Archive

Archive for the ‘Publishing’ Category

More Perils of Reusing Digital Content

February 7, 2016 1 comment
Some time ago I wrote an article and blog post entitled “the perils of reusing digital content” looking at the key challenges facing users of digital content which thanks to the power of computing and the Internet has become more easily available, transferable and modifiable. It says a lot about the age in which we live that this is still not universally perceived to be a good thing. It also explored the Creative Commons model as a complementary alternative to a woefully inadequate and somewhat anachronistic copyright system in the digital age. Since then the situation has got even more complex and challenging thanks to the introduction of newer technologies (e.g. IoT), more content (data, devices and channels), and novel trust / sharing mechanisms such as blockchain. 


I’ve written a soon-to-be-published article about blockchain, from which the following excerpt is taken:  “Blockchains essentially provide a digital trust mechanism for transactions by linking them sequentially into a cryptographically secure ledger. Blockchain applications that execute and store transactions of monetary value are known as cryptocurrencies, (e.g. Bitcoin), and they have the potential to cause significant disruption of most major industries, including finance and the creative arts. For example, in the music industry, blockchain cryptocurrencies can make it economically feasible to execute true micro-transactions, (i.e. to the nth degree of granularity in cost and content). There are already several initiatives using blockchain to demonstrate full transparency for music payments – e.g. British artiste Imogen Heap’s collaboration with UJO Music features a prototype of her song and shows how income from any aspect of the song and music is shared transparently between the various contributors.”


The above scenario makes it glaringly obvious that IP protection in digital environments should be focused more on content usage transparency rather than merely providing evidence or enforcing copying and distribution restrictions. The latter copy and distribute restriction model worked well in a historically analog world, with traditionally higher barriers-to-entry, whereas the former transparent usage capability plays directly to the a strength of digital – i.e. the ability to track and record usage and remuneration transactions to any degree of granularity, (e.g. by using blockchain).


Although it may sound revolutionary and possibly contrary to the goals of today’s content publishing models, in the longer term, this provides a key advantage to any publisher brave enough to consider digitising and automating their publishing business model. Make no mistake, we are drawing ever closer to the dawn of fully autonomous business models and services where a usage / transparency based IP system will better serve the needs of content owners and publishers.


In a recent post, I described a multi-publishing framework which can be used to enable easier setup and automation of the mechanisms for tracking and recording all usage transactions as well as delivering transparent remuneration for creator(s) and publisher(s). This framework could be combined with Creative Commons and blockchains to provide the right level of IP automation needed for more fluid content usage in a future that is filled with autonomous systems, services and business models.


Introducing a Framework for Multi-Publishing

January 16, 2016 2 comments

I believe that in a highly connected digital world, the future of content publishing lies with creating interlinked manifestations of a core concept or theme. I like to think of this as “multi(n) publishing”, (where ‘n’ stands for any number of things, e.g.: aspect / channel / facet / format / genre / sided / variant / etc.), or multi-publishing for short. To this end, I’ve created a framework which could prove very useful for conceptualizing and executing multi-publishing projects. Read on to find out more.

  1. Why Multi-Publishing?

There is increasing evidence of an evolution in the way people consume digitally enabled content, e.g.: watching a TV show whilst surfing the web, talking on the phone to a friend and posting comments on social media – all of which may or may not relate to each other or a single topic. This has put enormous pressure on content creators and publishers to find new ways to engage their audience and deliver compelling content to people that live in a world surfeit with competing content, channels, devices and distractions. In the above scenario, broadcasters have tried, with varying degrees of success, to engage viewers with second or multi-screen, content (e.g.: show on TV, cast info on website / mobile site, plus real time interaction on Social Media – all related to the show). Furthermore, the average attention span of most users appears to have shrunk and many prefer to ‘snack’ on content across devices and formats. This doesn’t bode well for the more traditional long-form content upon which many creative industries were established. As a result, many in the content production, publishing and marketing industries are seeking new ways to engage audiences across multiple devices and channels with even more compelling content and user experiences.

  1. What is Multi-publishing?

In this context, the term “multi(n) publishing” (or multi-publishing) describes the manifestation of a core concept / theme as distinct but inter-linked works across multiple media formats, channels and genres. This is somewhat different from other similar related terms such as: multi-format (or cross-media), multi-channel, single source, or even multi-platform publishing. The last one being mainly used by marketers to describe the practice of taking one thing and turning it into several products across a spectrum of online, offline and even ‘live’ experiential forms. The key difference between these terms and multi-publishing is that the latter encompasses them all, and more. In fact, the multi-publishing framework is closer to the information science idea of conceptualisation. Also, and perhaps more importantly, the various manifestations of multi-published content are not necessarily brand identical to the originating (aka ‘native’) core concept, or to each other. However, each and every manifestation is intended to be unique and distinct, yet able to enhance each other and provide a fuller and more fulfilling experience of the overall core concept.

  1. How does it work?

In order to achieve the desired outcome of the whole being more than a sum of its parts, it makes sense for creators and publishers to bear in mind, right from the outset, that their works will likely be: used, reused, decomposed, remixed and recomposed in so many different ways, (including new and novel expressions of which they couldn’t possibly imagine at the time of creation). Therefore, they must recognize where and how each of their output content fits within the context of a multi-publishing content framework or architecture. The diagram below is just such a framework (in mindmap form) and demonstrates the narrative-like progression of a single core concept / theme across various stages and interlinked manifestations.

The Multi-Publish Concept

This is only an example of what content creators and their publishers must consider and prepare as part of their creative (inspiration) and publishing (exploitation) process. It requires the creation and/or identification of a core concept which is manifest in the expression of the art (e.g. in the: story, song, prose, images, video, game, conversations or presentations etc), and which can be used to link each and every format, channel or media in which the concept is expressed.

Finally, the use of multi-publishing frameworks can also enable easier setup and automation of tracking and recording of all usage transactions, and potentially any subsequent remuneration for creator(s) and publisher(s), in a transparent manner, (perhaps using a trust mechanism such as blockchain). I will explore this particular topic in a subsequent post on this blog. In any case, there remains one key question to be answered, i.e.: how can or should we consider protecting core concepts or algorithms at the heart of multi-publishing frameworks, and if so what form should such protection take?

Copyright and Technology in 2013

November 18, 2013 Leave a comment

Last month’s conference on copyright and technology provided plenty of food for thought from an array of speakers, organisations, viewpoints and agendas. Topics and discussions ran the gamut of increasingly obvious “business models are more important than technology” to downright bleeding edge “hypersonic activation of devices from outdoor displays “. There was something to take away for everyone involved. Read on for highlights.

The Mega Keynote interview: Mega’s CEO Vikram Kumar, discussed how the new and law-abiding cloud storage service is proving attractive to professionals who want to use and pay for the space, security and privacy that Mega provides. This is a far cry from the notorious MegaUpload, and founder Kim Dotcom’s continuing troubles with charges of copyright infringement, but there are still questions about the nature of the service – e.g. the end-to-end encryption approach which effectively makes it opaque to outside scrutiny.  Read more about it here.

Anti-Piracy and the age of big data – Mark Monitor’s Thomas Sehested talked about the rise of data / content monitoring and anti-piracy services in what he describes as the data driven media company. He also discussed the demise of content release windows, and how mass / immediate release of content across multiple channels lowers piracy, but questioned if this is more profitable.

Hadopi and graduated response – Hadopi’s Pauline Blassel gave an honest overview on the impact of Hadopi, including evidence of some reduction in piracy (by factor of 6M-4M) before stabilsation. She also described how this independent public authority delivers graduated response in a variety of ways e.g. from raising awareness to imposing penalties and focusing primarily on what is known as PUR (aka ‘Promotion les Usage Responsible’)

Auto Content Recognition (ACR) and the 2nd Screen – ACR is a core set of tools (including DRM, watermarking and fingerprinting), and the 2nd screen opportunity (at least for broadcasters) is all about keeping TV viewership and relevance in the face of tough competition for people’s time and attention. This panel session discussed monetisation of second screen applications, and the challenges of how TV is regulated, pervasive and country specific. Legal broadcast rights is aimed at protection of broadcast signals, which triggers the 2nd screen application, (e.g. via ambient / STB / EPG based recognition). This begs the question of what regulation should be applied to the 2nd screen, and what rights apply? E.g. Ads on TV can be replaced in the 2 screen, but what are the implications?

Update on the Copyright Hub – The Keynote address by Sir Richard Hooper, chair of the Copyright Hub and co-author of the 2012 report on Copyright Works: Streamlining Copyright Licensing for the Digital Age, was arguably the high point of the event. He made the point that although there are issues with copyright in the digital age, the creative industries need to get off their collective backsides and streamline the licensing process before asking for a change in copyright law. He gave examples of issues with the overly complex educational licensing process and how the analogue processes are inadequate for the digital age (e.g. unique identifiers for copyright works).

Sir Richard Hooper

Sir Richard Hooper

The primary focus of the Copyright Hub, according to Sir Richard, is to enable high volume – low value transactions, (e.g. to search, license and use copyright works legally) by individuals and SMEs. The top tier content players already have dedicated resources for such activities hence they’re not a primary target of the Copyright Hub, but they’ll also benefit by removing the need to deal with trivial requests for licensing individual items (e.g. to use popular songs for wedding videos on YouTube).

Next phase work, and other challenges, for the Copyright Hub include: enabling consumer reuse of content, architectures for federated search, machine to machine transactions, orphan works registry & mass digitisation (collective licensing), multi licensing for multimedia content, as well as the need for global licensing. Some key messages and quotes in the ensuing Q&A include:

  • “the Internet is inherently borderless and we must think global licensing, but need to walk before we can run”
  • “user-centricity is key.  People are happy not to infringe if easy / cheap to be legal”
  • “data accuracy is vital, so Copyright Hub is looking at efforts from Linked Content Coalition and Global Repertoire Database”
  • “Metadata is intrinsic to machine to Machine transactions – do you know it is a crime to strip metadata from content?”
  • “Moral rights may add to overall complexity”

As you can probably see from the above, this one day event delivered the goods and valuable insights to the audience, which included people from the creative / content industries, as well as technologists, legal practitioners, academics and government agencies. Kudos to MusicAlly, the event organiser, and to Bill Rosenblatt, (conference chair), for a job well done.

Next Stop: I’ll be discussing key issues and trends with Digital Economy and Law at a 2 day event, organised by ACEPI,  in Lisbon. Watch this space.

Copyright And Technology 2012 Conference

June 20, 2012 Leave a comment

Yesterday saw the first UK edition of this annual conference, which took place in London’s Kings Fund venue. The full day conference featured panels and expert speakers on that most interesting, challenging and potentially lucrative junction of copyright, content and technology. And, another buzzword for the ‘social’ melting pot – Social DRM!

Copyright And Technology Conference Word Cloud

Copyright And Technology Conference Word Cloud

The event format involved the usual keynotes and plenary sessions, during the morning segment, and a split into two streams, (covering technology and legal aspects), in the afternoon. My key take-aways include:

  1. User education on copyright content infringement is far too one-sided. According to expert copyright lawyer, Andrew Bridges, potential infringers / fans need ‘credible teachers’ with a more balanced agenda
  2. Traditional Hollywood release window is under threat (from user demand for content, here and now!)
  3. Piracy data collection / analysis are increasingly used by big content owners (e.g. Warner Bros and Harper Collins) to identify potential demand for specific content, via pirate channels. An interesting question by conference chair, Bill Rosenblatt, was whether content providers saw any potential for combining piracy data collection/analysis with social media buzz analysis, in order perhaps to help identify new market opportunities, remained mostly unanswered
  4. Media monitoring organisations can collect and analyse, (with consumers’ permission), actual usage data from user computers. According to the speaker from Warner Bros, their research apparently confirms claims that HADOPI has had an impact, with a recent decline in Peer-to-Peer file-sharing, in France.
  5. According to MarkMonitor, a high proportion of pirated ebook content are in the PDF format, which some think may be a result of easy portability between devices. Also, according to Harper Collins speaker, key motivational factors for ebook piracy include: Pricing, DRM and territorial restrictions.
  6. In the Technology stream, the panel on content identification (e.g. via fingerprinting vs. session based watermarking) discussed creation of content aware ecosystems using Automatic Content Recognition
  7. The term ‘Social DRM’ (a buzzword if I ever heard one) is the use of user information to uniquely identify digital content (and to potentially name and shame file sharers), as described by CEO of Icontact. One attendee grilled the presenter about ways and means to crack it! Apparently, the term Social DRM was coined by Bill McCoy at Adobe (now at IDPF), and is really just watermarking content with personally identifiable information
  8. Bill Rosenblatt described LCP (Lightweight Content Protection) for ePub as being somewhere in the middle of the content protection continuum (i.e. between no DRM and very strong DRM). Also, he observed that thepublishing industry stance on DRM is still in flux, and that genres such as (sci-fi, romance, IT) were mainly going DRM-free, whilst other e.g. higher education still used strong DRM to protect content
  9. Finally, my technology stream panel session on Security Challenges of Multi-Platform Content Distribution saw key contributions from experts, with multiple perspectives, from: a Security Consultant (Farncombe), DRM Provider (Nagra), Business PoV (Castlabs) and Content Provider / Owner (Sony Picture Entertainment).

Overall, this was a very good first outing for the Copyright and Technology conference in London. The co- organisers, GiantSteps and MusicAlly, did a great job to pull it off, despite disappointment (by last minute cancellation of a keynote) from the HADOPI Secretary General). I would certainly encourage anyone interested in the opportunities and challenges of content, technology and copyright to attend this conference in future. And yes, Social DRM is my new buzzword of the month!

An IP System Fit for the 21st Century

Last week, I attended a breakfast meeting at the House of Commons to discuss and reflect on practical issues around implementing recommendations of the Hargreaves Report, as well as ways in which the IP system can be evolved to better enable the benefits from 21st Century business and technology opportunities.

UK House of Parliament

UK House of Parliament

This event, organised by the Industry and Parliament Trust, featured brief talks by Professor Ian Hargreaves (author of the IP Review report & recommendations – download it here), Ben White (Head of IP at the British Library), and Nico Perez (co-founder of startup, MixCloud), plus Q&A style discussions with the attending group of politicians and business people from relevant industries. Some key observations and comments are:

  • London has the largest cluster of IP related start-ups, as well as the biggest hub for VCs, in Europe
  • There has been a lot of international interest in the Hargreaves report and recommendations (the good professor regularly gets calls from interested observers across the globe). Also, the review findings and recommendations had good traction with the UK government.
  • Digital economy versus creative economy; are they one and the same (i.e. is there and/or should there really be a difference)?
  • The larger creative industry players (e.g. publishers), and their lobbyists, are not in full agreement with the review findings and / or recommendations, and remain firmly resistant to change
  • According to one attendee, the interests of creative stakeholder (e.g. content creators) were not well represented or served by the review findings and recommendations
  • Collecting societies act like de facto monopolies, which can make life difficult for some more innovative start-ups
  • Broadcast TV players are trying to innovate and catch up with what consumers are already doing in their homes, but the current IP system is not sufficiently geared towards enabling such initiatives.

Note: Further information, comments and observations can be found in the IPT blog post about this event.

The upshot of the above points, in my opinion, is that a new / evolved IP system must really be geared towards dual targets, i.e. to help simplify and facilitate the use and reuse of IP works, especially in the digital realm. Such a focus would undoubtedly go a long way towards addressing the legion of non-technological challenges faced by most innovators, entrepreneurs and investors in the creative digital industries. For example, according to an article (see: The Library of Utopia), published by MIT technology review, “the major problem with constructing a universal library nowadays has little to do with technology. It’s the thorny tangle of legal, commercial, and political issues that surrounds the publishing business.”

These are pretty much the same issues to be found in similar ventures within publishing and other major creative industries, e.g.: Music (think cross border licensing for the much vaunted Celestial Jukebox), or a global film and image library (e.g. a mash-up of Hulu, Netflix, Corbis and Getty Images). In all cases, technology is not the stumbling block, because the bigger challenges lie with any combination of: business strategy, commercial models, legal / political / cultural mindsets, encountered along the way.

Having said that, it can be argued that such hurdles are not sustainable, for various reasons, not least of which is that individuals (or customers, casual pirates, consumers, freetards etc. – take your pick) are already way ahead of the curve in terms of digital content / technology, and will often use it exactly as they see fit.

This means that established incumbent players in the creative industries are forever playing a reactive / catch-up game, instead of pursuing or encouraging discovery of the next big thing. As a result, most disruptive propositions will invariably have a high impact on established business models, especially if and when they harness the natural instincts of individual users. An interesting example could be the recently launched Google Drive, complete with built-in OCR capability (which will enable users to digitize and search scanned content). Could this ultimately lead to a user generated version of Google Books?

To conclude, an IP system worthy of the 21st century is an urgent necessity, but there is also pressing need to keep in mind the big picture, which is that the Internet is a global enabler / platform, therefore any new IP system must likewise be global in scope. The UK, with its wealth of creative talent, plus such efforts as the IP review and recommendations, may be in a unique position to provide some leadership on the best way forward for IP in this 21st century.

Publishers vs. eBook Price Fix vs. Copyright

April 17, 2012 Leave a comment

Recent developments in the world of publishing, clearly demonstrate yet again that the primary objective of the content industry is to make a tidy profit. Nothing wrong with that, if you ask me; however, it usually turns into a rather sticky mess when that pursuit is clouded by accusations of skulduggery, conspiracy and outright price fixing.

I refer to a recent lawsuit filed by the US Justice Department against Apple and 5 major book publishers, over allegations of conspiracy, collusion and price fixing. According to this article from the Wall Street Journal, it could change the course of a rapidly expanding eBook publishing industry. But how so, you ask?

Well, it is really down to opposing business models, (i.e. the so called agency versus wholesale approach to eBook pricing), where, on one hand, an agent such as Apple will allow publishers to set their own price, and take a cut (in this case 30%) from sales on its iBook platform. On the other hand, a wholesale pricing model is one where the retailer (e.g. Amazon or Barnes and Noble) sets the price for eBooks and can effectively apply discounts as they wish (even if it means selling eBooks at a loss). Obviously, this latter scenario leaves publishers with less control over prices, and consequently profits, hence the opportunity to take advantage of a more favourable option could not fail to be attractive.

However, the question remains about the value proposition for consumers, who are themselves increasingly embracing eBooks for its convenience, ease of use and, perhaps more to the point, a huge potential for significantly lower prices overall. One might argue that eBooks do not require paper, glue, physical stores / shelf space or any significant distribution / transport costs, therefore they really shouldn’t be priced anything close to their physical versions. Surely, this quest to keep prices high can only be in favour of publishers, and their bottom lines, mustn’t it?

So what are the key arguments / rationale for keeping eBook prices artificially high? Perhaps the main reason has to do with high operating costs incurred by large publishers, as well as the need to maintain a powerful marketing and promotional machinery. Furthermore, it may also be argued that lower cost eBooks are somehow cannibalising the margins to be had from physical books. Whatever the case, it seems publishers stand to lose out if they don’t do something (innovative?) to counter the effects of change.

Hmm, now where have we seen this before, (and how did that industry cope / survive)? Ah, yes, the music industry went through something similar, except they chose to sue those pirates and freeloaders (aka the people formerly known as customers), that supposedly ‘stole their bottom line’. However, they seem to have found other ways to complement dwindling revenue streams, e.g. via ticket sales for live performances. By the way, death may no longer prevent artistes from performing before a live audience, assuming this deceased artist hologram idea catches on.

Luckily the book publishing industry don’t have to take quite so drastic a measure, especially as it has been shown time and again that new media formats and channels do not necessarily mean the complete demise of existing ones. This is arguably the perfect time for publishers to embrace even bolder / more innovative thinking to discover complementary initiatives that will bolster an industry under threat, real or imagined. They must observe and capitalise on consumer trends and emergent user behaviours. For example, the sheer capacity, variety and anonymity (i.e. no tell tale covers) of reading material to be found on your average eBook reader means that users now carry, consume and explore hitherto unthinkable (at least in public) subject matter. The current boom in romantic erotica sub-genre, aka Mommy Porn, is an interesting case in point.

Perhaps even more fundamental, is a need to seriously consider the verboten idea of evolving copyright into something much better aligned with the digital age. Unfortunately, that will be a tough sell to the publishing industry, if this report of a speech given by HarperCollins International Chief Exec, at the London Book Fair, is anything to go by. According to the article, “others in the book trade, including the Publishers Association” have criticised the recent Hargreaves Review of Copyright, which some feel could weaken the current copyright regime. As you may have gathered by now, I don’t subscribe to that point of view, but then I am only an author and may not see things in quite the same light as a successful publisher might.

In many ways, this whole situation could be seen as a remix of circumstances surrounding the birth of copyright. In 1710, the printing industry lobbied for creation of a law to govern the rights to print or reproduce works (now known as the Statute of Anne), in order to protect their interests and the authors / creators of said works. Copyright is essentially an artificial system, which routinely needs a degree of manual intervention whenever new and disruptive content technology or consumer trend emerges. That, in my opinion, is the fundamental flaw with copyright which any revision thereof must try to address. In an age of multi-platform, multi-channel and multi-format publishing, there really is no place (or time) for manual intervention each time a new and disruptive trend, challenge and opportunity presents itself. I for one would be more than happy to attempt to demonstrate just how such a system could work (based on real copyright content), but then I would probably need a hefty six figure advance from some far-sighted multi-publisher to make it happen. Who says there is no future for publishing?

How Can You Measure Real Value?

April 2, 2012 Leave a comment

It’s been a while since my last post, but then nothing much has changed, perhaps because, in real terms, a few weeks is really not that long, even in the fast-paced world of digital technology and innovation. However, it could just be proof of that old saying: “the more things change, the more they remain the same”, right?

Although, on the surface, it might not appear that much has changed, there are evident signs of continuous progress in several areas, including: technology and innovation; user experience and social networking / media / business; mobility and data of the large variety (aka big data). Many other experts and analysts, across various media and other channels, do a great job of observing / commenting on these topics and trends that I won’t bother trying to rehash them here.

In any case, the point I really wish to explore is that such developments, trends and indicators seem to point towards a new value exchange paradigm and/or system, sometime in the not too distant future. This notion is clearly described by Tim O’Reilly, at the last Strata Conference, where he talked about a fundamental need to find better ways for “measuring the economic impact of the sharing economy”. Among other things, he asks the key question, in my opinion, of how to measure the real value of sharing, particularly where traditional economic value yardsticks, (e.g. typical financial metrics), are no longer adequate for the task. He also described the often unmeasured benefits to be derived from the sharing economy (e.g. enriching an ecosystem of which you are part), versus the sometimes destructive impact of a profit-led, financially measured system (e.g. the contribution of global financial institutions to the current economic shambles). It would appear in this new paradigm that the way forward would involve “creating more value than you capture”, which, somewhat counter-intuitively, actually works to your advantage.

Perhaps this paradigm shift will be most realisable, (at least for the content industry), via a strategy of diversification and multi-publishing, which together increases the likelihood of better traction / success for content, via multiple touch-points, partnerships and hooks to end consumers. A couple of examples, which describe real life scenarios in e-book publishing and music licensing, are outlined below as follows:

  1. E-Book Publishing: A recent post on CopyrightandTechnology.com discusses Harry Potter’s DRM Free e-Book offering, which runs somewhat counter to conventional wisdom for publishing such valuable properties in fully DRM’ed electronic formats, for fear of piracy. However this works for Harry Potter on many levels, especially considering how this would complement and create further opportunities for their existing and future merchandising initiatives.
  2. Music Licensing: An article in the Berklee Music Business Journal examined the pros and cons of Coca-Cola’s equity stake in a music licensing startup. On the one hand, a major global consumer brand partners with a music outfit to source original musical content for its marketing campaigns; on the other hand the artistes, (often independent, unsigned and eager to be heard), get an opportunity to gain access to Coca-Cola’s global marketing might – which beats anything a record label can provide these days. Verdict: Win / Win!
  3. Streaming Movies: The key players in on-demand video streaming services, e.g.: Netflix, Hulu, Amazon (i.e. Prime and LoveFilm), and latterly Sky, all offer different value propositions to the consumer, but in my opinion, the winner/s will likely emerge from those that are willing to leverage multiple customer propositions / channels / formats (e.g. books, music, DVD and perhaps devices).

In conclusion, it is becoming increasingly harder to ignore such trends / evidence / indicators that suggest a move towards multiple consumer propositions (including pricing), multi touch points (channels / interactions) and multi-formats is rapidly gaining ground. This makes it even more imperative to find a better yardstick for measuring the real value of content, products and services for both suppliers and consumers. It seems to me that we’re likely heading for a post monetary value exchange and recognition system, and hopefully one that is more in keeping with the post-global realities of a digitally connected planet. I remain optimistic, and fully convinced that money is not, and perhaps has never really been, the best yardstick for measuring true value.

Change is nigh – for Tablets, Swans and the Music Industry.

January 28, 2010 Leave a comment

Certainly seems like there’s a lot of change in the air, what with the threat of Apple’s latest toy to tablet PC dominance, or the challenge of streaming music services, and even news of Swans getting divorced! I wonder what’s next, and how will it affect the creative industries of music, film and publishing?

First of all, there were lots of opinions and perspectives on the ever changing digital media landscape at the just concluded MIDEM conference in Cannes, including:

  1. Perhaps as a sign of shifting attitudes, at least one major artiste and the keynote speaker did not offer the usual tirade against file-sharing, but actually appeared somewhat in favour of it as a “taste test” by end-users, (which roughly translates into something along the lines of “good quality works will be successful in spite of file-sharing”).
  2. There was also an interesting discourse on media and cultural change in an interview with the “Cult of the Amateur” author, Andrew Keen, who slated the amount of amateur rubbish being put out there in the name of reality shows and user generated garbage, erm content.
  3. Forrester’s Mark Mulligan provided some great insight on the state of the music industry and various emerging trends, challenges and opportunities, speaking of which, one panel session speaker actuallylikened mobile music apps to babies in that “they’re easy to conceive but hard to deliver!”.

But please don’t think this is just about the music industry, because here is an equally damning insight into the book publishing industry by Phil Cooke, a publisher and self proclaimed change catalyst. Interestingly, most of these observations were covered in Lawrence Lessig’s book, Remix, which I recently reviewed here for the BCS. It would seem that music, publishing and other creative industries are just playing catch-up with key messages from this book – which claims, among other things, that the future creative and commercial landscape will have room for sharing, charging and otherwise hybrid business models.

However, one dire trend that looks set to continue is the involvement of lawyers in the tensions between rights-owners and file-sharing fans or pirates, depending on your point of view. Hmmm, I wonder how much the lawyers charged those Swans for their quickie divorce! But, on a serious note, it might be easy to blame lawyers for any number of things, given they stand to make their fees one way or another regardless of outcomes, however the real problem is that, despite ongoing efforts to find a lasting solution, today’s Intellectual Property laws are still hopelessly unable to cater for digital content, Internet distribution and emerging consumer usage patterns. Period.

——-

Note: This post was previously published on my BCS DRM Blog, where you can find the original post, and reader comments, in the archives.

Looking Ahead (Through the Rearview Mirror)?

January 13, 2010 Leave a comment

This is really a sequel to a post written for end of last year (which can now be found here), about the likely direction of things to come, and the perils of following the crowd / herd mentality, particularly for those in the creative industries. Read on for some key messages and evidence in support of those observations:

1. Privacy? Fuggedaboudit – According to Facebook founder, Mark Zuckerberg, “Privacy is no longer a social norm”. Yet people remain fixated with this fantasy that they can stay private online, as perhaps encouraged by such guides as this NY Times article on 5 easy steps to stay safe and private on Facebook!

2. Opening up protected video – The Digital Entertainment Content Ecosystem (DECE) has come up with a way to enable playing of protected content on various compatible devices. So is this really Interoperable DRM at last? Maybe, but perhaps it might just be a little too late. A good explanation of this move, and its implication, is available on the Copyright & Technology blog. In any event, one key question remains i.e.: what happens to your protected digital content if / when the provider goes bust?

3. How to make the same mistake twice, or not – Moves by the publishing industry to protect revenue by delaying ebook releases smacks of a similar pattern of mistakes made by the music industry over digital content. According to this excellent Forrester blog, “there are better ways to Window eBooks” and it would be prudent for publishers to take heed.

4. The future is Mobile – Contextual applications enabled by mobile / geo-location services will be the killer proposition, no question. Just ask Google.

There you go. Comments welcome.

——-

Note: This post was previously published on my BCS DRM Blog, where you can find the original post, and reader comments, in the archives.

Copyright, Digital Content, and the Internet

June 14, 2009 Leave a comment

The second World Copyright Summit, which took place last week, at the Ronald Reagan Conference Centre in Washington DC, was a well attended and successful event that drew great interest from all key stakeholders in the 21st Century’s fast-evolving, global creative economy.

Note: This post is taken from the executive summary of a report I have written about this event, which can also be found here:World Copyright Summit 2009 – Report.pdf
The main objective of the Copyright Summit was, as stated on the conference tag-line, to explore “New Frontiers for Creators in the Marketplace”, and this was achieved by providing a platform for the stakeholders (represented in both speakers and audience) to engage with each other in a series of dialogues, interviews, discussions, keynotes and general networking. One immediate outcome from this has been the wider recognition of a few key messages, which are outlined below as follows:
1. Time to Change Copyright
Right from the very first keynote, on day one, to several sessions on the second day, it became increasingly clear that most stakeholders are in agreement over the need for some far reaching changes to be made on the current copyright system before it can become more effective in protecting and incentivising creative works in a dynamic digital environment.
2. Need a Central, Unified and Authoritative Global Rights Registry
The above was identified in several of the sessions as a key enabler towards a more appropriate and effective rights management mechanism in a global digital context. The key issues are global / technology related, therefore the solution would appear to lie in taking a unified approach to implementing what some refer to as a global database for content rights
3. Accelerate the Shift towards New Business Models / Mindsets
The Google Books Settlement was repeatedly held up as a prime example of the art-of-the-possible in reaching a constructive and satisfactory outcome for all stakeholders. This model may be more difficult to accomplish in other media formats, but the fundamental requirements of an open, collaborative approach / mind-set by all stakeholders is mandatory for success. It is also becoming clear that content in digital / non-physical forms may be more appropriately positioned as a collaborative service, instead of the product-unit-centric worldview of the pre-digital content world.
In conclusion, and on the above terms, this summit can be deemed a success, and CISAC -the event organisers, deserve a hearty congratulation for their commitment in putting it all together. However, it might even be more of a success if and when the mid – longer term outcome of this Summit leads to some concrete changes in the world copyright system; and perhaps in the evolution of an authoritative / unified global rights registry; as well as the adoption of a more collaborative approach, in both business models and mindsets, by the content industries and all other stakeholders.
It is this author’s sincere hope, and recommendation, that the next version of this Summit will see the inclusion of more representatives from the developing world, as well as the much over-looked consumer / end-user stakeholder group, (which includes: ordinary citizens, students and the younger, next generation of users), that will ultimately deliver the verdict on any / all future initiatives on copyright..
————————————————————————————————–
Jude Umeh is a senior consultant and enterprise architect within Capgemini, and is something of a rights management evangelist. You can follow his Tweet-stream here

=====

Note:

——-

Note: This post was previously published on my BCS DRM Blog, where you can find the original post, and reader comments, in the archives. Also published at: http://www.capgemini.com/technology-blog/2009/06/copyright_digital_content_and/