
===Metadata=== | |||
Sometimes, ] is included in purchased media which records information such as the purchaser's name, account information, or email address. Also included may be the file's publisher, author, creation date, download date, and various notes. This information is not embedded in the played content, like a watermark, but is kept separate, but within the file or stream. | |||
As an example, metadata is used in media purchased from Apple's iTunes Store for DRM-free as well as DRM-restricted versions of their music or videos. This information is included as MPEG standard metadata.<ref>{{cite web|url=http://www.engadget.com/2007/05/31/itunes-plus-drm-free-not-free-of-annoying-glitches/|title=Tunes Plus DRM-free, not free of annoying glitches|publisher=]}}</ref><ref>{{cite web|url=http://playlistmag.com/weblogs/ipodblog/2007/06/ituneswatermark/index.php|publisher=]|title=Watermarked iTunes files}}{{dead link|date=January 2014}}</ref> | |||
===Watermarks=== | |||
] are features of media that are added during production or distribution. Digital watermarks involve data that is arguably ] embedded within the audio or video data. | |||
Watermarks can be used for different purposes that may include: | |||
* recording the copyright owner | |||
* recording the distributor | |||
* recording the distribution chain | |||
* identifying the purchaser of the music | |||
Watermarks are not complete DRM mechanisms in their own right, but are used as part of a system for copyright enforcement, such as helping provide prosecution evidence for purely legal avenues of rights management, rather than direct technological restriction. Some programs used to edit video and/or audio may distort, delete, or otherwise interfere with watermarks. Signal/modulator-carrier chromatography may also separate watermarks from original audio or detect them as glitches. Additionally, comparison of two separately obtained copies of audio using simple, home-grown algorithms can often reveal watermarks. New methods of detection are currently under investigation by both industry and non-industry researchers. | |||
==Laws regarding DRM== | |||
{{refimprove section|date=May 2014}} | |||
{{globalize|section|date=November 2012}} | |||
Article 11 of the 1996 ] (WCT) requires nations party to the treaties to enact laws against DRM circumvention, and has been implemented in most member states of the ]. The American implementation is the ] (DMCA), while in Europe the treaty has been implemented by the 2001 ], which requires member states of the ] to implement legal protections for technological prevention measures. {{As of|2006|alt=In 2006}}, the lower house of the French parliament adopted such legislation as part of the controversial ] law, but added that protected DRM techniques should be made interoperable, a move which caused widespread controversy in the United States. The Tribunal de Grande Instance Paris concluded in 2006 that the complete blocking of any possibilities of making private copies was an impermissible behaviour under French copyright law.<ref name="Christophe R. vs Warner Music" /> | |||
===Digital Millennium Copyright Act=== | |||
{{Main|Digital Millennium Copyright Act}} | |||
The Digital Millennium Copyright Act (DMCA) is an amendment to ] ], passed unanimously on May 14, 1998, which criminalizes the production and dissemination of technology that allows users to circumvent technical copy-restriction methods. Under the Act, circumvention of a technological measure that effectively controls access to a work is illegal if done with the primary intent of violating the rights of copyright holders.{{Verify source|date=March 2010}} (For a more detailed analysis of the statute, see ].) | |||
Reverse engineering of existing systems is expressly permitted under the Act under specific conditions. Under the reverse engineering safe harbor, circumvention necessary to achieve interoperability with other software is specifically authorized. See 17 U.S.C. Sec. 1201(f). Open-source software to decrypt content scrambled with the Content Scrambling System and other encryption techniques presents an intractable problem with the application of the Act. Much depends on the intent of the actor. If the decryption is done for the purpose of achieving interoperability of open source operating systems with proprietary operating systems, the circumvention would be protected by Section 1201(f) the Act. Cf., Universal City Studios, Inc. v. Corley, 273 F.3d 429 (2d Cir. 2001) at notes 5 and 16. However, dissemination of such software for the purpose of violating or encouraging others to violate copyrights has been held illegal. See Universal City Studios, Inc. v. Reimerdes, 111 F. Supp. 2d 346 (S.D.N.Y. 2000). | |||
The DMCA has been largely ineffective in protecting DRM systems,<ref>{{cite web|url=http://boingboing.net/2007/03/24/dmcas_author_says_th.html|title=DMCA's author says the DMCA is a failure, blames record industry|first=Cory|last=Doctorow|date=2007-03-24|accessdate=2011-01-12}}</ref> as software allowing users to circumvent DRM remains widely available. However, those who wish to preserve the DRM systems have attempted to use the Act to restrict the distribution and development of such software, as in the case of DeCSS. | |||
Although the Act contains an exception for research, the exception is subject to vague qualifiers that do little to reassure researchers. Cf., 17 U.S.C. Sec. 1201(g). The DMCA has had an impact on ], because many {{Who|date=March 2010}} fear that cryptanalytic research may violate the DMCA. The arrest of Russian programmer ] in 2001, for alleged infringement of the DMCA, was a highly publicized example of the law's use to prevent or penalize development of anti-DRM measures. Sklyarov was arrested in the United States after a presentation at ], and subsequently spent several months in jail. The DMCA has also been cited as chilling to non-criminal inclined users, such as students of ] (including, in a well-known instance, Professor Felten and students at ]<ref>{{cite web|url=http://cryptome.org/sdmi-attack.htm|title=RIAA challenges SDMI attack|date=2002-01-07|accessdate=2007-02-26}}</ref>), and security consultants such as the Netherlands based ], who has declined to publish information about vulnerabilities he discovered in an ] secure-computing scheme because of his concern about being arrested under the DMCA when he travels to the US. | |||
===European Union=== | |||
On 22 May 2001, the European Union passed the ], an implementation of the 1996 WIPO Copyright Treaty that addressed many of the same issues as the DMCA. | |||
On 25 April 2007 the European Parliament supported the first directive of EU, which aims to harmonize criminal law in the member states. It adopted a first reading report on harmonizing the national measures for fighting copyright abuse. If the European Parliament and the Council approve the legislation, the submitted directive will oblige the member states to consider a crime a violation of international copyright committed with commercial purposes. The text suggests numerous measures: from fines to imprisonment, depending on the gravity of the offense. The EP members supported the Commission motion, changing some of the texts. They excluded patent rights from the range of the directive and decided that the sanctions should apply only to offenses with commercial purposes. Copying for personal, non-commercial purposes was also excluded from the range of the directive. | |||
In 2012, the Court of Justice of the European Union ruled in favor of reselling copyrighted games, prohibiting any preventative action that would prevent such transaction.<ref>http://www.pcgamer.com/2012/07/03/european-court-of-justice-rules-on-the-right-to-sell-your-digital-games-and-licenses/</ref> The court said that "The first sale in the EU of a copy of a computer program by the copyright holder or with his consent exhausts the right of distribution of that copy in the EU. A rightholder who has marketed a copy in the territory of a Member State of the EU thus loses the right to rely on his monopoly of exploitation in order to oppose the resale of that copy."<ref>http://www.forbes.com/sites/gregvoakes/2012/07/03/european-courts-rule-in-favor-of-consumers-reselling-downloaded-games/</ref> | |||
In 2014, the Court of Justice of the European Union ruled that circumventing DRM on game devices may be legal under some circumstances, limiting the legal protection to only cover technological measures intended to prevent or eliminate unauthorised acts of reproduction, communication, public offer or distribution.<ref>http://www.techdirt.com/articles/20140123/08532725967/europes-highest-court-says-drm-circumvention-may-be-lawful-certain-circumstances.shtml</ref><ref>http://www.escapistmagazine.com/news/view/131597-DRM-Circumvention-May-Be-Legal-European-Union-Court-Rules</ref> | |||
===International issues=== | |||
In Europe, there are several ongoing dialog activities that are characterized by their consensus-building intention: | |||
* Workshop on Digital Rights Management of the ] (W3C), January 2001.<ref>{{cite web|url=http://www.w3.org/2000/12/drm-ws/Overview.html|title=W3C Workshop - Digital Rights Management for the Web|publisher=W3.org|accessdate=2010-08-31}}</ref> | |||
* Participative preparation of the ]/Information Society Standardization System (CEN/ISSS) DRM Report, 2003 (finished).<ref>{{dead link|date=August 2010}}</ref> | |||
* DRM Workshops of ] (finished), and the work of the DRM ]s (finished), as well as the work of the High Level Group on DRM (ongoing).<ref>European Commission - Information Society - eEurope 2005 - eEurope 2005 Action Plan http://collection.europarchive.org/dnb/20070405123415/ec.europa.eu/information_society/eeurope/2005/all_about/action_plan/index_en.htm</ref> | |||
* Consultation process of the European Commission, DG Internal Market, on the Communication COM(2004)261 by the European Commission on "Management of Copyright and Related Rights" (closed).<ref>{{cite web|url=http://europa.eu.int/comm/internal_market/copyright/management/management_en.htm|title=The address you requested is obsolete|publisher=Europa.eu.int|date=2009-02-23|accessdate=2010-08-31}}</ref> | |||
* The ] project is an ongoing dialogue on consumer acceptability of DRM solutions in Europe. It is an open and neutral platform for exchange of facts and opinions, mainly based on articles by authors from science and practice. | |||
* The ] project is a European Commission Integrated Project of the FP6. The main goal of AXMEDIS is automating the content production, copy protection and distribution, reducing the related costs and supporting DRM at both B2B and B2C areas harmonizing them. | |||
* The Gowers Review of Intellectual Property is the result of a commission by the British Government from ], undertaken in December 2005 and published in 2006, with recommendations regarding copyright term, exceptions, orphaned works, and copyright enforcement. | |||
===Israel=== | |||
Israel is a signatory to, but has not yet ratified, the WIPO Copyright Treaty. Israeli law does not currently expressly prohibit the circumvention of technological measures used to implement digital rights management. The Israeli Ministry of Justice proposed a bill to prohibit such activities in June 2012, but the bill was not passed by the Knesset. In September 2013, the Supreme Court ruled that the current copyright law could not be interpreted to prohibit the circumvention of digital rights management, though the Court left open the possibility that such activities could result in liability under the law of unjust enrichment.<ref>{{cite web|url=http://israeltechnologylaw.wordpress.com/2014/02/16/no-digital-rights-management-here/|title=Israel Technology Law Blog - No Digital Rights Management Here}}</ref> | |||
==Opposition to DRM== | |||
] logo.]] | |||
Many organizations, prominent individuals, and computer scientists are opposed to DRM. Two notable DRM critics are ], as expressed for instance, in his article "]: How Big brother and big media can put the Internet genie back in the bottle",<ref>{{cite web|url=http://www.fourmilab.ch/documents/digital-imprimatur/|title=The Digital Imprimatur: How big brother and big media can put the Internet genie back in the bottle.|first=John|last=Walker|date=September 13, 2003}}</ref> and ] in his article ''The Right to Read''<ref>{{cite web|author=]|url=https://www.gnu.org/philosophy/right-to-read.html|title=The Right to Read}}</ref> and in other public statements: "DRM is an example of a malicious feature - a feature designed to hurt the user of the software, and therefore, it's something for which there can never be toleration".<ref>{{cite web|url=http://www.ifso.ie/documents/gplv3-launch-2006-01-16.html|title=Transcript of Opening session of first international GPLv3 conference|date=January 16, 2006|first=Ciaran|last=O'Riordan}}</ref> Stallman also believes that using the word "rights" is misleading and suggests that the word "restrictions", as in "Digital Restrictions Management", is used instead.<ref>{{cite web|url=https://www.gnu.org/philosophy/opposing-drm.html|title=Opposing Digital Rights Mismanagement | |||
(Or Digital Restrictions Management, as we now call it)?|accessdate=2014-05-29}}</ref><ref>https://encrypted.google.com/books?id=Cu-jmbUEilcC&pg=PA22&dq=%22Digital+restrictions+management%22&hl=en&sa=X&ei=KM-FU568FM-O4gSXv4GIAg&ved=0CD4Q6AEwAjgK#v=onepage&q=%22Digital%20restrictions%20management%22&f=false</ref><ref>https://encrypted.google.com/books?id=JPyY9RG7J38C&pg=PA231&dq=%22Digital+restrictions+management%22&hl=en&sa=X&ei=gM6FU6GNIYT-4QTHk4H4Cw&ved=0CFUQ6AEwBg#v=onepage&q=%22Digital%20restrictions%20management%22&f=false</ref><ref>https://encrypted.google.com/books?id=SttUjSQ3-TYC&pg=PA121&dq=%22Digital+restrictions+management%22&hl=en&sa=X&ei=gM6FU6GNIYT-4QTHk4H4Cw&ved=0CFwQ6AEwBw#v=onepage&q=%22Digital%20restrictions%20management%22&f=false</ref><ref>https://encrypted.google.com/books?id=waKQXz6rLsAC&pg=PA139&dq=%22Digital+restrictions+management%22&hl=en&sa=X&ei=KM-FU568FM-O4gSXv4GIAg&ved=0CGEQ6AEwCDgK#v=onepage&q=%22Digital%20restrictions%20management%22&f=false</ref>Professor ] of Cambridge University heads a British organization which opposes DRM and similar efforts in the UK and elsewhere. ], a prominent writer and technology blogger, spoke on the Microsoft campus criticizing the technology, the morality, and the marketing of DRM.<ref name=Doctorow /> | |||
There have been numerous others who see DRM at a more fundamental level. argues that DRM-free music allows for viral marketing, arguing that independent artists benefit from "free marketing" and can then focus on revenues from higher margin products like merchandise and concert ticket sales. This is similar to some of the ideas in Michael H. Goldhaber's presentation about "The Attention Economy and the Net" at a 1997 conference on the "Economics of Digital Information."<ref name="Goldhaber">{{cite web|url=http://www.firstmonday.org/issues/issue2_4/goldhaber/#dep18|title=The Attention Economy and the Net|accessdate=28 July 2008}}</ref> (sample quote from the "Advice for the Transition" section of that presentation:<ref name="Goldhaber"/> "If you can't figure out how to afford it without charging, you may be doing something wrong.") | |||
The EFF and similar organizations such as ] also hold positions which are characterized as opposed to DRM. | |||
The ] has criticized DRM's impact as a ] from a ] perspective. | |||
The final version of the ] version 3, as released by the Free Software Foundation, has a provision that 'strips' DRM of its legal value, so people can break the DRM on GPL software without breaking laws like the ]. Also, in May 2006, the FSF launched a "]" campaign against DRM.<ref>{{cite web|url=http://www.fsf.org/licensing/licenses/gpl-faq.html#DRMProhibited|title=Frequently Asked Questions about the GNU Licenses - GNU Project - Free Software Foundation|publisher=FSF|date=2010-07-28|accessdate=2010-08-31}}</ref><ref>{{cite web|url=http://www.defectivebydesign.org/|title=The Campaign to Eliminate DRM|publisher=DefectiveByDesign.org|accessdate=2010-08-31}}</ref> | |||
] provides licensing options encouraging the expansion of and building upon creative work without the use of DRM.<ref>{{cite web|url=http://wiki.creativecommons.org/FAQ#Is_Creative_Commons_involved_in_digital_rights_management_.28DRM.29.3F|title=Frequently Asked Questions - CcWiki|accessdate=2006-11-22|date=2006-11-09}}</ref> In addition, the use of DRM by a licensee to restrict the freedoms granted by a Creative Commons license is a breach of the Baseline Rights asserted by each license.<ref>{{cite web|url=http://wiki.creativecommons.org/Baseline_Rights|title=Baseline Rights - Creative Commons Wiki|accessdate=2007-12-23|date=2007-07-13}}</ref> | |||
Bill Gates spoke about DRM at CES in 2006. According to him, DRM is not where it should be, and causes problems for legitimate consumers while trying to distinguish between legitimate and illegitimate users.<ref>{{cite web|url=http://www.techcrunch.com/2006/12/14/bill-gates-on-the-future-of-drm/|title=Bill Gates On The Future Of DRM.}}</ref> | |||
According to ], Apple opposes DRM music after a public letter calling its music labels to stop requiring DRM on its iTunes Store. As of January 6, 2009, the iTunes Store is DRM-free for songs.<ref name="iTunes is DRM-free">{{cite web|url=http://www.apple.com/pr/library/2009/01/06itunes.html|title=Changes Coming to the iTunes Store|author=apple.com|date=2009-01-06|accessdate=2009-03-08}}</ref> However, Apple considers DRM on video content as a separate issue and has not removed DRM from all of its video catalog. | |||
] member protesting DRM on May 25, 2007.]] | |||
The Norwegian Consumer rights organization "Forbrukerrådet" complained to Apple Inc. in 2007 about the company's use of DRM in, and in conjunction with, its iPod and iTunes products. Apple was accused of restricting users' access to their music and videos in an unlawful way, and of using ]s which conflict with Norwegian consumer legislation. The complaint was supported by consumers' ] in Sweden and Denmark, and is currently being reviewed in the EU. Similarly, the United States ] held hearings in March 2009 to review disclosure of DRM limitations to customers' use of media products.<ref>{{cite web|url=https://secure.commentworks.com/ftc-DRMtechnologies/|title=FTC Town Hall to Address Digital Rights Management Technologies|accessdate=2009-01-15|publisher=]}}{{dead link|date=April 2014}}</ref> | |||
The use of DRM may also be a barrier to future historians, since technologies designed to permit data to be read only on particular machines, or with particular keys, or for certain periods, may well make future data recovery impossible – see ]. | |||
DRM opponents argue that the presence of DRM violates existing ] rights and restricts a range of heretofore normal and legal user activities. A DRM component would control a device a user owns (such as a ]) by restricting how it may act with regards to certain content, overriding some of the user's wishes (for example, preventing the user from burning a copyrighted song to ] as part of a compilation or a review). Doctorow has described this possibility as "the right to make up your own copyright laws".<ref> - ], Techdirt, 6 February 2014</ref> | |||
An example of this restriction to legal user activities may be seen in Microsoft's Windows Vista operating system in which content using a Protected Media Path is disabled or degraded depending on the DRM scheme's evaluation of whether the hardware and its use are 'secure'.<ref>{{cite web|url=http://msmvps.com/blogs/chrisl/archive/2007/01/25/519180.aspx|title=What Content Will Be Crippled When Output in Vista?|accessdate=2010-09-08}}</ref> All forms of DRM depend on the DRM enabled device (e.g., computer, DVD player, TV) imposing restrictions that (at least by intent) cannot be disabled or modified by the user. Key issues around DRM such as the right to make personal copies, provisions for persons to lend copies to friends, provisions for service discontinuance, hardware agnosticism, software and operating system agnosticism,<ref>{{cite web|url=http://wesleytech.com/why-is-netflix-ignoring-linux/2072/|title=Why is Netflix ignoring Linux?|accessdate=2010-09-08}}</ref> contracts for public libraries, and customers' protection against one-side amendments of the contract by the publisher have not been fully addressed.(see references 80-89) It has also been pointed out that it is entirely unclear whether owners of content with DRM are legally permitted to pass on their property as ] to another person.<ref>, February 26, 2009</ref> | |||
Tools like ] have been created to strip Windows Media of DRM restrictions.<ref>{{cite web|url=http://www.engadget.com/2006/08/25/fairuse4wm-strips-windows-media-drm|title=Engadget FairUse4WM strips Windows Media DRM!|accessdate=2006-08-25}}</ref> | |||
] President ] also stated "most DRM strategies are just dumb" because they only decrease the value of a game in the consumer's eyes. Newell suggests that the goal should instead be " greater value for customers through service value".<ref name="test">{{cite web|url=http://www.1up.com/do/newsStory?cId=3171588|title=Gabe Newell Says DRM Strategies 'Are Just Dumb'|date=2008-12-02}}</ref> | |||
At the 2012 ], the CEO of ], Marcin Iwinski, announced that the company will not use DRM in any of its future releases. Iwinski stated of DRM, "it's just over-complicating things. We release the game. It's cracked in two hours, it was no time for ]. What really surprised me is that the pirates didn't use the ] version, which was not protected. They took the ] retail version, cracked it and said 'we cracked it' – meanwhile there's a non-secure version with a simultaneous release. You'd think the ] version would be the one floating around." Iwinski added after the presentation, "DRM does not protect your game. If there are examples that it does, then people maybe should consider it, but then there are complications with legit users."<ref>{{cite web|url=http://www.forbes.com/sites/erikkain/2012/03/08/witcher-2-developer-we-will-never-use-any-drm-anymore/|title='Witcher 2' Developer: 'We Will Never Use Any DRM Anymore'|last=Kain|first=Eric|publisher=Forbes|accessdate=2012-03-30}}</ref> | |||
] argues that digital copy prevention is futile: "What the entertainment industry is trying to do is to use technology to contradict that natural law. They want a practical way to make copying hard enough to save their existing business. But they are doomed to fail."<ref> Crypto-Gram Newsletter, May 15, 2001</ref> He has also described trying to make digital files uncopyable as being like "trying to make water not wet".<ref>{{cite web|url=http://www.wired.com/politics/security/commentary/securitymatters/2006/09/71738|title=Quickest Patch Ever|author=Bruce Schneier|date=09.07.06|publisher=Wired|accessdate=2010-02-15}}{{dead link|date=April 2014}}</ref> The creators of ] also take this stance, stating that "The purpose of copy protection is not making the game uncrackable - it is impossible."<ref>{{cite web|url=http://www.glop.org/starforce/images/starforce-official-words.png|title=Official words of StarForce on DRM|accessdate=2010-09-08}}</ref> | |||
The ] and the ] have historically opposed DRM, even going so far as to name ] as a technology "most likely to fail" in an issue of ].<ref>{{cite web|url=http://www.spectrum.ieee.org/jan05/2703|title=Loser: DVD Copy Protection, Take 2 |accessdate=2007-05-04 |author=Tekla S. Perry|date=January 2007|work=Spectrum Online}}</ref> | |||
===DRM-free works=== | |||
In reaction to opposition to DRM, many publishers and artists label their works as "DRM-free". Major companies who have done so include the following: | |||
* ] sold DRM content on their ] when it started 2003, but made music DRM-free after April 2007<ref>{{cite web|url=http://www.apple.com/pr/library/2007/04/02itunes.html|title=Apple Unveils Higher Quality DRM-Free Music on the iTunes Store|accessdate=2008-09-13}}</ref> and has been labeling all music as "DRM-Free" since January 2009.<ref>{{cite web|url=http://arstechnica.com/news.ars/post/20070530-apple-hides-account-info-in-drm-free-music-too.html|title=Apple hides account info in DRM-free music, too|accessdate=2008-09-13}}</ref> The music still carries a ] to identify the purchaser. Other works sold on iTunes such as e-books, movies, TV shows, audiobooks and apps continue to be protected by DRM.<ref>{{cite web|url=http://www.defectivebydesign.org/itunes-drm-free|title=Apple announces all music on iTunes to go DRM-free -- no word on movies, TV shows, games, audiobooks and applications|date=2009-01-08}}</ref> | |||
* ], a ] started in 2008, specialized in the distribution of ] ]s. While most other digital distribution services allow various forms of DRM (or have them embedded) ''gog.com'' has a strict non-DRM policy.<ref name="arspreview">{{cite web |url=http://arstechnica.com/gaming/news/2008/09/first-look-gog-revives-classic-pc-games-for-download-age.ars |title=First look: GOG revives classic PC games for download age |accessdate=2012-12-27 |first=Frank|last=Caron |date=2008-09-09 |publisher=Ars Technica |quote='' focuses on bringing old, time-tested games into the downloadable era with low prices and no DRM.''}}</ref> | |||
* The ] series, created by Humble Bundle Inc. in 2010, is a series of game, music, and eBook bundles. The two main rules required for every included product are a "]" price and a lack of DRM. | |||
* ], a major publisher of science fiction and fantasy books, sells DRM-free ] by July 2012.<ref>{{cite web|title=Tor/Forge E-book Titles to Go DRM-Free |url=http://www.tor.com/blogs/2012/04/torforge-e-book-titles-to-go-drm-free|publisher=Tor.com |accessdate=24 April 2012}}</ref> One year later the publisher stated that they will keep this model as removing DRM was not hurting their business.<ref>{{cite web|url=http://arstechnica.com/business/2013/05/tor-books-says-cutting-drm-out-of-its-e-books-hasnt-hurt-business/|title=Tor Books says cutting DRM out of its e-books hasn’t hurt business - A look at the sci-fi publisher a year after it announced it would do away with DRM.|first=Megan|last=Geuss |date=2013-05-04 |accessdate=2013-07-07 |publisher=]|quote=''Early this week, Tor Books, a subsidiary of Tom Doherty Associates and the world's leading publisher of science fiction, gave an update on how its decision to do away with Digital Rights Management (DRM) schemes has impacted the company. Long story short: it hasn't, really.''}}</ref> Smaller e-book publishers such as ], ]<ref>{{cite news|title=Tor/Forge Plans DRM-Free e-Books By July|url=http://www.publishersweekly.com/pw/by-topic/digital/content-and-e-books/article/51659-tor-forge-plans-drm-free-e-books-by-july.html|accessdate=24 April 2012|newspaper=]|date=24 April 2012}}</ref> and ] had already forgone DRM previously. | |||
* ] is another ] of classical ], who offers in their catalogue also own ] to ] of classics.<ref>{{cite web|url=http://www.rockpapershotgun.com/2010/04/26/birds-of-a-feather-dotemu-beta/ |title=Birds Of A Feather: DotEmu Beta |first=Kieron |last=Gillen |date=2010-04-26 |accessdate=2013-07-04 |publisher=]}}</ref> | |||
==Shortcomings== | |||
===Methods to bypass DRM=== | |||
There are many methods to bypass DRM control on audio and video content. | |||
One simple method to bypass DRM on audio files is to burn the content to an audio CD and then ] it into DRM-free files. Some software products simplify and automate this burn-rip process by allowing the user to burn music to a CD-RW disc or to a Virtual CD-R drive, then automatically ripping and encoding the music, and automatically repeating this process until all selected music has been converted, rather than forcing the user to do this one CD (72–80 minutes worth of music) at a time. | |||
Many software programs have been developed that intercept the data stream as it is decrypted out of the DRM-restricted file, and then use this data to construct a DRM-free file. These programs require a decryption key. Programs that do this for DVDs, HD DVDs, and Blu-ray Discs include universal decryption keys in the software itself. Programs that do this for TiVo ToGo recordings, iTunes audio, and PlaysForSure songs, however, rely on the user's own key — that is, they can only process content that the user has legally acquired under his or her own account. | |||
Another method is to use software to record the signals being sent through the audio or video cards, or to plug analog recording devices into the analog outputs of the media player. These techniques utilize the "]." | |||
===Analog hole=== | |||
{{Main|Analog hole}} | |||
All forms of DRM for audio and visual material (excluding interactive materials, e.g., videogames) are subject to the ''analog hole'', namely that in order for a viewer to play the material, the digital signal must be turned into an analog signal containing light and/or sound for the viewer, and so available to be copied as no DRM is capable of controlling content in this form. In other words, a user could play a purchased audio file while using a separate program to record the sound back into the computer into a DRM-free file format. | |||
All DRM to date can therefore be bypassed by recording this signal and digitally storing and distributing it in a non DRM limited form, by anyone who has the technical means of recording the analog stream. Furthermore, the analog hole vulnerability cannot be overcome without the additional protection of externally imposed restrictions, such as legal regulations, because the vulnerability is inherent to all analog means of transmission.<ref>Sicker, Douglas, Paul Ohm, and Shannon Gunaji. "The Analog Hole and the Price of Music: An Empirical Study". ''Journal of Tellecommunications and High Technology''. 2006–2007.</ref> However, the conversion from digital to analog and back is likely to force a loss of quality, particularly when using ] digital formats. ] is an attempt to plug the analog hole, although it is largely ineffective.<ref>{{cite web|url=http://vimeo.com/4520463|title=MPAA shows how to videorecord a TV set|accessdate=2009-09-04}}</ref><ref>{{cite book|url=http://books.google.com/books?hl=en&lr=&id=GzN3ohNNPDgC&oi=fnd&pg=PA192&ots=bF8iXjPRSX&sig=ba1KxQPskkZqJ-S3hqBGS8opoZI#v=onepage&q=&f=false|title=Security and Privacy in Digital Rights Management|accessdate=2009-09-04}}</ref> | |||
] released a soundcard which features a function called "Analog Loopback Transformation" to bypass the restrictions of DRM. This feature allows the user to record DRM-restricted audio via the soundcard's built-in analog I/O connection.<ref>{{cite web|url=http://www.asus.com/news_show.aspx?id=7319|title=Asus Showcases New Generation Audio Card at Computex 2007|accessdate=2007-06-26}}{{dead link|date=April 2014}}</ref><ref>{{cite web|url=http://www.pcpro.co.uk/reviews/121497/asus-xonar-d2.html|title=PC Pro Product Reviews Asus Xonar D2|publisher=Pcpro.co.uk|date=2007-08-01|accessdate=2012-02-20}}</ref> | |||
In order to prevent this exploit there has been some discussions between copyright holders and manufacturers of electronics capable of playing such content, to no longer include analog connectivity in their devices. The movement dubbed as "Analog Sunset" has seen a steady decline in analog output options on most ] devices manufactured after 2010. | |||
===DRM on general computing platforms=== | |||
Many of the DRM systems in use are designed to work on general purpose computing hardware, such as desktop PCs apparently because this equipment is felt to be a major contributor to revenue loss from disallowed copying.{{citation needed|date=January 2013}} Large commercial copyright infringers ("pirates") avoid consumer equipment,{{Citation needed|date=December 2010}} so losses from such infringers will not be covered by such provisions. | |||
Such schemes, especially software based ones, can never be wholly secure since the software must include all the information necessary to decrypt the content, such as the ]. An attacker will be able to extract this information, directly decrypt and copy the content, which bypasses the restrictions imposed by a DRM system.<ref name="Doctorow">{{cite web|url=http://www.changethis.com/4.DRM|format=PDF|title=Microsoft Research DRM Talk|author=]|quote="At the end of the day, all DRM systems share a common vulnerability: they provide their attackers with ciphertext, the cipher and the key. At this point, the secret isn't a secret anymore."|date=June 17, 2004|accessdate=2007-08-17|publisher=craphound.com }}</ref> | |||
===DRM on purpose-built hardware=== | |||
Many DRM schemes use encrypted media which requires purpose-built hardware to hear or see the content. This appears to ensure that only licensed users (those with the hardware) can access the content. It additionally tries to protect a secret decryption key from the users of the system. | |||
While this in principle can work, it is extremely difficult to build the hardware to protect the secret key against a sufficiently determined adversary. Many such systems have failed in the field. Once the secret key is known, building a version of the hardware that performs no checks is often relatively straightforward. In addition user verification provisions are frequently subject to attack, ] being among the most frequented ones. | |||
A common real-world example can be found in commercial ] television systems such as ] and Malaysia's ]. The company uses tamper-resistant ] to store decryption keys so that they are hidden from the user and the satellite receiver. However, the system has been compromised in the past, and DirecTV has been forced to roll out periodic updates and replacements for its smart cards. | |||
===Watermarks=== | |||
]s can often be removed, although degradation of video or audio can occur. | |||
===Undecrypted copying failure=== | |||
Mass piracy of hard copies does not necessarily need DRM to be decrypted or removed, as it can be achieved by bit-perfect copying of a legally obtained medium without accessing the decrypted content. Additionally, still-encrypted ]s can be distributed over the Internet and played on legitimately licensed players. | |||
===Obsolescence=== | |||
When standards and formats change, it may be difficult to transfer DRM-restricted content to new media. Additionally, any system that requires contact with an authentication server is vulnerable to that server becoming unavailable, as happened<ref>{{cite web|url=http://yro.slashdot.org/article.pl?sid=07/11/07/2014253|title=MLB Fans Who Bought DRM Videos Get Hosed|date=November 7, 2007|accessdate=2007-11-08|publisher=slashdot.org}}</ref> in 2007 when videos purchased from ] (mlb.com) prior to 2006 became unplayable due to a change to the servers that validate the licenses. | |||
'''Amazon PDF and LIT ebooks''' | |||
In August 2006, Amazon stopped selling DRMed PDF and .LIT format ebooks. Customers were unable to download purchased ebooks 30 days after that date, losing access to their purchased content on new devices.<ref>{{cite news|url=http://www.mobileread.com/forums/showthread.php?threadid=7223|title=Amazon Drops Lit/Pdf eBooks|date=August 4, 2006|accessdate=2011-03-22 |publisher=Mobileread}}</ref><ref>{{cite news|url=http://www.writers-edge.info/2006/09/amazon-drops-ebooks.htm|title=Amazon Drops eBooks |date=September 17, 2006|accessdate=2011-03-22|first=Georganna|last=Hancock}}</ref> | |||
'''Microsoft Zune''' | |||
When Microsoft introduced their ]<ref>{{cite web|url=http://yro.slashdot.org/article.pl?sid=06/09/19/1342256|title=Zune Won't Play Old DRM Infected Files|date=September 19, 2006|accessdate=2007-09-19|publisher=slashdot.org}}</ref> media player in 2006, it did not support content that uses Microsoft's own ] DRM scheme they had previously been selling. The EFF calls this "a raw deal".<ref>{{cite news|url=http://www.eff.org/deeplinks/archives/004910.php|title=Microsoft's Zune Won't Play Protected Windows Media|date=September 15, 2006|accessdate=2008-09-27|publisher=Electronic Frontier Foundation|first=Derek|last=Slater}}</ref> | |||
'''MSN Music''' | |||
In April 2008, Microsoft sent an email to former customers of the now-defunct MSN Music store: | |||
"As of August 31, 2008, we will no longer be able to support the retrieval of license keys for the songs you purchased from MSN Music or the authorization of additional computers. You will need to obtain a license key for each of your songs downloaded from MSN Music on any new computer, and you must do so before August 31, 2008. If you attempt to transfer your songs to additional computers after August 31, 2008, those songs will not successfully play."<ref>{{cite news|url=http://arstechnica.com/news.ars/post/20080422-drm-sucks-redux-microsoft-to-nuke-msn-music-drm-keys.html|title=DRM sucks redux: Microsoft to nuke MSN Music DRM keys|date=April 22, 2008|accessdate=2008-04-22|publisher=Ars Technica|first=Jacqui|last=Cheng}}</ref> | |||
However, to avoid a public relations disaster, Microsoft re-issued MSN Music shutdown statement on June 19 and allowed the users to use their licenses until the end of 2011: "After careful consideration, Microsoft has decided to continue to support the authorization of new computers and devices and delivery of new license keys for MSN Music customers through at least the end of 2011, after which we will evaluate how much this functionality is still being used and what steps should be taken next to support our customers. This means you will continue to be able to listen to your purchased music and transfer your music to new PCs and devices beyond the previously announced August 31, 2008 date."<ref>{{cite news|url=http://community.winsupersite.com/blogs/paul/archive/2008/06/19/msn-music-store-support-notification.aspx|title=MSN Music Store Support Notification|date=June 19, 2008|accessdate=2008-06-19|publisher=Winsupersite|first=Paul|last=Thurrott}}{{dead link|date=April 2014}}</ref> | |||
'''Yahoo! Music Store''' | |||
On July 23, 2008, the Yahoo! Music Store emailed its customers to tell them it will be shutting down effective September 30, 2008 and the DRM license key servers will be taken offline.<ref>{{cite news|url=http://arstechnica.com/uncategorized/2008/07/drm-still-sucks-yahoo-music-going-dark-taking-keys-with-it/|title=DRM still sucks: Yahoo Music going dark, taking keys with it|date=July 24, 2008|accessdate=2012-05-18|publisher=Ars Technica|first=Nate|last=Anderson}}</ref> | |||
'''Walmart''' | |||
In August 2007, ]'s online music division started offering (DRM-free) MP3s as an option. Starting in February 2008, they made all sales DRM-free. | |||
On September 26, 2008, the Walmart Music Team notified its customers via email they will be shutting down their DRM servers October 9, 2008 and any DRM-encumbered music acquired from them will no longer be accessible unless ripped to a non-DRM format before that date.<ref>{{cite news|url=http://www.boingboing.net/2008/09/26/walmart-shutting-dow.html|title=Wal*Mart shutting down DRM server, nuking your music collection--only people who pay for music risk losing it to DRM shenanigans|date=September 26, 2008|accessdate=2008-09-26|publisher=Boing Boing|first=Cory|last=Doctorow}}</ref> | |||
After bad press and negative reaction from customers, on October 9, 2008, Walmart decided not to take its DRM servers offline.<ref>{{cite news|url=http://www.engadget.com/2008/10/10/walmart-has-a-change-of-heart-decides-to-maintain-drm-servers/|title=Walmart has a change of heart, decides to maintain DRM servers|date=October 10, 2008|accessdate=2008-10-10|publisher=Weblogs, Inc.|first=Darren|last=Murph}}</ref> | |||
'''Fictionwise''' / '''Overdrive''' | |||
In January 2009, ] informed ] that they would no longer be providing downloads for purchasers of ]s through Fictionwise as of 31 January 2009. No reason was provided to Fictionwise as to why they were being shut down. This prevents previous purchasers from being able to renew their books on new devices.<ref name=fictionwise>{{cite web|url=http://www.fictionwise.com/help/Overdrive-Replacement-FAQ.htm|title=Fictionwise Support FAQ|accessdate=8 January 2009}}</ref> Fictionwise is working to provide replacement ebooks for its customers in alternative, non-DRM formats, but does not have the rights to provide all of the books in different formats.<ref name=fictionwise /> | |||
'''Ads for Adobe PDF''' | |||
Also in January 2009, ] announced that as of March 2009 they would no longer operate the servers that served ads to their ] reader. Depending on the restriction settings used when PDF documents were created, they may no longer be readable.<ref>{{cite web|url=http://www.mobileread.com/forums/showthread.php?t=36260|title=Ads for AdobePDF discontinued|accessdate=2009-01-15}}</ref> | |||
'''Adobe Content Server 3 for Adobe PDF''' | |||
In April 2009, ] announced that as of March 30, 2009 the Adobe Content 3 server would no longer activate new installations of ] or ]. In addition, the ability to migrate content from Adobe Content Server 3 to Adobe Content Server 4 would cease from mid-December 2009. Anyone who failed to migrate their DRMed PDF files during this nine month window lost access to their content the next time they had to re-install their copy of Adobe Reader or Adobe Acrobat.<ref>{{cite web|url=http://kb2.adobe.com/cps/409/kb409073.html|title=Adobe Content 3 Server Discontinued|accessdate=2011-02-22}}</ref> | |||
'''Harper Collins ebook store''' | |||
In November 2010, ] announced that as of November 19, 2010, their eBook Store was discontinued, and advised all customers to download and archive their purchases before December 19, 2010, when purchased titles would no longer be accessible. Loss of access to Mobipocket ebooks on new devices.<ref>{{cite web|url=http://www.teleread.com/paul-biba/harpercollins-closes-ebookstore-nobody-knew-about/|title=HarperCollins ebook Store Discontinued|accessdate=2011-02-23}}</ref> | |||
'''CyberRead ebook store''' | |||
In February 2011, CyberRead announced that they were closing down, and advised all customers to download and archive their purchases. Loss of access to Mobipocket ebooks on new devices.<ref>{{cite web|url=http://www.mobileread.com/forums/showthread.php?t=123485|title=CyberRead ebook Store Discontinued|accessdate=2011-02-23}}</ref> | |||
'''Fictionwise''' | |||
In November 2012, ] announced that they were shutting down. Access to ebook downloads stopped on 31 January 2013. US and UK customers had a limited time-window (up to 26 April 2013) to opt-in to a transfer of (most of) their Fictionwise library to a Barnes & Nobel/NOOK UK account. Customers outside the US and UK lost access to new downloads of their books. For books in the secure Mobipocket format, this meant that customers would not be able to read the book on any new devices.<ref>{{cite web|url=http://www.mobileread.com/forums/showthread.php?t=196844/|title=Fictuonwise has shut down!|accessdate=2013-05-23}}</ref> | |||
'''JManga ebook store''' | |||
In March 2013, ] announced that they were closing down, and advised all customers that they would lose all access to their content in May 2013.<ref>{{cite web|url=http://www.the-digital-reader.com/2013/03/16/digital-comics-distributor-jmanga-to-close-proves-once-again-that-drm-is-a-bad-idea/|title=JManga ebook Store Discontinued|accessdate=2013-03-17}}</ref> | |||
'''Waterstones ebook store''' | |||
In March 2013, ] announced that they were making changes to their eBook store, and advised customers that some of their ebooks would become unavailable for download after 18 April 2013. Waterstones advised affected customers to download before then. Any customer who had not kept their own backups and missed this 31-day window lost their ebooks.<ref>{{cite web|url=http://www.mobileread.com/forums/showthread.php?t=208813/|title=Waterstones customers losing access to some of their books|accessdate=2013-03-23}}</ref> | |||
'''Acetrax Video on Demand''' | |||
In May 2013, Acetrax announced they were shutting down. Refunds were provided for purchases of HD movies, but for standard definition versions, the only option made available was a limited time option to download to a Windows PC, but the movie would then be locked to that particular installation of Microsoft Media Player. Non-Windows users lost access to their SD movies.<ref>{{cite web|url=http://www.techdirt.com/articles/20130522/10290323174/vod-service-acetrax-shuts-down-germany-customers-movies-are-lost-due-to-drm.shtml/|title=VOD Service Acetrax Shutting Down, Forcing Customers Through DRM Hoops To Retain Their Purchased Movies|accessdate=2013-05-23}}</ref> | |||
===Environmental issues=== | |||
DRM can accelerate hardware obsolescence, turning it into ] sooner: | |||
* DRM-related restrictions on capabilities of hardware can artificially reduce the range of potential uses of the device (to the point of making a device consisting of general-purpose components usable only for a purpose approved, or with “content” provided, by the vendor), limit ]ability and repairability.<ref>http://www.copyright.gov/1201/2012/comments/James_Evans_Turner.pdf</ref><ref>http://www.ntia.doc.gov/files/ntia/publications/ntia_2012_dmca_letter_final.pdf</ref> Cf. ] ], ], ]. Examples: | |||
** ] (applies to discs as well as DVD players and drives); | |||
** the removal of the ] feature from Sony PlayStation 3 game consoles; | |||
** ], ] and similar. | |||
* Users may be forced to buy new devices for compatibility with DRM, i.a. through having to upgrade an operating system to one with different hardware requirements.<ref>{{cite web|url=http://www.defectivebydesign.org/blog/924|title="Wow starts now"? Software Freedom Activists Stand Up To VISTA Launch|last1=Heller|first1=Gregory|date=26 January 2007|work=Defective By Design.org|publisher=Free Software Foundation, Inc.|accessdate=1 January 2013}}</ref> | |||
===Moral and legitimacy implications=== | |||
# One of the principles of the Rule of Law is that "The law can be readily determined and is stable enough to allow individuals to plan their affairs."<ref>{{cite web|url=http://www.greenbag.org/v12n3/v12n3_nachbar.pdf|title=The Rule of Law Problem|accessdate=2011-02-06}}</ref> | |||
# A problem with DRM that EFF points to is: "... in an effort to attract customers, these music services try to obscure the restrictions they impose on you with clever marketing."<ref>{{cite web|url=http://www.eff.org/pages/customer-always-wrong-users-guide-drm-online-music|title=The Customer Is Always Wrong|accessdate=2011-02-06}}</ref> | |||
# DRM laws are widely flouted: according to Australia Official Music Chart Survey, copyright infringements from all causes are practised by millions of people.<ref>{{cite web|url=http://www.aria.com.au/pages/CurrentIssueInternetMusicFileSharingCDBurning.htm|title=Australia Recording industry Association Survey, 2003|accessdate=2011-02-05}}</ref> | |||
That is, the law, or in this case, the contract between the user and seller, cannot be readily determined, and is widely broken. These facts reduce the ability of a law-abiding person to both detect when they've broken the law, and to feel a moral obligation to abide by DRM contract and law. | |||
# Is burning a music CD breaking the law? | |||
# Is giving a CD I've purchased to a friend breaking the law? | |||
# Is burning a CD, and then giving it to a friend, breaking the law? | |||
# Is purchasing a CD, and listening to it, and then returning it to the store for resale breaking the law? | |||
# Is purchasing, ripping a CD, and then returning it to the store for resale breaking the law? | |||
The answers to these questions are non-obvious, which breaks one of the fundamental principles of the Rule of Law listed above.<ref>{{cite web|url=http://wiki.answers.com/Q/Is_selling_burned_CDs_legal|title=Is selling burned CDs legal?|accessdate=2011-02-06}}</ref> | |||
===Relaxing some forms of DRM can be beneficial=== | |||
Jeff Raikes, ex-president of the Microsoft Business Division, stated: "If they're going to pirate somebody, we want it to be us rather than somebody else".<ref>{{cite web |url= http://arstechnica.com/microsoft/news/2007/03/microsoft-executive-pirating-software-choose-microsoft.ars |title=Microsoft executive: Pirating software? Choose Microsoft!|accessdate=2011-02-06}}</ref> An analogous argument was made in an early paper by Kathleen Conner and Richard Rummelt.<ref>{{cite journal |title=Software Piracy: An Analysis of Protection Strategies|author=Conner, Kathleen and Richard Rummelt |journal=Management Science|volume=37|year=1991|url=http://www.jstor.org/stable/2632386|issue=2}}</ref> A subsequent study of digital rights management for ebooks by ] and ] showed that relaxing some forms of DRM can be beneficial to digital rights holders because the losses from piracy are outweighed by the increases in value to legal buyers.<ref>{{cite web |url=http://aisel.aisnet.org/icis2004/42/|title=Are Digital Rights Valuable? Theory and Evidence from the eBook Industry|author=Oestreicher-Singer, Gal and Arun Sundararajan|work=Proceedings of the International Conference on Information Systems|year=2004}}</ref> | |||
Also, free distribution, even if unauthorized, can be beneficial to small or new content providers by spreading and popularizing content and therefore generating a larger consumer base by sharing and word of mouth. Several musicians have grown to popularity by posting their music videos on sites like YouTube where the content is free to listen to. This method of putting the product out in the world free of DRM not only generates a greater following but also fuels greater revenue through other merchandise (hats, t-shirts), concert tickets, and of course, more sales of the content to paying consumers. | |||
===Can increase piracy=== | |||
While the main intent of DRM is to prevent unauthorized copies of a product, there are mathematical models that suggest that DRM can fail to do their job on multiple levels.<ref>{{cite web|title=Music Downloads and the Flip Side of Digital Rights Management|url=http://static.arstechnica.net/2011/10/11/mksc.1110.0668-1.pdf|accessdate=12 July 2012|author=Dinah A. Vernik|author2=Devavrat Purohit |author3=Preyas S. Desai |year=2011}}</ref> Ironically, the biggest failure that can result from DRM is that they have a potential to increase the piracy of a product. This goes against the held belief that DRM can always reduce piracy. There also seems to be evidence that DRM will reduce profits. | |||
The driving factor behind why DRM have the potential to increase piracy is related to how many restrictions they impose on a legal buyer. An ideal DRM would be one which imposes zero restrictions on legal buyers but makes imposing restrictions on pirates. Even if an ideal DRM can be created and used, in certain cases, it can be shown that removing the DRM will result in less piracy. This is also true when the DRM is not ideal and it does impose restrictions on legal buyers. The reason for this is because, when the DRM is imposed, pirates are able to lift the restrictions set by it. This leads pirates being able to get more utility out of the product than legal consumers and this is what causes the increase in piracy. | |||
The important factor for companies is how all of this affects their profits. As mentioned, removing DRM will increase profits whether the DRM are ideal or not. Removing DRM can make the product cheaper. For the ideal DRM, the reason why profits can increase is because of the price elasticity of demand is elastic. Since there are also less people pirating and more people legally buying, more profits are going to be made. For the non-ideal DRM this is also true, especially when there are a high number of restrictions associated with it. | |||
The mathematical models are strictly applied to the music industry (music CDs, downloadable music). These models could be extended to the other industries such as the gaming industry which show similarities to the music industry model. There are real instances when DRM restrain consumers in the gaming industry. Some DRM games are required to connect to the internet in order to play them. If one can't connect to the internet or if the service is down, one can't play.<ref>{{cite web|last=Sinclair|first=Brendan|title=Ubisoft DRM games to be temporarily unplayable|url=http://www.gamespot.com/news/ubisoft-drm-games-to-be-temporarily-unplayable-6349732}}</ref> ]' head of public relations and marketing, Trevor Longino, in agreement with this, believes that using DRM is less effective than improving a game's value in reducing video game piracy.<ref>{{cite web|last=Dobra|first=Andrei|title=DRM Doesn't Stop Piracy, Game Content Does, Good Old Games Believes|url=http://news.softpedia.com/news/DRM-Doesn-t-Stop-Piracy-Game-Content-Does-Good-Old-Games-Believes-237641.shtml|accessdate=12 July 2012}}</ref> However, TorrentFreak published a "Top 10 pirated games of 2008" list which shows that intrusive DRM is not the main reason why some games are pirated more heavily than others. Popular games such as BioShock, Crysis Warhead, and Mass Effect which use intrusive DRM are strangely absent from the list.<ref name="Tweakguides: PC Game Piracy Examined: Page 4" /> | |||
==Alternatives to DRM== | |||
Several business models have been proposed that offer an alternative to the use of DRM by content providers and rights holders.<ref name="infrastructure2000">Committee on Intellectual Property Rights in the Emerging Information Infrastructure, National Research Council. (2000) "The Digital Dilemma: Intellectual Property in the Information Age." 3 May 2011. http://www.nap.edu/catalog.php?record_id=9601#toc</ref> | |||
==="Easy and cheap"=== | |||
The first business model that dissuades illegal file sharing is to make the downloading easy and cheap. The use of a noncommercial site makes downloading music complex. If someone misspells the artist's name, the search will leave the consumer dissatisfied. Also, some{{which|date=January 2013}} illegal file sharing websites lead to many viruses that attach themselves to the files.<ref>http://betanews.com/2014/04/30/surprise-surprise-almost-every-piracy-website-features-cyber-scams/</ref> Some sites limit the traffic, which can make downloading a song a long and frustrating process. If the songs are all provided on one site, and reasonably priced, consumers will purchase the music legally to overcome the frustrations that can occur downloading illegally.<ref name="infrastructure2000"/> | |||
Comedian ] made headlines in 2011 with the release of his ] '']'' as an inexpensive ($5), DRM-free download. The only attempt to deter piracy was a letter emphasizing the lack of corporate involvement and direct relationship between artist and viewer. The film was a commercial success, turning a profit within 12 hours of its release. Some, including the artist himself, have suggested that piracy rates were lower than normal as a result, making the release an important case study for the digital marketplace.<ref>{{cite web|url=https://buy.louisck.net/news/a-statement-from-louis-c-k|title=Louis CK: Live at the Beacon Theater|publisher=Buy.louisck.net|date=13 December 2011|accessdate=2012-01-07}}</ref><ref>{{cite web|last=Ingram|first=Mathew|url=http://www.businessweek.com/technology/what-louis-ck-knows-that-most-media-companies-dont-12142011.html|title=What Louis C.K. Knows That Most Media Companies Don't|publisher=Businessweek|date=2011-12-14|accessdate=2012-01-07}}</ref><ref>{{cite news|author=chris hannay|url=http://www.theglobeandmail.com/technology/tech-news/why-louis-cks-big-payday-proves-the-internet-has-ethics/article4181150/|title=Why Louis C.K.'s big payday proves the Internet has ethics|publisher=The Globe and Mail|date=6 September 2012|accessdate=2012-01-07}}</ref> | |||
Webcomic ] released a DRM-free PDF ebook on author R Stevens's 35th birthday,<ref>{{cite web|url=http://news.cnet.com/8301-30685_3-57359936-264/a-new-drm-free-experiment-diesel-sweeties/|title=A New DRM-free Experiment: Diesel Sweeties|publisher=news.cnet.com|date=17 January 2012|accessdate=2012-02-17}}</ref><ref>{{cite web|url=http://www.dieselsweeties.com/ebooks//|title=Diesel Sweeties Webcomics Ebook|publisher=www.dieselsweeties.com|accessdate=2012-02-17}}</ref><ref>{{cite web|url=http://boingboing.net/2012/01/17/free-pdf-of-the-first-diesel-s.html|title=Free PDF of the first Diesel Sweeties comic collection|publisher=boingboing.net|accessdate=2012-02-17}}</ref> leading to more than 140,000 downloads in the first month, according to Stevens.<ref>{{cite web|url=http://www.kickstarter.com/projects/dieselsweeties/diesel-sweeties-ebook-stravaganza-3000|title=Diesel Sweeties eBook-Stravaganza 3000 by Richard Stevens — Kickstarter|publisher=Kickstarter.com|accessdate=2012-02-20}}</ref> He followed this with a DRM-free iBook specifically for the iPad, using Apple's new software,<ref>{{cite web|url=http://www.dieselsweeties.com/blog/?p=737|title=An Experiment in iBookery|publisher=dieselsweeties.com|date=23 January 2012|accessdate=2012-02-17}}</ref> which generated more than 10,000 downloads in three days.<ref name="dieselsweeties740">{{cite web|url=http://www.dieselsweeties.com/blog/?p=740|title=iBooks Follow-up|publisher=dieselsweeties.com|date=26 January 2012|accessdate=2012-02-17}}</ref> That led Stevens to launch a ] project – "ebook stravaganza 3000" – to fund the conversion of 3,000 comics, written over 12 years, into a single "humongous" ebook to be released both for free and through the iBookstore; launched February 8, 2012, with the goal of raising $3,000 in 30 days, the project met its goal in 45 minutes, and went on to be funded at more than 10 times its original goal.<ref>{{cite web|url=http://www.kickstarter.com/projects/dieselsweeties/diesel-sweeties-ebook-stravaganza-3000|title=Diesel Sweeties eBook-Stravaganza 3000|accessdate=2012-02-17}}</ref> The "payment optional" DRM-free model in this case was adopted on Stevens' view that "there is a class of webcomics reader who would prefer to read in large chunks and, even better, would be willing to spend a little money on it."<ref name="dieselsweeties740"/> | |||
===Crowdfunding/pre-order model=== | |||
In February 2012 ] asked for an upcoming video game, '']'', for ] on ] and offered the game DRM-free for backers. This project exceeded its original goal of $400,000 in 45 days, raising in excess of $2 million.<ref>{{cite web|url=http://www.kickstarter.com/projects/66710809/double-fine-adventure|title=Double Fine Adventure|accessdate=2012-02-17}}</ref><ref>{{cite web|url=http://www.videogamer.com/news/double_fines_adventure_game_will_be_drm_free_for_backers.html|title=Double Fine's adventure game will be DRM free for backers|publisher=videogamer.com|date=16 February 2012|accessdate=2012-02-17}}</ref> In this case DRM free was offered to backers as an incentive for supporting the project pre-release, with the consumer/community support and media attention from the highly successful Kickstarter drive counterbalancing {{citation needed span|any loss through piracy.|date=June 2013}} Also, crowdfunding with the product itself as benefit for the supporters can be seen as ] or ] in which one motivation for DRM, the uncertainty if a product will have enough paying customers to outweight the development costs, is eliminated. After the success of ''Double Fine Adventure'' many games were crowdfunded and many of them offered a DRM-free game version for the backers.<ref> on theinquirer.net</ref><ref> on techspot.com</ref><ref> on technologytell.com</ref> | |||
===Instantaneous cloud media=== | |||
A second business model to consider is a ]-based system which contains all the digital media that users are interested in. Users are granted access to this cloud for an easy and cheap low month or yearly fee. A system like this that is designed to provide streaming digital media through a social atmosphere would over time create a ] eliminating piracy of digital media. With a system like this users can easily obtain all the digital media they are interested in easily at their finger tips.<ref name="Steinbock">{{cite book|last=Steinbock|first=Dan|title=The Mobile Revolution: The Making of Worldwide Mobile Markets}}</ref> A cloud infrastructure like this would allow digital computing with easily available software for users but also allow other forms of digital media such as music, movies and books.<ref>{{cite web|url=http://www.businessmodelsinc.com/2012/02/16/2150|title=Free drives paid - The business model of Spotify|deadurl=yes|accessdate=12 July 2012}}{{dead link|date=April 2014}}</ref> | |||
Companies who have adopted this model include ] and ]. Spotify advertises a free business model, where users are given free music with advertising or for a monthly fee no advertising. Users who use the free version of Spotify grow accustomed to the customizability and personalization of making playlists. This personalizable and customizable data feeds Spotify with detailed information which they can use to increase revenues. In addition, Spotify creates a social atmosphere through connecting with social networks such as Facebook.<ref>{{cite web|url=http://mashable.com/2012/03/22/spotify-social-media/|title=Spotify}}</ref> This social network is advertising in itself, a business model advantage.{{citation needed|date=February 2014}} | |||
{{Advert|subsection|advertisement and contains repetition|date=June 2013}} | |||
Intel Insider provides movies from the mobile platform to the TV.<ref>{{cite web|url=http://www.engadget.com/2011/01/03/intel-to-launch-insider-movie-service-with-1080p-content-widi-2/|title=Intel to launch Insider movie service with 1080p content, WiDi 2.0 will let you stream it to your TV|deadurl=no|accessdate=12 July 2012}}</ref> This technology controls access to movies and prevents users from being able to copy and redistribute the media. Through the purchase of their enabled hardware, users can view movies. This technology is essentially DRM in itself. With the protected audio and video paths users are prevented from even accessing the media and are only able to see the effects of it coming out the TV.<ref>{{cite web|url=http://www.anandtech.com/show/4115/intel-insider-sandy-bridge-gets-1080p-high-bitrate-streaming|title=Intel Insider: Sandy Bridge Gets 1080p High Bitrate Streaming|deadurl=no|accessdate=12 July 2012}}</ref> | |||
Media streaming from the cloud in encrypted forms provides a strong piracy deterrent.<ref>{{cite web|url=http://support.brightcove.com/en/docs/protecting-your-videos-drm|title=Protecting your Videos with DRM|deadurl=no|accessdate=12 July 2012}}</ref> However, this is also a magnet for media enthusiasts who are interested in easily obtainable media. Providing this cheap and easily obtainable media connected to social networking promotes growth in user experiences and throughput. With this cloud model any user can connect and enjoy instantaneous gratification.<ref name="Steinbock"/> | |||
===Digital content as promotion for traditional products=== | |||
Many artists are using the Internet to give away music to create awareness and liking to a new upcoming album. The artists release a new song on the internet for free download, which consumers can download. The hope is to have the listeners buy the new album because of the free download.<ref name="infrastructure2000"/> A common practice used today is releasing a song or two on the internet for consumers to indulge. In 2007, Radiohead released an album named In Rainbows, in which fans could pay any amount they want, or download it for free.<ref>Monaghan, Angela. (2007). "Radiohead Challenges Labels With Free Album." Web. 10 May 2011. http://www.telegraph.co.uk/finance/markets/2816893/Radiohead-challenges-labels-with-free-album.html</ref> The disadvantage to giving away a new single on an album is that it may discourage the consumers from buying the whole album if they dislike the single. | |||
===Artistic Freedom Voucher=== | |||
The Artistic Freedom Voucher (AFV) introduced by Dean Baker is a way for consumers to support “creative and artistic work.” In this system, each consumer would have a refundable tax credit of $100 to give to any artist of creative work. To restrict fraud, the artists must register with the government. The voucher prohibits any artist that receives the benefits from copyrighting their material for a certain length of time. Consumers can obtain music for a certain amount of time easily and the consumer decides which artists receive the $100. The money can either be given to one artist or to many, the distribution is up to the consumer.<ref>Baker, Dean. (2003). "The Artistic Freedom Voucher: An Internet Age Alternative to Copyrights." Pg. 2–8. Web. 3 May. 2011. http://www.cepr.net/documents/publications/ip_2003_11.pdf</ref> | |||
==Historical note== | |||
A very early implementation of DRM was the Software Service System (SSS) devised by the Japanese engineer Ryoichi Mori in 1983 | |||
<ref> (Publication #60-077218), ''Software Control System'', Japan Patent Office, October 5, 1983, Ryoichi Mori, applicant. Reported by ].</ref> and subsequently refined under the name ]. The SSS was based on encryption, with specialized hardware that controlled decryption and also enabled payments to be sent to the copyright holder. The underlying principle of the SSS and subsequently of superdistribution was that the distribution of encrypted digital products should be completely unrestricted and that users of those products would not just be permitted to redistribute them but would actually be encouraged to do so. | |||
==See also== | |||
{{Portal|Computer science}} | |||
===Related concepts=== | |||
* ] | |||
* ] | |||
* ] | |||
* ] | |||
* ] | |||
* ] | |||
* ] | |||
* ] | |||
* ] | |||
* ] | |||
* ] | |||
* ] | |||
* ] | |||
* ] | |||
* ] | |||
* ] | |||
* ] | |||
* ] | |||
* ] | |||
===Lawsuits=== | |||
* '']'' | |||
* '']'' | |||
* '']'' | |||
* '']'' | |||
===Organizations=== | |||
* ] – European Information, Communications and Consumer Electronics Technology Industry Associations | |||
* ] | |||
* ] | |||
* ] | |||
* ] | |||
* ] | |||
* ], a ] ] which is a proponent of ] and ] | |||
* ] | |||
* ] | |||
==References== | |||
{{reflist|30em}} | |||
==Further reading== | |||
* ]'s '']'', published by ] in 2004, is available for . The book is a legal and social history of copyright. Lessig is well known, in part, for arguing recent landmark cases on copyright law. A Professor of Law at ], Lessig writes for an educated lay audience, including for non-lawyers. He is, for the most part, an opponent of DRM technologies. | |||
* Rosenblatt, B. et al., ''Digital Rights Management: Business and Technology'', published by M&T Books (]) in 2001. An overview of DRM technology, business implications for content publishers, and relationship to U.S. copyright law. | |||
* , published in 10 languages (Czech, German, Greek, English, Spanish, French, Hungarian, Italian, Polish, Swedish), produced by the | |||
* Eberhard Becker, ], Dirk Günnewig, Niels Rump: ''Digital Rights Management - Technological, Economic, Legal and Political Aspects''. An 800 page compendium from 60 different authors on DRM. | |||
* ]'s uses the following digital rights conjecture, that "digital rights increases the incidence of digital piracy, and that managing digital rights therefore involves restricting the rights of usage that contribute to customer value" to show that creative pricing can be an effective substitute for excessively stringent DRM. | |||
* Fetscherin, M., ''Implications of Digital Rights Management on the Demand for Digital Content'', provides an excellent view on DRM from a consumers perspective. {{cite web|url=http://www.dissertation.de/index.php3?active_document=buch.php3&buch=4731|title=Buch- und online Publikationen|publisher=dissertation.de|date=1998-02-05|accessdate=2010-08-31}} | |||
* '']'', a book with colorful illustrations and having a coloring book version, by 'MCM'. It describes DRM in terms suited to kids, written in reaction to a Canadian entertainment industry copyright education initiative, aimed at children. | |||
* ''Present State and Emerging Scenarios of Digital Rights Management Systems'' - A paper by Marc Fetscherin which provides an overview of the various components of DRM, pro and cons and future outlook of how, where, when such systems might be used. | |||
* '''' - Richard Menta article on ] discusses how DRM is implemented in ways to control consumers, but is undermining perceived product value in the process. | |||
* '''' - PhD Thesis by Roberto García that tries to address DRM issues using Semantic Web technologies and methodologies. | |||
* Patricia Akester, "Technological Accommodation of Conflicts between Freedom of Expression and DRM: The First Empirical Assessment" available at http://papers.ssrn.com/sol3/papers.cfm?abstract_id=1469412 (unveiling, through empirical lines of enquiry, (1) whether certain acts which are permitted by law are being adversely affected by the use of DRM and (2) whether technology can accommodate conflicts between freedom of expression and DRM). | |||
==External links== | |||
{{Wikiquote}} | |||
{{commons category}} | |||
* Q&A: What is DRM? | |||
* by ] | |||
* {{wayback|url=http://www.microsoft.com/windows/windowsmedia/forpros/drm/faq.aspx|date=20101208173800|title=Windows Media DRM FAQ}} from Microsoft | |||
* , by Cory Doctorow | |||
* by Reckon LLP | |||
* {{wayback|url=http://ec.europa.eu/enterprise/ict/policy/doc/drm.pdf|date=20080308232149|title=Digital Rights Management}} from CEN/ISSS (European Committee for Standardization / Information Society Standardization System). Contains a range of possible definitions for DRM from various stakeholders. 30 September 2003 | |||
* Article investigating the effects of DRM and piracy on the video game industry | |||
* Information about DRM by ], ], ], ], and other organisations. | |||
* , by Adam Singer at Future Buzz media marketing | |||
{{FOSS}} | |||
{{Intellectual property activism}} | |||
{{DEFAULTSORT:Digital Rights Management}} | |||
] | |||
] | |||
] | |||
] | |||
{{Link GA|de}} |
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