Large-scale sensor-rich video management and delivery

Ph.DDOCTOR OF PHILOSOPH

Copyright in music- an analysis of emerging legal trends.

Technological innovations have always influenced the ways in which music is made and consumed in societies. Now that music has entered the digital realm a new revolution is underway. The near perfect duplication facilitated by digital technology in conspiracy with the ease of exchange provided by the Internet threaten to render copyright law into a redundant relic, while at the same time changing the way in which millions across the globe listen to music. A new music culture has been born –driven by technology advances, hindered only by copyright law. The combination of the Internet and digital technology presents copyright law with what has been described as a digital dilemma. The availability of digital music in the form of MP3s has allowed for songs and albums to be easily compressed into manageable digital file sizes while maintaining very high audio fidelity. Millions of individuals across the world have created MP3s by „ripping‟ music albums into digital files of this format and made them available to others in cyberspace. Millions of others have searched for and downloaded these tracks without having to go a bricks –and –mortar retail establishment and purchase them on CD, and have shared them widely through online transfers and by burning them on recordable CDs.3Digital copy of Ph.D thesis.University of Kashmir

Digital piracy

Die vorliegende Arbeit behandelt das Thema Digitale Piraterie von Musik und Filmen im Internet aus einer gesamtheitlichen Sicht. Dies umfasst die soziale, technische, rechtliche als auch ökonomische Perspektive, wobei der Fokus auf letztere liegt. Die Gründe für das unrechtmäßige Herunterladen von urheberrechtlich geschützten Inhalten und die Etablierung dieses Verhaltens als ein weltweit verbreitetes Massenphänomen bildet den Schwerpunkt des Kapitels, das die soziale Perspektive dieser Thematik behandelt. Die technische Perspektive liefert nicht nur einen Einblick in DRM Systemen (Systeme zur digitalen Rechteverwaltung) sondern erörtert zudem Systeme, mit deren Hilfe Piraterie überhaupt betrieben wird. Jede Auseinandersetzung mit einer Thematik die über Recht und Unrecht Aussagen trifft benötigt als Rahmen eine Erörterung der hierfür zugrundeliegenden Gesetze. Diese wird im Kapitel "Rechtliche Perspektive" abgehandelt. Im Hauptteil der Arbeit wird zunächst die gegenwärtige Struktur und Vorgehensweise der Musik und Filmindustrie erörtert. Danach wird ein Rahmenkonzept für zukünftige, an die technologischen Fortschritte und Wünsche der modernen Kunden angepasste Geschäftsmodelle geschaffen. Aus diesem Konzept heraus werden insgesamt sieben Geschäftsmodelle präsentiert. Auf die ersten drei Modelle wird hierbei der nähere Fokus gelegt, da sie den gesamten Markt betreffen. Die restlichen vier Modelle sind als Nischenprodukte angedacht, die für einen bestimmten Teil des Marktes interessant sein werden. Abschließend folgen ein Fazit und eine allgemeine Empfehlung an die Musik und Filmindustrie.This master thesis deals with the issue of digital piracy of music and film in the internet from a broad perspective. This includes the social, technical, legal and economic perspective with a focus on the latter. The emphasis of the chapter dealing with social issue lies on the reasons for illegitimate download of copyrighted material and the establishment of this behaviour as a worldwide phenomenon. The technical perspective not only delivers an insight into DRM (digital rights management) systems, but also looks into systems which are used to pirate in the first place. When dealing with a topic about rightful and unlawful behaviour then it is inevitable to look into laws and policies regulating these issues. This will be done in the chapter dealing with the legal perspective. The main focus of this work lies with the economic perspective. This chapter will begin with an analysis of the current structure and practise of the music and the film industry. Later on a framework will be created to derive innovative business models more fitting to the technological developments of recent times and the requirements of modern customers. Out of seven business models presented, the first three will be looked up in detail since they are meant to be adapted to the whole market, whereas the other four models suit only certain segments of the market. Finally the thesis finishes with a conclusion and a general recommendation for the music and film industry

Digital disruption in the recording industry

With the rise of peer-to-peer software like Napster, many predicted that the digitalisation, sharing and dematerialisation of music would bring a radical transformation within the recording industry. This opened up a period of controversy and uncertainty in which competing visions were articulated of technology-induced change, markedly polarised between utopian and dystopian accounts with no clear view of ways forwards. A series of moves followed as various players sought to valorise music on the digital music networks, culminating in an emergence of successful streaming services. This thesis examines why there was a mismatch between initial predictions and what has actually happened in the market. It offers a detailed examination of the innovation processes through which digital technology was implemented and domesticated in the recording industry. This reveals a complex, contradictory and constantly evolving landscape in which the development of digital music distribution was far removed from the smooth development trajectories envisaged by those who saw these developments as following a simple trajectory shaped by technical or economic determinants. The research is based upon qualitative data analysis of fifty five interviews with a wide range of entrepreneurs and innovators, focusing on two successful innovation cases with different points of insertion within the digital recording industry; (1) Spotify: currently the world’s most popular digital music streaming service; and (2) INgrooves: an independent digital music distribution service provider whose system is also used by Universal Music Group. The thesis applies perspectives from the Social Shaping of Technology (“SST”) and its extension into Social Learning in Technological Innovation. It explores the widely dispersed processes of innovation through which the complex set of interactions amongst heterogeneous players who have conflicting interests and differing commitments involved in the digital music networks guided diverging choices in relation to particular market conditions and user requirements. The thesis makes three major contributions to understanding digital disruption in the recording industry. (1) In contrast to prevailing approaches which take P2P distribution as the single point of focus, the study investigates the multiplicity of actors and sites of innovation in the digital recording industry. It demonstrates that the dematerialisation of music did not lead to a simple, e.g. technologically-driven transformation of the industry. Instead a diverse array of realignments had to take place across the music sector to develop digital music valorisation networks. (2) By examining the detailed processes involved in the evolution of digital music services, it highlights the ways in which business models are shaped through a learning process of matching and finding constantly changing digital music users’ needs. Based on the observation that business models must be discovered in the course of making technologies work in the market, a new framework of ‘social shaping of business models’ is proposed in order to conceptualise business models as an emergent process in which firms refine their strategies in the light of emerging circumstances. (3) Drawing upon the concepts of musical networks (Leyshon 2001) and mediation (Hennion 1989), the thesis investigates the interaction of the diverse actors across the circuit of the recording business – production, distribution, valorisation, and consumption. The comprehensive analysis of the intricate interplay between innovation actors and their interactions in the economic, cultural, legal and institutional context highlights the need to develop a more sophisticated and nuanced understanding of the recording industry

Net Neutrality

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Chris Marsden maneuvers through the hype articulated by Netwrok Neutrality advocates and opponents. He offers a clear-headed analysis of the high stakes in this debate about the Internet's future, and fearlessly refutes the misinformation and misconceptions that about' Professor Rob Freiden, Penn State University Net Neutrality is a very heated and contested policy principle regarding access for content providers to the Internet end-user, and potential discrimination in that access where the end-user's ISP (or another ISP) blocks that access in part or whole. The suggestion has been that the problem can be resolved by either introducing greater competition, or closely policing conditions for vertically integrated service, such as VOIP. However, that is not the whole story, and ISPs as a whole have incentives to discriminate between content for matters such as network management of spam, to secure and maintain customer experience at current levels, and for economic benefit from new Quality of Service standards. This includes offering a ‘priority lane' on the network for premium content types such as video and voice service. The author considers market developments and policy responses in Europe and the United States, draws conclusions and proposes regulatory recommendations

MediaSync: Handbook on Multimedia Synchronization

This book provides an approachable overview of the most recent advances in the fascinating field of media synchronization (mediasync), gathering contributions from the most representative and influential experts. Understanding the challenges of this field in the current multi-sensory, multi-device, and multi-protocol world is not an easy task. The book revisits the foundations of mediasync, including theoretical frameworks and models, highlights ongoing research efforts, like hybrid broadband broadcast (HBB) delivery and users' perception modeling (i.e., Quality of Experience or QoE), and paves the way for the future (e.g., towards the deployment of multi-sensory and ultra-realistic experiences). Although many advances around mediasync have been devised and deployed, this area of research is getting renewed attention to overcome remaining challenges in the next-generation (heterogeneous and ubiquitous) media ecosystem. Given the significant advances in this research area, its current relevance and the multiple disciplines it involves, the availability of a reference book on mediasync becomes necessary. This book fills the gap in this context. In particular, it addresses key aspects and reviews the most relevant contributions within the mediasync research space, from different perspectives. Mediasync: Handbook on Multimedia Synchronization is the perfect companion for scholars and practitioners that want to acquire strong knowledge about this research area, and also approach the challenges behind ensuring the best mediated experiences, by providing the adequate synchronization between the media elements that constitute these experiences