From this BBC story, as of 6.43 pm.
P.S. I love the way it’s claimed “everyone will benefit” from the royalty rise. As a consumer, I can’t wait to be paying more! Perhaps a price increase will help limit the consumption of this precious rivalrous good… oh, wait…
P.P.S. Not the first time a BBC story about Apple’s had truer-than-they-perhaps-meant phrasing.
L.J.K. Setright, the late motoring writer and commentator, self-taught mechanical engineer and all-round Renaissance Man, once wrote:
Fashion is a terrible fetter; convention, since it lasts longer, is even worse.
This was in an issue of Car, when it was still any good.
Setright wrote it in reference to car design, and the lack of progress thereof, but I think we can all see how applicable it is to many fields of endeavour, not just in technology but in society also. We should be very wary when fashions become conventions – or at least we should think them through before they become norms. And we should always leave ourselves a way out. (I’ve mentioned this in a few contexts before, perhaps with a little hyperbole.)
What almost became a norm – DRM’d music – is now apparently on the way out. DRM was a fashion, not a convention: still a fetter, but one which can ultimately be shaken off, as it should be.
The great thing about fashions, of course, is that they can be talked into existence, and talked out of existence too. Fashions are not architecture.
First, an apology for anyone who’s had problems with the RSS/Atom feeds over the last month or so. I think they’re fixed now (certainly Bloglines has started picking them up again) but please let me know if you don’t read this. Oops, that won’t work… anyway:
‘Gadgets as Tyrants’ by Xeni Jardin, looks at digital architectures of control in the context of the 2007 Consumer Electronics Show in Las Vegas :
The Consumerist – showing a 1981 Walmart advert for a twin cassette deck – comments that “Copying music wasn’t always so taboo”.
Many of the tens of thousands of products displayed last week on the Vegas expo floor, as attractive and innovative as they are, are designed to restrict our use… Even children are bothered by the increasing restrictions. One electronics show attendee told me his 12-year-old recently asked him, “Why do I have to buy my favorite game five times?” Because the company that made the game wants to profit from each device the user plays it on: Wii, Xbox, PlayStation, Game Boy or phone.
At this year’s show, the president of the Consumer Electronics Association, Gary Shapiro, spoke up for “digital freedom,” arguing that tech companies shouldn’t need Hollywood’s permission when they design a new product.
I’m not sure it is now, either.
George Preston very kindly reminds me of the excellent Trusted Computing FAQ by Ross Anderson, a fantastic exposition of the arguments. For more on Vista’s ‘trusted’ computing issues, Peter Guttmann has some very clear explanations of how shocking far we are from anything sensible. See also Richard Stallman’s ‘Right to Read’.
David Rickerson equally kindly sends me details of a modern Panopticon prison recently built in Colorado – quite impressive in a way:
…Architects hit a snag when they realized too much visibility could create problems.
“We’ve got lots of windows looking in, but the drawback is that inmates can look from one unit to another through the windows at the central core area of the ward,” Gulliksen says. “That’s a big deal. You don’t want inmates to see other inmates across the hall with gang affiliations and things like that.”
To minimize unwanted visibility, the design team applied a reflective film to all the windows facing the wards. Deputies can see out, but inmates cannot see in. Much like the 18th-century Panopticon, the El Paso County jail design keeps inmates from seeing who is watching them.
Image from Correctional News website
Should the iPhone be more open?
As Jason Devitt says, stopping users installing non-Apple (or Apple-approved) software means that the cost of sending messages goes from (potentially) zero, to $5,000 per megabyte:
Steve typed “Sounds great. See you there.” 28 characters, 28 bytes. Call it 30. What does it cost to transmit 30 bytes?
* iChat on my Macbook: zero.
* iChat running on an iPhone using WiFi: zero.
* iChat running on an iPhone using Cingular’s GPRS/EDGE data network: 6 hundredths of a penny.
* Steve’s ‘cool new text messaging app’ on an iPhone: 15c.
A nickel and a dime.
15c for 30 bytes = $0.15 X 1,000,000 / 30 = $5,000 per megabyte.
“Yes, but it isn’t really $5,000,” you say. It is if you are Cingular, and you handle a few billion messages like this each quarter.
… [I] assumed that I would be able to install iChat myself. Or better still Adium, which supports AIM, MSN, ICQ, and Jabber. But I will not be able to do that because … it will not be possible to install applications on the iPhone without the approval of Cingular and Apple… But as a consumer, I have a choice. And for now the ability to install any application that I want leaves phones powered by Windows Mobile, Symbian, Linux, RIM, and Palm OS with some major advantages over the iPhone.
Aside from the price discrimination (and business model) issue (see also Control & Networks), one thing that strikes me about a phone with a flat touch screen is simply how much less haptic feedback the user gets.
I know people who can text competently without looking at the screen, or indeed the phone at all. They rely on the feel of the buttons, the pattern of raised and lowered areas and the sensation as the button is pressed, to know whether or not the character has actually been entered, and which character it was (based on how many times the button is pressed). I would imagine they would be rather slow with the iPhone.
A few minutes ago I was playing a track in Winamp, with Gmail open in an Opera window, and on refreshing Gmail, the Google ‘web clip’ at the top of the inbox display contained the same phrase, ‘jet stream’, as the track.
Is that merely a coincidence, or does Gmail monitor what music is being played by a user? I don’t have Google Desktop or Toolbar or any of that installed.
Some developments in – and commentary on – digital architectures of control to end 2006:
Peter Gutmann’s ‘A Cost Analysis of Windows Vista Content Protection’ (via Bruce Schneier) looks very lucidly at the effects that Vista’s DRM and measures to ‘protect’ content will have – on users themselves, and knock-on effects elsewhere. The more one reads, the more astonishing this whole affair is:
Possibly for the first time ever, computer design is being dictated not by electronic design rules, physical layout requirements, and thermal issues, but by the wishes of the content industry.
Vista appears to be just about the worst consumer product of all time. However, unlike other discretionary purchases, consumers will have less of a choice: Vista will come with any PC you buy from a major store, and all the hardware manufacturers will have to pass on the extra costs and complexity required to customers, whether or not they intend to use that hardware with Vista. When critical military and healthcare systems start to be run on Vista, we’ll all end up paying.
As Peter puts it:
In a similar vein, the ‘format wars’ over high-definition video appear to have descended into a farce:
The Vista Content Protection specification could very well constitute the longest suicide note in history
Basically, what we have is a series of anti-consumer DRM infections masquerading as nothing in particular. They bring only net negatives to anyone dumb enough to pay money for them, and everything is better than these offerings. They sell in spite of the features they tout, not because of them.
And, of course, HD-DVD encryption has already been “(partially) cracked” as Uninnovate puts it, with that decryption effort being triggered directly as a result of consumer frustration with incompatibility:
“Consumers buy only 23 songs per iPod” – clearly, the vast majority of music on iPods and other portable music players has been acquired through CD-ripping or file-sharing, something which we all know, but which has been an elephant in the room for a long time when the industry is discussed (and remember that the Gowers’ Review has only just recommended that ripping CDs be legalised in the UK).
I just bought a HD-DVD drive to plug on my PC, and a HD movie, cool! But when I realized the 2 software players on Windows don’t allowed me to play the movie at all, because my video card is not HDCP compliant and because I have a HD monitor plugged with DVI interface, I started to get mad… This is not what we can call “fair use”! So I decide to decrypt that movie.
Of course, Bill Gates also recommends ripping CDs (see also some great commentary from LilBambi on this).
Andrew Kantor in USA Today has some pragmatic analysis of the situation:
Finally, Microsoft’s Steve Ballmer tells us that in 2007 the consumer will be “back in control”. It doesn’t mean much out of context, nor in the context he used it in fact, but it looks like Doublespeak is alive and well.
People want their music without restrictions, and too many legal downloads, like those from iTunes, come with restrictions. You can’t copy them to another player, or you’re limited to how often you can do it, or you have to jump through the hoops of burning your iTunes tracks to CD and re-ripping them to a more useful format… as cellphones with built-in MP3 players gain popularity, users will find themselves up against an entirely new set of usage restrictions. Some subscription services will delete the music from your player when you cancel your subscription.
Buy a CD or use a program like eMule… and you have no restrictions. And that’s what people want.
They don’t want to have to match their music store with their music player any more than they want to have to match their brands of gasoline with their brands of car. They want, in short, to be able to use today’s music the same ways they used yesterday’s: Any way they want.
In fact, the industry’s been down this road before and hit a similar wall. In the first decades of the 20th century, the wax cylinders (and, later, 78rpm disks) on which music was recorded worked only with specific players. Industry attempts to monopolize the technology led only to poor sales.
The Mosquito sound has been mixed (sort of) into a dance track:
“…the sound is being used in a dance track, Buzzin’, with secret melodies only young ears can hear.
Simon Morris from Compound Security said: “Following the success of the ringtone, a lot of people were asking us to do a bit more, so we got together with the producers Melodi and they came up with a full-length track.
“It has two harmonies – one that everyone can hear and one that only young people can hear.
“But it works well together or separate,” he added.”
There’s a clip linked from the BBC story, or here directly (WMV format). Can’t say the “secret melodies” are especially exciting (and yes, I can hear it!) but I suppose it’s a clever idea. There could be some interesting steganographic possibilities, and indeed it could be used for ‘cheating in tests’ as Jason Thomas puts it here.
This is the same Simon Morris who’s quoted in an earlier BBC story as saying that teenagers (in general) don’t have a right “to congregate for no specific purpose”, so it’s interesting to see him getting involved with young peoples’ music. Nevertheless, I can see the dilemma that Compound Security are in: they’ve created something designed to be unpleasant for teenagers, but are also capitalising on its potential appeal to teenagers. It’s clever, if rather inconsistent branding practice.