Alternatives to DRM?替代數字版權管理？ [Updated: YouTube’s perfect storm] [更新日期： YouTube的完美風暴]
September 5th, 2006 | by ian | 2006年9月5日|由伊恩| UPDATE: 更新：
Google has bought YouTube for 1.6+ Billion and there is a Google已經買下的YouTube為1.6億+是有 hell of a debate going on surrounding Mark Cuban’s criticism of Google’s purchase 地獄的辯論，將會對周圍馬克庫班的批評， Google的購買 and the actual value of YouTube given that it does not use DRM, therefore requiring copyright holders to monitor the site themselves and constantly ask them to take down materials that are in violation. 和實際價值的YouTube ，因為它不使用DRM的，因此需要版權持有人，以監察網站本身並不斷要求他們採取降低材料是違反了。
I would argue that this is a good situation, creating a perfect storm over copyright and forcing the copyright issues into more prominent view and making it more likely that rational folks will come up with balanced solutions, as opposed to attempting to maintain a maladaptive status quo.我認為，這是一個很好的情況下，創造一個完美風暴版權，並迫使版權問題成為更加突出的意見，並使它更可能理性的鄉親將拿出與平衡的解決方案，作為反對企圖維持一個不良適應現狀。
The MPAA wants to “extract” value using DRM. MPAA的要“提取物”的價值使用的DRM 。 Meanwhile the latest Microsoft DRM is cracked. 與此同時，最新的Microsoft DRM是破獲。 Where is this going? 如果這是走向何方？
Interesting有趣的 discussion on DRM in the WSJ Online討論關於數字版權管理，在華爾街日報在線 between Fritz Attaway of the MPAA and and lawyer Wendy Seltzer.之間的弗里茨attaway的MPAA的，並和律師溫迪seltzer 。
Mr. Attaway responds: Wendy — I think we are getting to the philosophical heart of the issue.先生attaway回應：溫迪-我認為我們正在向哲學問題的核心。 You want to be able to take for free the intellectual property others invested their time, talent and money to create.您希望能夠採取免費的智慧財產權其他投資他們的時間，人才和金錢去創造。 I think those creators ought to be able to control, within reasonable bounds, how their property is used, and certainly to be able to extract the economic value of their investment.我覺得這些創作者應該能夠控制，在合理範圍內，如何在他們的財產是用，當然要能夠提取物的經濟價值，他們的投資。
Ms. Seltzer responds: Fritz, I have not been asking for media free of charge.女士seltzer回應：弗里茨，我沒有一直要求媒體，費用全免。 I have been asking for it free of usage and interoperability restrictions that go beyond copyright.我一直要求它的自由使用和互操作性的限制，超越了版權。 The difference is critical — I fully support a market in which creators are compensated for their works, but not one in which a creative industry can monopolize cultural reference and the technology around its works.差異是至關重要的-我完全支持市場中，創作者是補償他們的作品，但沒有一個在一個創意產業可以壟斷文化借鑒和技術左右，其工程。
I am amazed that Fritz uses the term “extraction,” it says so much about their approach to the consumer and to the artists and creators.我很驚訝，弗里茨使用的術語是“提取” ，它說了這麼多關於他們的做法，向消費者和向藝術家和創作者。 I am also amazed that he doesn’t seem to have haven’t caught on to the distinction between freedom and “free as in beer.” To be fair to the MPAA however there do appear to be others in the organization who admit that the我也很驚訝，他似乎沒有沒有捕獲，以之間的區別，自由和“免費為在啤酒。 ”為了公平對待MPAA的，但有做的似乎是其他人在該組織誰承認這 problems of digital distribution are not clearly solved by DRM問題的數字分佈不明確解決的DRM . 。 Unfortunately the strategy thus far is heavy on tracking user behaviour on P2P networks and resorting to (petty) litigation, which is clearly not a winning strategy in the war against media piracy.不幸的策略，因此到目前為止，十分繁忙，跟踪用戶的行為， P2P網絡和訴諸（小額）的訴訟，這顯然不是一個得獎的策略在戰爭中對媒體的盜版活動。
Meanwhile in other news Wired reports that Microsoft’s Windows Media DRM 10 has been cracked, removing any real limitations on a new generation of Microsoft WMA/V based services and showing once again that同時在其他有線新聞報導說，微軟的Windows Media DRM 10的已被破獲，消除任何實質限制，新一代的微軟的WMA /視頻為基礎的服務和顯示再次 Cory was right in his now-famous presentation to Microsoft的Cory是正確的，他現在著名的介紹到Microsoft in which he explained:在其中他解釋說：
That DRM systems don’t work即DRM系統不工作
That DRM systems are bad for society即DRM系統是壞的社會
That DRM systems are bad for business即DRM系統是壞的商業
That DRM systems are bad for artists即DRM系統是壞的藝術家
That DRM is a bad business-move for MSFT即DRM是一個壞的商業舉措微軟
So what are the alternatives to DRM? 因此，什麼是替代數字版權管理？
Well a以及一 Google search for “alternatives to DRM” Google搜尋“替代的DRM ” doesn’t turn up much…不轉了多少…
There are new approaches to the digital fanbase being adopted in the corners of the music industry, such as the Canadian label Nettwerk famous for joining in the fight against the有新的辦法，以數字fanbase正在通過在彎道中的音樂產業，如加拿大的標籤nettwerk著名的加入，在打擊 RIAA’s frivolous lawsuits論述中的瑣屑無聊的訴訟 . 。 Wired has an excellent article about Nettwerk有線有極好的文章nettwerk . 。 They are changing the label’s role in how the business interaction between artists and fans takes place, and purposefully avoid DRM to ensure that their fans have the option of playing the music they purchase on any device they want to.他們正在改變標籤的作用，如何在業務之間的互動藝術家和球迷發生，並有針對性地避免數字版權管理，以確保他們的球迷都可以選擇玩音樂，他們購買的任何設備，他們希望。 This is good progress and while providing leadership by example it doesn’t provide a larger framework for distribution.這是良好的進展，並同時提供的領導，例如它沒有提供一個大框架內進行分發。 Which is the problem in the first place.這是問題擺在首位。
It is possible that the RIAA and MPAA won’t have a role if they continue to focus on inventing the next physical-media-bound format.這是有可能RIAA表示，截止到和MPAA的便不會有作用，如果他們繼續把重點放在發明未來物理媒體格式的約束。 Already artists and fans are finding ways to work around them.已經藝術家和球迷設法工作，他們周圍。 It is clear that they very much want to restrict the freedom of customers ability to enjoy the music or movies they purchase by device and geographical area.這是明確表示，他們很想限制其自由的顧客的能力，享受音樂或電影，他們購買了設備和地理區域。 This is less of a copyright measure, rather a control play to “extract” more money from consumers.這是少了版權的措施，而不是一個控制發揮“提取”更多的錢從消費者身上。
I think they need to focus on:我認為他們需要把重點放在：
1) legally pursuing the real media pirates who distribute and make money from illegally copied materials 1 ）在法律上追求真正的媒體海盜誰分配和賺錢，從非法複製材料
2) providing an valuable alternative distribution system to existing DRM based (iTunes) or P2P networks 2 ）提供了一個寶貴的替代性的分配制度，以現有的DRM為基礎的（ iTunes中）或P2P網絡
Such an alternative system could include P2P based distribution software which in return for allows the consumer to legally download music with a universal playability licence allowing music to be played on all personal devices.這種替代制度可包括基於P2P的分佈軟件，在回報，讓消費者在法律上下載音樂具有普遍性的彈奏牌照，讓音樂將發揮對所有的個人裝置。 The consumer in return allows the software to track and report on downloads and uses micropayments or something akin to what radio uses to compensate the artists and rightsholders accordingly.消費者在返回讓軟件來跟踪和報告，下載並使用小額或類似的東西是什麼電台使用，以補償藝術家和相應的權利人。
In fact there is a fair amount of research that has been done on事實上，有相當數量的研究已進行了 compensation alternatives補償辦法 . 。 For some excellent discussions see the一些優秀的討論，請參閱 Lessig blog萊斯格博客 . 。 The problem of course is the industry moving from point A to point B. There are too many vested interests in holding on to the status quo, no matter how untenable.這個問題當然是業界從A點，以點乙有太多的既得利益者的利益，在控股，以維持現狀，無論怎樣站不住腳的。
Some experiments in alternatives are well under way such as an有些實驗在替代品，以及正在進行中，如1 ISP in the UK whose subscribers are allowed to share Sony music互聯網服務供應商在英國的訂戶可以分享索尼音樂 , built into the service. ，建成服務。 Hopefully we will see more experimentation so we find practical solutions and and a light at the end of the dark tunnel of digital media confusion.我希望我們將看到更多的實驗，所以我們找到切實可行的解決辦法，並和盡頭的光明黑暗隧道的數字媒體的混亂。
