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Wired Shut:
Copyright and the Shape of Digital Culture
Tarleton Gillespie
published June 1, 2007 by The MIT Press
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acknowledgments
one ~~ The Technological Fix
two ~~ The Copyright Balance and the Weight of DRM
three ~~ The Speed Bump
four ~~ A Heroic Tale of Devilish Piracy and Glorious Progress, by Jack Valenti
five ~~ Why SDMI Failed
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Technologies for the production and distribution of culture have long been designed so as to guide the activity of users, from early printed folios locked to the lecterns on which they sat, to sophisticated password protection systems on consumer software. In order to orchestrate such a system of control, content producers require the cooperation of technology manufacturers, but this turns out to be difficult to achieve: manufacturers are numerous and commercially competitive, and generally see value in offering users as much choice as possible. One attempt to wrangle these interests into agreement, initiated by the record industry, was the Secure Digital Music Initiative (SDMI). The major record labels gathered consumer electronics manufacturers, information technology providers, and fledgling online distributors to produce copy protection for music and the standards for all hardware to honor these protections. Chapter 5 traces the history of this effort, investigating how the music industry attempted to forge a consensus, and the reasons why it collapsed. SDMI is a reminder that the alignment of technology and content envisioned in such plans cannot be imposed without a matching alignment between the commercial players that produce them, and such an alignment is not so easily achieved.
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six ~~ Protecting DVDs: Lock, License, and Law
seven ~~ Raising the Broadcast Flag
eight ~~ Effective Frustration
nine ~~ The Cultural Implications of Encryption
references
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