Move over Jefferson, St. Augustine's Hot Now

One of the favourite passages invoked by people who believe that sharing does not diminish ideas (and by extension digital content) but enhances whatever it touches, is the following from Thomas Jefferson:

He who receives an idea from me, receives instruction himself without lessening mine; as he who lights his taper at mine, receives light without darkening me.

Now Larry Lessig passes on the news that the idea goes back even further (no surprise there) to that fab bloke St. Augustine, who wrote the following poetic par:

The words I am uttering penetrate your senses, so that every hearer holds them, yet withholds them from no other. Not held, the words could not inform. Withheld, no other could share them. Though my talk is, admittedly, broken up into words and syllables, yet you do not take in this portion or that, as when picking at your food. All of you hear all of it, though each takes all individually. I have no worry that, by giving all to one, the others are deprived. I hope, instead, that everyone will consume everything; so that, denying no other ear or mind, you take all to yourselves, yet leave all to all others. But for individual failures of memory, everyone who came to hear what I say can take it all off, each on one's separate way.

Who could possibly gainsay that?

Guardian Leads the Way (Again)

At a time when most newspapers are talking doom and gloom, the Guardian is instead *doing* something - and thriving (maybe there's a correlation?). Here's its latest shrewd move:

The Guardian today launched Open Platform, a service that will allow partners to reuse guardian.co.uk content and data for free and weave it "into the fabric of the internet".

Open Platform launched with two separate content-sharing services, which will allow users to build their own applications in return for carrying Guardian advertising.

A content application programming interface (API) will smooth the way for web developers to build applications and services using Guardian content, while a Data Store will contain datasets curated by Guardian editors and open for others to use.

So far, so conventional. Here's the important bit:

The Guardian is positioning its Open Platform as a commercial venture, requiring partners to carry its advertising as part of its terms and conditions, while BBC Backstage states clearly that its proposition is for individual developers designers and not for "big corporates".

This is the future of content, which will be made available freely, but revenue-generating features will be bolted on to it as above. (Disclosure: I occasionally write for the Guardian; but not much.)

A Three-Dimensional Approach to Content Sales

One of the recurrent themes on this blog is the transition from a world of analogue content to one that is purely digital - and hence trivially copiable. The refusal of the media producers to recognise this shift is at the root of most of the problems they face in terms of declining sales and increasing unauthorised copying. Another recurrent idea has been the solution to this problem: to give away the digital but make money from the analogue.

Here's someone else with a nice observation that meshes with this perfectly:

Last Friday I was at a movie preview for a concert movie called U23D, which, as you will correctly surmise, was a U2 concert filmed in digital 3D.

A few weeks ago I saw the new film Beowulf, also in 3D.

As I look out the office window to the AMC Loews on 84th St, I see that the marquee is already pitching Hannah Montana 3d, not due out until February.

And outside that same theater is a 3d movie poster for the upcoming Speed Racer movie.

Suddenly everything is floating in space, after decades of flatness. What gives?

The answer?

Could it have something to do with the fact that a 3d movie cannot be pirated?

According to IMDB, the LA premier of Beowulf was on November 3, 2007 and the film was officially released in the US on November 16. On the other hand, according to vcdquality (a news site that announces the “releases” of films into various darknets) it was already available for file sharing by November 15.

Isn’t it just possible that the studios were thinking: Hey guys, I know you could just download this fantasy flick and see it on your widescreen monitor. But unless you give us $11 and sit in a dark theater with the polarized glasses, you won’t be seeing the half-naked Angelina Jolie literally popping off the screen!

Kids Today - The People Tomorrow

Nice story here:

I just could not find a spot on the spectrum that would trigger these kids' morality alarm. They listened to each example, looking at me like I was nuts.

Finally, with mock exasperation, I said, "O.K., let's try one that's a little less complicated: You want a movie or an album. You don't want to pay for it. So you download it."

There it was: the bald-faced, worst-case example, without any nuance or mitigating factors whatsoever.

"Who thinks that might be wrong?"

Two hands out of 500.

Now, maybe there was some peer pressure involved; nobody wants to look like a goody-goody.

Maybe all this is obvious to you, and maybe you could have predicted it. But to see this vivid demonstration of the generational divide, in person, blew me away.

I don't pretend to know what the solution to the file-sharing issue is. (Although I'm increasingly convinced that copy protection isn't it.)

Er, David, it's called changing the business model. It is just not sustainable to try to enforce analogue-type laws on digital content, and ultimately it's counterproductive - as the music industry is finding to its cost.

DRM in the Analogue World

DRM is normally viewed as an issue in the world of digital content, which can be duplicated losslessly. But in this virtuosic post, Mike Masnick points out that it also exists in an analogue context in the form of noncompete agreements, which seek to prevent ideas being copied perfectly:

just think of noncompetes as the "DRM" of human capital. Just as DRM tries to restrict the spread of content, a noncompete seeks to restrict the spread of a human's ideas for a particular industry within the labor arena. Both concepts are based on the faulty assumption that doing so "protects" the original creator or company -- but in both cases this is incorrect. What it actually does is set up an artificial barrier, limiting the overall potential of a market. It may not be easy to see that from the position of the content creator or company management (or investors). It's natural to want to "protect," but it's actually quite damaging.

...


While it may seem easier to "protect" your ideas and your people, what you really end up doing is blocking off your own access to many of the ideas that you need to continue to innovate. You limit the vital mix of ideas to build not just decent products, but great products. Just as DRM has helped to destroy the record labels when competing against more nimble, more open technology -- noncompetes destroy businesses when competing against more nimble, more open technology clusters.

Brilliant.

In the Digital Age, Analogue Makes the Money

Further hints that the way to make money with digital content is to go analogue:

Why do so many people still love vinyl, even though its bulky, analog nature is anathema to everything music is supposed to be these days? Records, the vinyl evangelists will tell you, provide more of a connection between fans and artists. And many of today's music fans buy 180-gram vinyl LPs for home listening and MP3s for their portable devices.

"For many of us, and certainly for many of our artists, the vinyl is the true version of the release," said Matador's Patrick Amory. "The size and presence of the artwork, the division into sides, the better sound quality, above all the involvement and work the listener has to put in, all make it the format of choice for people who really care about music."

Yup, yup and yup.