Showing posts with label reprap. Show all posts
Showing posts with label reprap. Show all posts

24 June 2011

Opening Up Design

One of the most fascinating aspects of open source is how its key ideas are being applied elsewhere. Obvious examples include open content - things like Wikipedia - open data, open access and open science, but there are also moves to apply them to more specialised business disciplines like design.

Recently, a book called “Open Design Now: Why Design Cannot Remain Exclusive” was published, which provided the first in-depth look at this world. As you might hope given its subject-matter, the essays that go to make it up are also being made available online under a Creative Commons licence - but with a twist:

On Open Enterprise blog.

15 February 2011

The Death of (Analogue) Patents

In a post last week, I wrote about the current obsession with “IP”, and noted some moves to make it more suitable for the digital age. In this post, I want to look at the other main class of “IP”, patents. Surprisingly, perhaps, I won't be talking about software patents, not least because I've written plenty on the topic. Instead, I want to consider patents on analogue - that is, purely physical - objects.

On Open Enterprise blog.

19 July 2010

The Real Open Source Hardware Revolution

I recently wrote about the latest iteration of the Open Source Hardware Definition, which provides a framework for crafting open hardware licences. It's a necessary and important step on the road towards creating a vibrant open source hardware movement. But the kind of open hardware that is commonly being made today – things like the hugely-popular Arduino - is only the beginning.

On Open Enterprise blog.

21 May 2010

Are Trade Secrets and Trademarks the Future?

Last week I wrote a piece about analogue copying. Specifically, it centred on the 3D scanning and copying of an Aston Martin – because that was how somebody framed the question to me. This provoked plenty of thoughtful comment, which I encouraged people to post over on my other blog, since a slightly longer format was needed than this blog could accommodate. However, because the original piece was posted here, I've decided to reply to them here (sorry if this bloggy to-ing and fro-ing causes digital travel sickness.)

On Open Enterprise blog.

14 May 2010

Should We Allow Copies of Analogue Objects?

I write a lot about copyright, and the right to share stuff. In particular, I think that for digital artefacts – text, music, video etc. - free software has shown us that there is no contradiction between allowing these to be copied freely and creating profitable businesses that are powered by that abundance. What has to change, though, is the nature of the business models that underlie them.

The parallel between digital content and software is obvious enough, which makes it relatively easy to see how media companies might function against a background of unrestricted sharing. But we are fast approaching the point where it is possible to make copies of *analogue* objects, using 3D printers like the open source RepRap system. This raises some interesting questions about what might be permitted in that situation if businesses are still to thrive.

On Open Enterprise blog.

30 April 2010

When We Can Copy *Analogue* Artefacts...

The recent battle over the Digital Economy Bill has focussed renewed attention on the area of copying digital artefacts – music and films, for example. It's a subject I've started writing and speaking about more and more; for example, here are some thoughts on why free software's success is crucially important in this area.

But I have confession to make: that article is a bit of a cop-out. I didn't address the even bigger issue of what happens when we can copy *analogue* artefacts. Yup, you read that aright: the time is fast approaching when we will be able to download a chair or a bicycle and just print it out. Clearly, this will make the idea of *analogue* scarcity rather more complex (although energy concerns will always place a lower bound on the cost of making such copies).

People have only just begun thinking about the implications of this shift – not least because it's so mind-boggling, and will make the current brouhaha over digital copying look like the proverbial vicar's tea party. But the first works grappling with this have started emerging; here's one of them:

Throughout recorded history most people who have wanted a household article have bought or bartered it from someone else – in past times an artisan or trader, more recently a seller of mass-produced products. With few exceptions (such as some clothing) it is rare that any of us make such articles for ourselves these days. That may soon change. Thirty years ago only dedicated enthusiasts would print their own photographs or edit and reproduce their own newsletters. The advent of the home computer, and in particular of low-cost high-quality printers, has now made such things simple and commonplace. Recent developments in producing affordable and hobbyist-friendly printers that can reproduce three-dimensional rather than just flat objects may mean that printing a toast-rack or a comb becomes as easy as printing a birthday card.

Any lawyer familiar with copyright and trade mark law can see, however, that printing one’s own birthday cards could, depending on the source and nature of the images used, infringe a number of intellectual property (IP) rights. Tempting as it may be to copy and use a picture of a well-known cartoon character, the resulting cards would very likely be an infringement of the copyright and perhaps trade marks owned by the relevant rights holder. But what if someone uses a printer capable of producing a mobile phone cover bearing such an image? Or reproducing a distinctively-styled piece of kitchenware? What about printing out a spare wing-mirror mount for your car? Do these uses infringe IP rights?

In the first part of this paper, we review the history of 3D printing and describe recent developments, including a project initiated by one of the authors to bring such printers into the home. We then examine the IP implications of personal 3D printing with particular reference to the bundle of rights that would typically be associated with a product that might be copied.

It finishes with the following interesting observations:

rights holders are likely to be concerned if personal 3D printers become widespread and effective enough to impinge on commercial exploitation of their IP rights. Indications as to how they might react can be seen from the recent history of music copyright infringement via the Internet. Both technical and legal responses have been tried, including the use of Digital Rights Management (DRM) technology and proposals to strengthen legislative measures. Will these be applied to restrict low-cost 3D printing?

Technical measures would quickly founder on the problem that, unlike music file-sharing, personal 3D printing does not produce an exact copy that can be digitally signed or protected with DRM. It is the sharing of (as seen, legitimately) reverse-engineered designs that is the issue, not original design documents. Although scanners and printers have incorporated anti-forgery measures to detect attempts to duplicate banknotes, such techniques are very specifically targeted at one well-defined item.1 Whist commercially-produced low-cost 3D printers might be configured to only use authorised DRM-protected 3DPDFs digitally signed by the rights holder, such measures would seriously constrain their usefulness and make them unattractive compared to open-source 3D printers.

It is worth noting, however, that this same point indicates that it may be some time before the level of detail and accuracy attainable by personal 3D printers becomes sufficient to seriously impinge upon the market for quality products, as distinct from utilitarian goods or spare parts (the reproduction of which, as has been noted, is in any case less likely to infringe IP rights.) Unlike digital audio and video copying, which produces perfect copies, copying of articles via 3D printing will be readily distinguishable from the original.

It concludes:

The most optimistic evangelist of low-cost 3D printing would probably admit that the household domestic 3D printer is years, if not decades, from widespread use. Its impact will be gradual, as unlike file-shared MP3s it will not immediately provide for the reproduction of faithful copies. Rather, as its ease-of-use, fidelity and range of materials increases, so will its attractiveness and range of applications. This should, at least, allow for a more measured consideration of the legal issues that will arise from such use. In the longer term, personal 3D printers may conceivably lead to radical changes in the nature of the manufacturing economy; the IP implications of such further developments have so far been imagined only in science fiction.

But make no mistake: it's coming....

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06 June 2008

Open Hardware is...Hard

The Economist does one of its periodic "what's going on in that wacky world of open source" pieces, mercifully not as fundamentally flawed as earlier ones. This is about open hardware (OpenMoko, Chumby, Bug Labs, RepRap), and why it's, er, hard:

In addition to publishing all the software code for a device, for example, makers of open-source hardware generally reveal the physical information needed to build a device, including schematics, materials and dimensions. This is not something manufacturers normally do, and takes time and effort. Supplying open-source hardware is necessarily, therefore, more time-consuming and complex. “It can’t be as simple as open-source software,” says Peter Semmelhack, the founder of Bug Labs, a company based in New York that sells open-source hardware modules to put into other devices. “It has chips, schematics and things coming from many sources.” And suppliers of those many parts are not always interested in going open source, which further complicates matters. OpenMoko tries to use chips with open specifications, says Mr Moss-Pultz, though some chipmakers are reluctant to play along. “It’s like they’re taking their pants off in public,” he says.

04 June 2008

Fab(bers)

And talking of fabbers, this is cool (and open source):

Adrian (left) and Vik (right) with a parent RepRap machine, made on a conventional rapid prototyper, and the first complete working child RepRap machine, made by the RepRap on the left. The child machine made its first successful grandchild part at 14:00 hours UTC on 29 May 2008 at Bath University in the UK, a few minutes after it was assembled.

That is, a fabber that can replicate itself....

Can the singularity be far behind?

27 November 2006

More Fab Open Source Fabbers

I wrote about an open source fabber recently, and now here's another one, the RepRap:

The difference with RepRap, which is the size of a fridge, is that the ideas behind it are not owned by anyone. Dr Bowyer's vision is a machine that can be made, adapted and improved by its users. "I did not want an individual, company or country to make money from this," he said.

If Dr Bowyer's vision is realised there could be profound implications for the global economy. Instead of large companies manufacturing large numbers of consumer goods and distributing them to shops, consumers would buy or share designs on the internet, manufacturing items on their own replication machines.

If you want the code, Matthew Aslett has dug it out, as well as the RepRap's home page. One of the coolest aspects of the RepRap is that it can make its own parts.

Think about it.