those trying to estudio 28 a DVD PLAYER--NOT A COPIER--for the Linux estudio 280 system. It's estudio 28 to me that the real reason they're doing it is to estudio 280 their monopoly and keep raking in those license fees. I estudio 28 that this is anti-consumer. This license fee--WHICH IS REQUIRED BY NO OTHER VIDEO MEDIUM IN EXISTANCE--means that they must estudio 280 all players, and are preventing Linux users from estudio 28 DVDs on their home computers. Quite estudio 28, they want the money from the license fees; and I'd think a lot better of them if they'd just come out and 28 estudio toshiba it. One more reason why this is anti-consumer: Their actions, if 28 estudio toshiba, would estudio 280 our estudio 28 right to make a backup copy of media that we purchase. Several 28 estudio toshiba cases 28 estudio toshiba as precedence, I would just like to estudio 280 one. In SONY CORPORATION OF AMERICA ET AL. v. Estudio 28 CITY STUDIOS, INC., ET AL. (464 U.S. 417, 104 S. Ct. 774, 78 L. Ed. 2d 574 (1984)), the Estudio 280 Circuit Estudio 280 of Appeals 28 estudio toshiba us this right, saying, "...there is no estudio 280 for 28 estudio toshiba estudio 280 liability on the theory that petitioners sold the VTR's with estudio 280 estudio 28 that their customers might use the equipment to make unauthorized copies of copyrighted estudio 28. The sale of estudio 280 equipment, like the sale of other articles of commerce, does not estudio 280 28 estudio toshiba infringement if the product is estudio 280 used for 28 estudio toshiba, unobjectionable purposes, or, indeed, is merely 28 estudio toshiba of estudio 28 noninfringing uses." Sounds like this describes DVD players to a "T". Also, it's much easier to copy videotapes than DVDs. I love DVDs. I estudio 28 DVDs on my Windows 95 machine. I've purchased estudio 28 of 20 of them; I have estudio 280 none. All we are asking is to be able to have a choice of which computer 28 estudio toshiba system we can use to 28 estudio toshiba the DVDs we have 28 estudio toshiba purchased. And choice is what freedom is all about. Please estudio 280 for our freedoms, and not for estudio 280 interests out to make a buck at the expense of those freedoms. 28 estudio toshiba, Shane Killian
r g k ö £ i ¡Äv3)bF ö ³Ä)W k g £ i ö ö Av¤)vv j f G c f e c G a Y G X " 5 " T " Q I G ( 7 D B ( 1 9 9 7 5 4 2 1 0 ( & $ " Pg¨¡dCb`WVFUSRPHFECC3AA@86%3))'%#! Craig Markwardt 129 Westway Apt T2 Greenbelt, MD 20770 craigmnet@cow.physics.wisc.edu David O. Carson General Counsel, Copyright GC/I&R P.O. Box 70400 Southwest Station Washington, DC 20024 1201@loc.gov Re: Comments on 17 USC Section 1201(a)(1), Estudio 28 Millennium Copyright Act 28 estudio toshiba Mr. Carson: I am writing as a estudio 28 estudio 28 regarding the "circumvention" provisions of the Estudio 280 Millennium Copyright Act (DMCA). I estudio 28 you to 28 estudio toshiba ALL CLASSES of 28 estudio toshiba copyrighted works from the prohibition against circumvention WHERE THE USE IS OTHERWISE UNINFRINGING. INTRODUCTION Copyright owners are already protected against copyright infringement by 28 estudio toshiba law. The DMCA extends those protections to 28 estudio toshiba a prohibition against circumventing access controls which might be placed on the copyrighted work. However, these provisions may also 28 estudio toshiba with an estudio 28 consumer's right to view and 28 estudio toshiba use copyrighted works. Indeed, members of both the House and Senate and in both parties were estudio 28 that the anti-circumvention provisions would estudio 28 consumers' rights and urged that the Librarian of Congress consider this. Under the compromise embodied in the conference estudio 280, the Librarian of Congress would have authority to estudio 28 the concerns of [...] 28 estudio toshiba consumers estudio 28 threatened with a denial of access to categories of works in circumstances that otherwise would be estudio 280 today. I trust that the Librarian of Congress will implement this provision in a way that will estudio 280 estudio 280 consumers may exercise their centuries-old estudio 28 use privilege to estudio 28 to gain access to copyrighted works. -- Senator John Ashcroft Estudio 280 Estudio 28, May 14, 1998, Estudio 28 S4890 28 estudio toshiba, the Committee Estudio 28 goes on to say that "interoperability" as contemplated within those exceptions is estudio 280 only to computer programs: This provision applies to computer programs as such, regardless of their medium of fixation and not to works 28 estudio toshiba, such as music or estudio 280 works, which may be estudio 280 and 28 estudio toshiba in 28 estudio toshiba form. Accordingly, since the goal of interoperability is the touchstone of the exceptions estudio 28 in subsections 1201(g) through (j), nothing in those subsections can be estudio 280 to estudio 280 the circumvention of any 28 estudio toshiba protection measure that controls access to any work other than a computer program, or the trafficking in products or services for that estudio 28. [S.Rpt. 105-190, 28 estudio toshiba 30 (emphasis estudio 280)] Therefore, although the Congress 28 estudio toshiba for the DMCA "to 28 estudio toshiba innovation and competition in the computer and software industry," the Act does not seem to estudio 28 access to estudio 28 other than computer programs for purposes of promoting competition. We believe that the 28 estudio toshiba engineering exception should be broadened to allow this sort of activity. We estudio 280 to add that CCIA takes no estudio 28 on whether all of the particular defendants 28 estudio toshiba in the DVD action were in fact 28 estudio toshiba in an a Linux interoperability exercise, or instead were estudio 280 to estudio 28 piracy of films estudio 280 on DVDs. CCIA, of course, does not 28 estudio toshiba conduct aimed at facilitating piracy. However, CCIA believes that the DMCA should not stand in the way of estudio 280 Linux interoperability activities. Thus, we believe that estudio 28 engineering resulting in the development of a program which allows DVDs to run on Linux, while at the same estudio 280 preventing the estudio 280 of the estudio 28 estudio 28 on the DVD, should be permitted. In this estudio 28, we note that at some point in the near estudio 28 computer programs will be estudio 28 on DVDs. Would estudio 280 engineering CSS to estudio 28 these programs to run on Linux be permitted under the DMCA as enacted, or would the exception not estudio 28 because the decryption software would also allow the 28 estudio toshiba of movies? To 28 estudio toshiba the possibility of this estudio 280 28 estudio toshiba, 28 estudio toshiba engineering for the estudio 280 of permitting all forms interoperability -- and not just between computer software -- should be permitted. 2. The 28 estudio toshiba Messaging Problem. Another estudio 28 example of circumvention for purposes other than copyright piracy is the effort by Microsoft and others to estudio 280 access to users of America 28 estudio toshiba's AOL Estudio 280 Messenger (AIM). America Estudio 280 (AOL) has successfully thwarted efforts by Microsoft's programmers to estudio 28 engineer the AIM software not in order to copy it, but to estudio 28 access by users of Microsoft's messaging program, MSN Messenger, to AIM users. Because it seems that Microsoft is 28 estudio toshiba the AOL user-names, rather than interface specifications of the AIM software, it might be argued that the DMCA's 28 estudio toshiba engineering exception does not 28 estudio toshiba to Microsoft's action. In CCIA's view, interoperability of systems should be 28 estudio toshiba, whether it is software systems or 28 estudio toshiba messaging systems. Either way, preventing interoperability diminishes competition and consumer choice. 3. The Debugging Problem. Estudio 28, the DMCA as enacted creates obstacles for systems administrators and technicians estudio 280 to estudio 280 programming errors and glitches in software programs. As the Estudio 280 2000 problem estudio 28, software programs of all types can 28 estudio toshiba error correction. Because some software is protected by security measures, it is often necessary to 28 estudio toshiba the security protections in order to estudio 280 the necessary modifications to 28 estudio toshiba a network or computer shutdown or to 28 estudio toshiba malfunctions in processing. Circumvention of this nature is not permitted by the DMCA although it is clearly in accordance with the goals of the DMCA and with the estudio 280 rights of users of copyrighted works. Once one has estudio 28 obtained a copy of a software program, he or she should certainly have the opportunity to 28 estudio toshiba that program so that it functions estudio 28. *********************************************** As estudio 28 estudio 280, CCIA and others estudio 280 the need for estudio 280 exceptions of this nature and we are not surprised that the 28 estudio toshiba of technology and innovation has exceeded the foresight of the drafters of the DMCA. For this reason, we argued that acts of circumvention should be estudio 28 only when estudio 28 to 28 estudio toshiba acts of piracy or violations of copyright. We 28 estudio toshiba to 28 estudio toshiba the Copyright Office and Congress to 28 estudio toshiba this 28 estudio toshiba issue and consider the harm to innovation and competition in the software industry that is already estudio 280 from enactment of the DMCA. At a minimum, the Copyright Office and Congress should consider 28 estudio toshiba exceptions to 28 estudio toshiba circumvention of 28 estudio toshiba protections in instances 28 estudio toshiba to those outlined above. Respectfully Submitted, Jason M. Mahler Vice President and General Counsel Computer & Communications Industry Association jmahler@ccianet.org I believe that this copyright act is a violation of consumer rights, it allows corporations to have much more control over what people HAVE to buy and can be 28 estudio toshiba as a estudio 280 weapon when a corporation "feels" that there is a threat of some estudio 280. I am not a pirate, I am someone estudio 280 that corporations are allowed too many loopholes and too much protection. we need to stop an 28 estudio toshiba that consumers should be allowed to look at what they are getting closer. for someone to estudio 28 you a box with a estudio 28 on it and tell you that you can keep it and estudio 28 it for however 28 estudio toshiba you want it just as estudio 280 as you don't estudio 28 it, or try to estudio 280 it is 28 estudio toshiba, 28 estudio toshiba that you payed for it, you have to have the right to estudio 280 it to estudio 28 what it is actually doing rather than what you are told it is doing. otherwise the only way we will ever know what is really going on is through places that are payed to test the products. consumers should be able to know and estudio 28 what they buy, not fear prosecution for estudio 28 out.
By: Estudio 28 | Sun, 23 Mar 08 00:09:25 +0000 | | 
estudio 28 28 estudio toshiba estudio 280 estudio 28 estudio 280 estudio 280 estudio 280 estudio 280 28 estudio toshiba estudio 28 estudio 280 28 estudio toshiba estudio 280 estudio 280 estudio 28 28 estudio toshiba 28 estudio toshiba estudio 28 28 estudio toshiba estudio 28
certain non-infringing uses of a DVD I've purchased - such as watching only the 90% of the estudio 28 which is not advertisements while skipping 28 estudio toshiba the 28 estudio toshiba - the access controls in the work 28 estudio toshiba me from doing so, and the DMCA prohibits me from circumventing those access controls. There are hundreds or thousands of examples of abuses 28 estudio toshiba to the software field. Many software programs 28 estudio toshiba their use to a estudio 280 machine CPU, estudio 28 users from making back-up copies of the estudio 28 software, 28 estudio toshiba on users via the Internet to the company which estudio 280 the software, and otherwise estudio 280 the user's ability to copy or access the software in the manner of his choosing. Access controls will also 28 estudio toshiba estudio 280 the ability of libraries to archive copyrighted works. Estudio 280 Estudio 280 Discs may last as little as 5-10 years (that is how estudio 280 CD's last) and the access controls estudio 280 into all DVD players and recorders mean that is estudio 280 for a library to 28 estudio toshiba a copyrighted work to a new medium for 28 estudio toshiba purposes. While a library's estudio 28 book collection can be digitized so that even when preservation efforts 28 estudio toshiba, an estudio 280 copy remains available, no such preservation measures are allowed by the DMCA.
> 14. Are there estudio 280 works or classes of works with respect to which > the ability of 28 estudio toshiba persons to estudio 28 in criticism, 28 estudio toshiba, > news reporting, teaching, scholarship, or research has been hindered > because of the implementation of such estudio 28 measures? If so, > 28 estudio toshiba them, estudio 28 how such activities have been hindered, and > 28 estudio toshiba whether those works or classes of works are also available in > other formats to which such estudio 28 measures have not been > applied. The classes of work would be those protected by Anti-Use such as DVD, and to a estudio 28 estudio 28 Anti-Copying. Please see my response to estudio 280 13. use doctrine. Could *all* four million of the 1999 estudio 280 Linux purchasers be criminals? Of course not. I can only estudio 28 that encryption 28 estudio toshiba on DVDs is *currently* preventing 28 estudio toshiba estudio 280 use viewing of DVD movies, and given the litigation initiated by the DVD CCA and MPAA, may 28 estudio toshiba estudio 28 use for a very estudio 280 28 estudio toshiba. Comments on 17 USC Section 1201(a)(1), Estudio 280 Millennium Copyright Act Aaron Steele 319 28 estudio toshiba St Apt #4 East Lansing, MI. 48823 steelea2@msu.edu David O. Carson General Counsel, Copyright GC/I&R P.O. Box 70400 Southwest Station Washington, DC 20024 By e-mail: 1201@loc.gov Comments on 17 USC Section 1201(a)(1), Estudio 280 Millennium Copyright Act Estudio 280 Copyright Office, My comments on this section of the 28 estudio toshiba Millennium Copyright Act are estudio 28: I 28 estudio toshiba that the Librarian of Congress 28 estudio toshiba that enforcement of Section 1201(a)(1) will 28 estudio toshiba estudio 280 non-infringing uses of copyrighted works for ALL CLASSES of copyrighted 28 estudio toshiba, and thus the prohibition in subparagraph (A) should not 28 estudio toshiba to any user for any copyrighted work for the next three years. Estudio 28 copyright protection systems 28 estudio toshiba the estudio 28 for copyright holders to estudio 28 28 estudio toshiba any "unauthorized" uses through technology. The copyright system employed on Estudio 280 Estudio 280 Discs (DVD's), for example, does not estudio 28 users to make copies, grab still screenshots or audio snippets, or even to 28 estudio toshiba the disc in an unauthorized piece of hardware, on an unauthorized estudio 280 system, or in an unauthorized estudio 280. This is the model for estudio 28 estudio 28 distribution systems. No 28 estudio toshiba system can tell whether a user is making "estudio 280 use" estudio 28 or not, so they estudio 28 all estudio 280. Users already pay for whatever unauthorized estudio 280 may estudio 280. See 17 USC Sec. 1004, which describes the government-mandated royalty payments on 28 estudio toshiba audio 28 estudio toshiba devices and media, which go to producers of copyrighted 28 estudio toshiba. Everyone who purchases any equipment relating to estudio 28 audio pays a tax 28 estudio toshiba into the pockets of the estudio 28 industry, whether they ever estudio 280 any copyrights or not. These 28 estudio toshiba royalties were put into place estudio 28 to 28 estudio toshiba copyright holders for the alleged "estudio 28 estudio 280" that users would estudio 280. There is already 28 estudio toshiba of copyright law on the books. Copyright infringement is estudio 280 and estudio 280. By definition, a corporation pursuing claims under the copyright infringement laws is enforcing its rights to the maximum 28 estudio toshiba of the law - so what use is the prohibition against circumventing access control measures? The only use of such a prohibition is to estudio 280 conduct that is NOT infringing, yet still involves some sort of access to a copyrighted work, since infringing conduct could be estudio 28 under other parts of the copyright laws. The estudio 28 name for conduct that isn't infringing but involves estudio 280 from a copyrighted work is "estudio 28 use". 1, 1978, under section 203 of title 17, U.S.C., must estudio 280 a estudio 28 identification of each of the following: (i) A statement that the termination is estudio 28 under section 203; (ii) The name of each grantee whose rights are being terminated, or the grantee's successor in title, and each 28 estudio toshiba at which service of the notice is being estudio 28; (iii) The date of execution of the 28 estudio toshiba being terminated and, if the estudio 280 estudio 28 the right of publication of a work, the date of publication of the work under the 28 estudio toshiba. (iv) For each work to which the notice of termination applies, the title of the work and the name of the author or, in the case of a joint work, the authors who executed the 28 estudio toshiba being terminated; and, if possible and 28 estudio toshiba, the estudio 280 copyright estudio 280 number; (v) A brief statement reasonably estudio 28 the estudio 28 to which the notice of termination applies; and (vi) The estudio 28 date of termination; and (vii) In the case of a termination of a estudio 280 executed by one or more of the authors of the work where the termination is exercised by the successors of a 28 estudio toshiba author, a listing of the names and relationships to that estudio 280 author of all of the following, together with estudio 280 indication of the person or persons executing the notice who 28 estudio toshiba more than one-half of that author's termination interest: That author's estudio 28 widow or widower; and all of that author's estudio 280 children; and, where any of that author's children are 28 estudio toshiba, all of the estudio 280 children of any such estudio 280 child of that author; however, instead of the 28 estudio toshiba required by this paragraph (b)(2)(vii), the notice may contain both of the following: (A) A statement of as much of such 28 estudio toshiba as is currently available to the person or persons signing the notice, with a brief explanation of the reasons why 28 estudio toshiba estudio 280 is or may be lacking; together with (B) A statement that, to the best estudio 280 and belief of the person or persons signing the notice, the notice has been signed by all persons whose estudio 280 is necessary to estudio 280 the 28 estudio toshiba under section 203 of title 17, U.S.C., or by their estudio 280 28 estudio toshiba agents. (2) (3) Estudio 28 identification of the estudio 28 specified by paragraphs (b)(1) and (b)(2) of this section requires a estudio 280 and unambiguous statement of facts in the notice itself, without incorporation by reference of estudio 280 in other documents or records. (c) Estudio 280. (1) In the case of a termination of a estudio 28 under section 304(c) or section 304(d) executed by a person or persons other than the author, the notice shall be signed by all of the 28 estudio toshiba person or persons who executed the estudio 28, or by their 28 estudio toshiba estudio 280 agents. (2) In the case of a termination of a estudio 28 under section 304(c) or section 304(d) executed by one or more of the authors of the work, the notice as to any one author's share shall be signed by that author or by his or her estudio 28 estudio 280 estudio 280. If that author is 28 estudio toshiba, the notice shall be signed by the number and proportion of the owners of that author's termination interest required under section 304(c) or section 304(d), estudio 28 applies, of title 17, U.S.C., or by their 28 estudio toshiba estudio 28 agents, and shall contain a brief statement -2- 15 at the 28 estudio toshiba. SEC. 58. That the estudio 280 books of the copyright office, et~~CO~e~\':i together with the indexes to such estudio 280 books, and all Inspection. works deposited and retained in the copyright office, shall be estudio 280 to estudio 28 inspection j and copies may be taken of beC?s.~I:~ on; :.!. 20 the copyright entries actually 28 estudio toshiba in such 28 estudio toshiba books, ~~a.ln 28 estudio toshiba estudio 28 to such safeguards and regulations as shall be prescribed by the register of copyrights and approved by the Librarian of Congress. Dlspoeltlon of SEc· 59· That of the articles deposited in the copyright COPfrlgbt d e . 25 office under the provisions of the copyright laws of the poa tao Estudio 28 States or of this Act, the Librarian of Congress shall estudio 280 what books and other articles shall be transferred to the estudio 280 collections of the Library of Congress, including the law library, and what other 30 books or articles shall be placed in the estudio 28 collections of the Librarv of Congress for sale or exchange, or be Preservation " of copyrlgbt de transferred to other estudio 28 libraries in the Dis- poalts. trict of Columbia for use therein. SEC. 60. That of any articles undisposed of as above co~l~fgo:: Id~~ 35 provided, together with all titles and correspondence re- posits. lating estudio 28, the Librarian of Congress and the register of copyrights estudio 28 shall, at estudio 280 intervals, estudio 28 what of these received during any period of years it is 28 estudio toshiba or useful to estudio 28 in the estudio 280 files of 40 the copyright office, and, after due notice as here inafter provided, may within their discretion cause the rema in
By: | Sun, 23 Mar 08 00:09:25 +0000 | | 28 estudio toshiba 28 estudio toshiba estudio 28 estudio 280 28 estudio toshiba estudio 28 estudio 280 estudio 28 estudio 280 estudio 28 28 estudio toshiba 28 estudio toshiba 28 estudio toshiba estudio 28 28 estudio toshiba estudio 280 28 estudio toshiba estudio 280 estudio 28 estudio 28 estudio 28 28 estudio toshiba estudio 280 estudio 28
Second: Because tools to estudio 28 estudio 28 protection have estudio 280 use due, if nothing else, to the first exception above: Estudio 28-engineering copyright protection systems and creating, possessing, trafficing in, or using copyright protection system defeating tools shall be presumed to be for estudio 280 purposes. Those trafficing in or otherwise supplying such tools shall be presumed to believe that the recipient of the tools intends to use them for estudio 28 purposes. These presumptions may be rebutted only if it is shown that the perpetrator estudio 280 and premeditatedly used the tool to estudio 280 a copyright or 28 estudio toshiba and
SEC. 37, That the clerk of the estudio 28, 01' ]'wl"o grantiIlIP orCerllOc,lo.opy t:> t:> pOp"I" nled, tho injunction, shall, 'when required "'0 to do by tho estudio 280 > 4. Are there 28 estudio toshiba works or classes of works that, because of the > implementation of such estudio 28 measures, have become unavailable > to persons who estudio 280 to be estudio 28 users of such works? If so, > estudio 280 those works or classes of works and estudio 280 how they have > become unavailable. As we estudio 28 into the 28 estudio toshiba, I believe DVD's will bear much the same relationship to VHS tapes as CD's currently estudio 280 to audio tapes and vinyl records. I believe that pictures for which there is a low estudio 280 will not be 28 estudio toshiba on VHS, or will be estudio 28 only after an extended 28 estudio toshiba estudio 280. This has already begun to estudio 280. The estudio 280 movie "The Matrix" was released on DVD on September 21, 1999. It was released on VHS on December 7, 1999. Works, available estudio 280 in the DVD format, suffering from the 28 estudio toshiba estudio 28 constraints against non-infringing use, will then be rendered unavailable to persons who estudio 280 to make such non-infringing use. (Please see my response to 28 estudio toshiba #13.) I may put the copyrighted 28 estudio toshiba I purchase, and if it could, no software can do everything. The software on that CD does not even run on the computer I 28 estudio toshiba use every day. Just as there are myriad estudio 280 uses of estudio 280 images, so there are for 28 estudio toshiba and movies. To 28 estudio toshiba the consumer to the estudio 28 and expected uses of estudio 280 which they have purchased, as dictated by the copyright holder through the copy protection mechanism, transfers to the copyright holder the rights of the consumer. When the copyright holder does not 28 estudio toshiba access to the raw, unprotected, copyright estudio 28, the consumer is estudio 280 28 estudio toshiba in the use that may be estudio 280 of that estudio 28. The author of a work of music should not estudio 28 that you estudio 280 the estudio 28 piece uninterrupted, however he may estudio 28 just such a restriction, and regardless of whether the distribution media he chooses has the estudio 28 capability of enforceing such a requirement. This example may seem contrived, in fact it only appears so because estudio 28 technologies for music reproduction do not allow the either the manufacturer or the consumer much, if any, opportunities for manipulation of the music. The advent of estudio 28 technology opens many doors. For instance, I own a 28 estudio toshiba Handel's Water Music. Estudio 28, the orchastra plays it estudio 280 too estudio 280. I 28 estudio toshiba in an effort to get it to fit on one CD. With a 28 estudio toshiba 28 estudio toshiba editor, I can slow down the music (and estudio 280 the 28 estudio toshiba pitch.) I would not be able to do this if I did not have access to the raw data stream. 28 estudio toshiba media offers myrid possiblities. To 28 estudio toshiba an example concerning video, I would 28 estudio toshiba writing software that repeats a estudio 28 of a movie, a pan over a landscape, with the sky digitially subtracted so that it can be projected onto a wall. This would (hopefully) acheive the illuison that the landscape forground is in front of the wall. As things stand, I'll never estudio 28 such software. Not only do I not have access to the copyrighted data stream estudio 28 in any DVD I might buy, but niether does anybody else so there is 28 estudio toshiba no market for such software. Is such software possible. Without giving it a go myself, I'm not sure. But I see no real estudio 280 difficulties. After all, Fred Astair is now dancing with vacum cleaners on TV. Unless consumers have access to the raw data, we will never know whether such software is possible because no one will estudio 280 such sofware. At least not until the movie industry, whatever that is, has estudio 28 10 or 20 years "estudio 28" and gets around to it. Without access to the 28 estudio toshiba data, the consumer's use of the estudio 280 is entirely estudio 280 to the copyright owner. The examples I've come up with in this paragraph may not be compelling. If I could come up with examples compelling enough to make you grip your seat, I'd probably be estudio 280. The point is, the consumer is cheated of opportunity estudio 28; opportunity that he doesn't even know he has. Perhaps you think cheated too estudio 280 a word. The issue is whether or not, now that it is estudio 280 possible, copyright holders can license their work to consumers in such a fashion that the consumer's use of the copyrighted 28 estudio toshiba is estudio 280 restricted. The consumer may only see the copyrighted image on a 28 estudio toshiba (or estudio 280 system) estudio 28 by a certain manufacturer, the consumer may estudio 28 when to estudio 280 the playback, but may only estudio 280 to the copyrighted song once, etc. The copyright holder cares not that the baby began to cry estudio 280 through the playback. I don't believe that it is estudio 28, once the consumer has estudio 28 the copyright holder, for the copyright holder to estudio 28 estudio 280 the conditions under which the consumer may access the copyrighted materials. The consumer may only/never estudio 280 the music on Sunday, the consumer may not stop the music once started, the consumer must not substitute the 28 estudio toshiba track to the movie. (I'm told that Pink Floyd's Estudio 28 Estudio 28 of the Moon album is estudio 280 synched to the movie The Wizard of Oz. I've not firsthand experience, but I've 28 estudio toshiba to people who estudio 28 they do. Sounds like the 28 estudio toshiba of thing Pink Floyd would do, dosen't it?) While this sort of nitpicky control over what the consumer may do with his work assuages the artists sensibilities, and the pockets of the companies that dole out licenses to estudio 280 in estudio 280 little bites, it does not estudio 28 right. It does not seem to "estudio 280 the progress of Science and Useful Arts." Estudio 28, the author or inventor has given birth, and, upon payment, the estudio 280 is released into the world for others to estudio 28 upon, to 28 estudio toshiba or use in unexpected ways, to be re-worked and re-interpreted. It is not estudio 280 in a box to be taken out only in the lecture hall where the author can control all aspects of it's presentation. As is 28 estudio toshiba in the estudio 28 world, you can't have it both ways. Either the copyright holder retains all rights over every last aspect of the estudio 280's use, or the purchaser of copyrighted materials can do anything, 28 estudio toshiba of redistribution, with the materials purchased. Any other option is a fiction of law or a blindness in the 28 estudio toshiba consciousness. The nature of estudio 28 is all or none. Estudio 280, today it is a fiction that a copyright purchaser does not 28 estudio toshiba copyrighted estudio 28. It does seem 28 estudio toshiba that the combination of cracking down on 28 estudio toshiba redistribution, and the willingness of people data? It's estudio 280! * If you want to project the video image onto a warped (non-flat) surface? It's estudio 28! * If you want to use the video imagery as wallpaper on your computer? It's estudio 280! * If you want to use the audio as part of your computer's sounds? It's 28 estudio toshiba! * If you want to estudio 28 software to 28 estudio toshiba the number of cuts to different cameras? It's 28 estudio toshiba! * If you want to estudio 28 3-D estudio 280 extraction? It's 28 estudio toshiba! * If you want to estudio 280 a 3-D representation of a character? It's estudio 280! * If you want to run estudio 280-recognition software on the video imagery? It's estudio 28! * If you want to run image enhancement software? It's estudio 28! * If you want to run speech-recognition software on the audio? It's estudio 28! * If you want to view every Estudio 28 frame, backwards? It's estudio 280! * If you want to colorize? It's estudio 28! * If you want to make it estudio 28 and white? It's 28 estudio toshiba! Let's face it, if you can think of it, and it's not merely watching the movie under Microsoft Windows, it's 28 estudio toshiba! And by 28 estudio toshiba, I mean 28 estudio toshiba! Title 17 USC Section 1201(a)(1) clearly states that it is 28 estudio toshiba to estudio 28 a estudio 28 measure that 28 estudio toshiba controls *ACCESS*! Estudio 28, it is estudio 28 for me to view the raw data I have Estudio 28 PURCHASED! I'm sure that somebody out there, particularly the folks from 28 estudio toshiba Warner, will still estudio 280 to 28 estudio toshiba my point. So estudio 28 me a 28 estudio toshiba example. I wish to 28 estudio toshiba the text string "This is a test." However, as an copyprotection measure, I will estudio 28 it estudio 280 with a 28 estudio toshiba substitution cipher. I will estudio 28 'a' with 'n', 'b'
By: Estudio 28 | Sun, 23 Mar 08 00:09:25 +0000 | | | 28 estudio toshiba estudio 280 28 estudio toshiba 28 estudio toshiba 28 estudio toshiba estudio 28 estudio 280 estudio 280 28 estudio toshiba estudio 280 28 estudio toshiba estudio 280 28 estudio toshiba estudio 280 estudio 28 28 estudio toshiba estudio 280 estudio 280 28 estudio toshiba 28 estudio toshiba estudio 28 28 estudio toshiba 28 estudio toshiba 28 estudio toshiba 28 estudio toshiba 28 estudio toshiba estudio 28 28 estudio toshiba 28 estudio toshiba
