|
 |
 |
 |
 |
Joe Passmore [1] observed that we live in a rapidly evolving world in which technology is ever changing and developing. Some jobs become obsolete while new opportunities are created which could not have even been envisaged without the advance of technology. This being so, one area which is struggling within the current onslaught of development is copyright and rights management.
Isenberg points out that copyright law anticipates and adapts to technological changes. Quoting the US Supreme Court, Isenberg writes: “From it’s beginning, the law of copyright has developed in response to significant changes in technology.” [2]
However as we move evermore into this digital era, new technological advances have caused a shift in terms of the balance between what copyright law lays out, the extent to which copyright owners can enforce this, and the purposes for which consumers are entitled to use copyrighted material. Clever politics and technological development have enabled companies to increase their control over copyrighted material at the expense of “Fair Use” (ways in which the public can reasonably expect to use copyrighted content that might otherwise have been deemed illegal).
DRM (Digital Rights Management) is a technology that enforces rights digitally, and in semester three I investigated the concept of DRM in relation to the music industry. However I found that within it’s current implementation DRM was simply a tool with which “large corporations [are] trying to squeeze more profit out of products at the expense of the consumer.” [3] In other words, it is a marketing tool masquerading as a piracy prevention system.
Developments in digital technology have meant that “...the replication of digital material is very easy and, more dangerous, is virtually perfect.” [4] Therefore it is not simply a matter of protecting images from theft, but establishing ownership of digital images that is the key factor here.
My research in semester three resulted in the conclusion that DRM is the wrong answer for the music industry, however it presents a lot of potential within the context of digital image ownership. This led me to the question: might I be able to repackage DRM and apply it more appropriately within the digital image market, redressing the balance of copyright power, and thus offering a fairer and more effective solution?
Copyright exists to afford reproductive rights to a creator, this being the incentive to continue creating content, and thus the means by which the creator can make his living. Today the balance of power has shifted so that through DRM, the consumer has highly restricted usage capabilities. I wanted to redress this balance and take a look at how I might develop a better system for establishing the ownership of images and managing their use, through the speculative use of DRM.
Today’s image protection and identification systems seem to largely operate by means of the internet. To me this seems a trifle narrow minded, focusing solely on the most common means of copyright theft and excluding other instances. I feel that in order to solve the problem effectively, it is important to consider why the images need protecting, and from whom |
 |
 |
There are currently many means of protecting images, discouraging theft and establishing ownership, however there are no standards and these measures largely address online theft alone. These measures could be broadly categorised into four groups: “Visual Watermarking,” “Digital Watermarking and Tracking,” “HTML and JavaScript”, and “Notices, Agreements and Warnings.”
Visual watermarking is the process of adding an identifier (name, logo, or copyright notice) to an image. It is by far the simplest means of identifying ownership, and the designator remains with an image after theft, thus acknowledging and advertising your ownership. However “a skilled graphic designer intent on using your image, can find ways to remove your watermark at a cost to the quality of the image” [5]
Digital watermarking is the most technologically advanced system, in which an identifier (eg. ID PIN, serial number, etc.) is embedded within the image. This is largely invisible, although some degradation of quality can be expected. The benefits are largely internet dependent, linking the image to your registered contact details. The company providing the watermarking service can track instances of your watermark across the internet so that you can identify illegal copies; your digital watermark key proving rightful ownership.
The third option concerns the method employed to place your image within your website, or inserting various types of code into your website to help prevent theft. None of the methods that I have uncovered offer complete security, mostly acting as deterrents, however I think discrete and considered use has its benefits. I will discuss some of these methods in more depth in the following section.
The fourth group involves including a copyright notice near the image that states copyright ownership and alerts visitors that copying said image is a violation of copyright. This method will only be dissuasive to the average innocent user who perhaps doesn’t fully appreciate the nature of copyright. A thief will simply ignore any such notice, while statistically a prominent warning will dissuade many genuine visitors from looking at your site any further. [6] |
|
 |
This topic has many important issues and I felt that it was important to examine as many as I could so as to develop a broad knowledge base to work from. Thus besides watermarking and the various protection/dissuasive measures available, I researched the means of theft and motivation of image pirates. Through an understanding of why and how images are taken, I felt that I could develop a more effective response to the issue of image theft.
I also wanted to gain new skills and web experience during the MSc degree, and this module seemed like a great opportunity to not only put to use the skills that I have developed thus far, but to put into practice some of the theories and ideas that I was researching in this module. My own portfolio website begged a redesign after improving my web design skills over modules two and three, and so I created a new website that would both deliver my dissertation proposal, and act as a working example of some of the more useful concepts and ideas I was researching. Looking ahead to module five, I would be able to post progress reports for both my tutors and colleagues to provide feedback.
Having spent semester three investigating DRM and copyright, it seemed unnecessary to go back over old ground. Instead I have concentrated on building upon my accumulated knowledge, investigating the various methods of image protection and identification.
It seems to me that all too often when companies fear an event, they do their best to prevent its occurrence rather than trying to understand why it is likely to occur. EMI [7] is an excellent example, releasing a CD in 2005 that was so encumbered with overly restrictive DRM, that they had to offer an expensive product recall.
I felt that it was important to consider why people might ‘steal’ an image, thus deciding what might be deemed Fair Use, and what would constitute copyright theft. There are always two parties involved in any attack: the victim and the attacker. I needed to understand the motivations of both. On the surface this might seem a very straightforward proposition, however this is not the case.
One key reason why photographers and other users put their images online is because they want others to enjoy their images [8] as well as gaining publicity and sales opportunities. Image ‘thieves’ (I use the term loosely because it doesn’t adequately represent individual motivation or intent) may be looking for what they believe to be free content. It seems that out of ignorance “many people mistakenly think [imagery] is free for the taking simply because it appears on Internet.” [9] Others might be fully aware of the copyright implications yet still exploit the internet as an easy means of free image acquisition. A further possibility which I will shortly refer back to, is that of the “completely innocent [user who downloads] the images for their own personal purpose (to put as a desktop image” or for academic research for example). [10]
Finally I was concerned that nobody appears to have addressed what happens after a photograph has been sold for commercial purposes. That image is licensed for a specific print job, but what happens to it after the job is completed? Is it left sitting unsecured on someone’s hard drive? Dan Heller sums up my concerns:
“What can you do to protect images after they're sold? …How do you know your client is going to protect your images from being stolen by someone else? Or that it won't somehow end up floating around the net, into other companies' hands, or be used by the same company in ways they didn't license? The awful answer is: you can't.” [11]
I see an important distinction between the entertainment industry and the commercial image industry. Within the entertainment industry DRM is abused to the detriment of the consumer and the financial benefit of the industry, thus creating incompatibility and marginalizing Fair Use. Professional pirates continue to operate because overpriced content creates a market for them, and thus only the average consumer is hurt by the ‘protection’ of rights management systems.
The commercial image industry is different. To make money out of an image it generally needs to be published, thus connecting the thief and the evidence of his crime (the image). The threat of a lawsuit is often enough to obtain payment from the guilty party. It seems unlikely that someone will waste time and money circumventing a protection measure when legal action is likely to ensue if caught. On the other hand I would deem the private use of an image as a computer desktop background as an example of justifiable Fair Use. Therefore there are two major offenders to consider here: the innocent or ignorant user, and the company responsible for the unlicensed publishing of an image. In both cases we don’t really need to worry about a professional hacker stealing the image, simply because there is no real reason for him to do so. What is required is a suitable means of reminding a user that an image is protected by copyright.
There is a time element at work here in that after an image has been used for its licensed purpose, that license has effectively expired. I began to consider the implications of being able to deactivate an image after its license has expired. Codemasters have developed a protection measure called “Fade” which causes a pirated game to slowly degrade so that the user experiences deteriorating game-play and escalating inaccuracy, thus encouraging them to buy a legitimate copy of the game. [12] What if I could apply the same principle to image ownership identification and theft prevention? Furthermore the introduction of a time-based element would address an issue that no current system addresses: copyright expires. [13] |
|
 |
It seemed to me that it’s very easy to dismiss the HTML and JavaScript measures because they are only effective as deterrents, however bearing in mind what I have said about the real issue of image theft, being a deterrent is perhaps enough to prevent unlicensed publishing, or at least to serve as a strong reminder that you own the copyright.
Some measures, such as the JavaScript “No-Right-Click” script cause accessibility problems, or simply end up insulting and frustrating users [15], which surely defeats the purpose of making your images available for viewing online. Others seemed simply too time consuming, elaborate, or ineffective. However collectively I felt that discrete use of carefully chosen techniques could be an effective deterrent against the average image thief.
Firstly it’s very common to place images on your website within a folder named images, however typing in the address of this folder will bring up a file listing because there is no “index.html” file, thus making it very easy to steal images on a large scale. Therefore I created a warning index.html file to place in the images folder, while naming the folder “Visuals” so that it is harder to guess the images’ location [16].
Another preventative measure that I felt was worth trying involved using a line of JavaScript to prevent caching [17]. Images are saved automatically to your computer’s temporary internet folder so that pages with the same graphics will load more quickly [18]. This means that anyone visiting your site will have your images whether they want them or not. To me it seems senseless to prevent caching for the entire website since this will only slow down loading, particularly for dial-up connections. However by using a separate Dreamweaver template for the “Portfolio” section, I discovered I could turn off caching solely for the portfolio pages, while still allowing caching for all other pages and page elements.
A low-tech back-up I experimented with was to add a copyright notice within the actual image files as plain text [19]. The idea being that if an image is stolen you can prove your ownership by revealing the hidden copyright notice. However this is not as straightforward as it sounds as information can be lost when resaved, or the thief might find and remove the notice. Finding forums dealing with the difficulty of commenting on JPG files [20], I could see that it was no easy task to do it effectively.
I feel that it is important to treat visitors with respect, and these subtle methods I’d read about seem sufficient to deter needless copying. Next I put my own theories into practice. It is highly likely that many people are simply ignorant about copyright, indeed I’ve had conversations with people who simply cannot understand the concept. Within my website I created a “Copyright” section which adopted a friendly and informative tone, while explaining what copyright is and what it’s implications are for visitors. A subtle notice directing visitors to view the copyright page meant that I was asserting my rights while not ‘forcing them down my visitors’ throats.’
I have already commented that one of the most innocent and perhaps more common motivations for image ‘theft’ is for use as a computer desktop background. Thus I created a “Downloads” section that offered free backgrounds to visitors. The backgrounds advertise my website while helping create a friendly atmosphere for visitors.
Thus I not only experimented with some of the techniques I had read about, but I used the website to put into practice some of my theories concerning motivation and education. This of course paves the way for my proposed method of ownership identification and protection. |
|
 |
At present most methods of identifying image ownership and deterring theft are internet based. Digital watermarking is only effective retrospectively while preventative measures aren’t much use after the fact. I wanted to develop a concept that was independent of the internet.
I envisage a system that would be very subtle, establishing ownership while also disabling an image so that it couldn’t be used after its license had expired. Examining a problem from a different perspective can often produce diverse results, and so being a visual communicator gives me a different perspective to the programmers currently working within this field because I am addressing the problem largely from a visual point of view.
The system I feel is necessary needs to be very simple, yet incorporate several important factors which I have discussed in the previous sections. It should keep the target market in mind while anticipating and facilitating Fair Use. The interface needs to be subtle and well designed, while maintaining a friendly and open appeal. As my research explained, heavy copyright warnings only turn away potential users/clients.
It also seems like a good opportunity to educate people about copyright. Rather than simply preventing the actual theft, what about attempting to educate people about copyright so that they get permission before using/taking images? This could be a very subtle feature, but it shows a lot of potential, following in the wake of my friendly website copyright section.
And so we come to the key question: what form would this measure take? Developing my line of enquiry I have come up with the idea of a fading piece of copy (text), which slowly becomes more visible as the image gets further past its expiry. The text would explain that the user’s license to use the image has expired and ask what course of action they would like to take. A short menu could offer license renewal, an introduction to copyright, and the photographer’s contact details. While only an initial concept, I feel that this idea shows a lot of potential to address people’s concerns regarding digital imagery.
The fading idea is very similar to “Fade,” the game protection system developed by Codemasters [21], because it would allow use of the image after it’s license expiration, but at the expense of gradual image degradation. The idea of course being to slowly disable use while still reminding the user what they are loosing by not renewing their license.
In the same way that there would be a license timeline, there could also be a similar element counting down to the expiration of the images copyright, and it’s entrance into the public domain. This is a more difficult proposal because copyright expiration is dependent upon the death of the creator [22] :
“Today, the determination of whether a work has entered the public domain depends on a myriad of facts and the application of an array of statutes. In many cases, the quest will simply be impossible; the needed facts are outside the reach of the investigator.” [23] |
|
 |
There are many research areas that will need to be covered in order to produce an effective final outcome. I have already considered the motivations of user groups, but what ultimately will be the effect upon Fair Use? What are the potential benefits and disadvantages for my scheme?
Importantly, does this scheme put too much power in the hands of the copyright holders or does it redress the balance of the current implementations of DRM? I feel that it is important that the scheme has a degree of flexibility to incorporate Fair Use and allow for the fact that sometimes people do make mistakes. Ultimately it should be an open and friendly system that offers help, rather than mirroring the horrible copyright warnings that clutter DVDs making viewers feel like they’re criminals. This is about subtlety and facilitating mutual respect.
Thus for module five I will aim to produce a fully designed proposal for my image protection and ownership identification system, exploring the various eventualities and motivations of the parties involved. To that end I will produce a series of Flash animations examining how this might work if actually produced. This will be very difficult for me and so I need to allow time for learning basic Flash. In support of these two elements I will submit a research file and notebooks detailing my research journey and thought processes throughout. |
|
 |
Introduction
Outlining the issues and key questions that the project will deal with, such as copyright, intellectual property protection, and digital rights management.
The Problem of Establishing
Image Ownership in a Digital Age
Explaining that with the flexibility of the digital format, comes the price of easy duplication of images and theft. With digital copies appearing identical to the original image, how do you ascertain which is the original and ultimately establish true ownership of said image? After all, there are no physical negatives.
Current Means of Protection
The current means of copy protection and deterrents to be found in wide use across the internet. These will include the various HTML and JavaScript methods previously discussed, tracking, visible and digital watermarking. I will also discuss the advantages and disadvantages of these methods, explaining why none of those currently in existence completely satisfies the problem of image protection.
DRM: Misused, Misunderstood
Examining the controversial issue of DRM and how it’s current corrupt implementation eclipses the possible benefits it could offer to the digital image market. The music market will make a good example of DRM’s misuse, explaining how with discretion and appropriate application, DRM could be used within the digital image market successfully.
Fair Use and the Balance of Power
Considering the issue of Fair Use and how current technology and legislation is eroding this vital source of innovation, development, and basic use. This will involve a careful examination of how copyright is changing and the balance of power is shifting so that consumers have fewer rights in terms of the use of content than ever before.
A New Perspective
Revealing my solution to the image ownership and protection dilemma, explaining how it not only solves the problem, but addresses many other key issues affecting digital imagery ownership. I will further explain why my solution has the potential to be more effective than any current measure, while upholding the values and principle of Fair Use which I strongly believe in. Facilitating Fair Use will be particularly tricky and will require careful thought.
New Business Opportunities
Considering how the implementation of such a system might create new opportunities and business models that previously would not have been possible, but which now should be exploited. For example directing linking from the image to your online website for further sales, similar to the service offered by Digimarc.
Conclusion
A reflective and critical appraisal of my solution examining both the potential benefits and shortcomings of such a system, while balancing them with the greater good. Would my system benefit society or simply further erode Fair Use without significant benefit?
|
|
 |
First Period (weeks 1 - 4)
- Consider Protection both on and offline.
- Examine Print Style sheets (CSS).
- Survey to ascertain public attitude and knowledge of copyright, the internet and issues surrounding digital images.
- Show semester four's animation to a test group to gage their reaction.
Second Period (weeks 5 - 8)
- Consider the wider implications of this proposed system.
- Talk to a programmer about the feasibility of my ideas.
- Investigate ways to facilitate Fair Use.
Third Period (week 9 – 12)
- Learn basic Flash.
- Investigate various design possibilities.
- Investigate means of disabling an image, eg. fading.
- Consider and design information structure for menu and text.
Fourth Period (weeks 13 – 16)
- Create animations using my designs.
Fifth Period (weeks 17 - 20)
- Write dissertation reporting on the project, it's outcome, and potential to effectively identify the owner, protect the image, and obtain the other goals I have identified.
Sixth Period (weeks 20 - 22)
- Tidying up and assembling work.
- Overtime safety net.
|
|
 |
Stephen King talked about his work in India and the interaction between European and Indian culture and working practice. Of the four guest speakers I found this the least relevant to either my topic or career development. However King did mention that “Indians have no scruples about copying” and so I’m left wondering if perhaps my proposed image protection and ownership identification system might have greatest effect within the less regulated arenas of global design and commerce [24].
Ian Montgomery on the other hand related his arduous climb to self-actualisation. Within a career development context I was left feeling rather inspired and wondering if a position within the university might be well suited for me. What caused me concern was the way in which career development had meant taking on a much more managerial and administrative role. I know of teachers in the primary sector who spend more time working on superfluous administration than actually teaching children. For jobs to change so much is a worrying development, with needless paperwork taking away from your core reason for taking the job. Thus while I feel quite enthusiastic about a possible university appointment, I would be somewhat reticent with reference to the excessive administration that Dr. Montgomery related to us.
What perhaps stayed with me most after the talk was his advice on career planning. Assess where you are now and decide where you want to be in a specified number of years, then investigate the necessary steps to get from A to B. I immediately put this into practice in my course notebook, examining my own career development and future potential [25].
Joe Passmore’s talk was certainly thought provoking in terms of professional practice. I’m perhaps not always good at working to my own timeframe, and Passmore explained that while technology has made many tasks easier, it has also shortened deadlines, thus increasing pressure upon the designer. Perhaps most relevant to this project, he emphasized the need to anticipate events, bearing in mind that with new technology come new possibilities. As I stated at the opening of this paper, this statement is very relevant to this project and the potential new business models it might offer [26].
Our session at Whitenoise was highly enlightening for me, particularly as I had missed out on the experience of the placement year on my undergraduate course. Mark Case was a great example of how one might set up one's own business through dedication and hard work. I’m not currently considering setting up my own business, however his thoughts on good design working practice were enlightening at this stage of my career development [27]. |
|
 |
1. PASSMORE, J; University of Ulster, March 8th 2006
2. ISENBERG, D; “Digital Watermarks: New tools for copyright owners and webmasters”, Jupitermedia Corporation, 2006
http://www.webreference.com/content/watermarks/
3. LUMBERT, S; in response to:
BORLAND, J; “Coming to campus: E-books with expiration dates”, C|Net News.com, Aug 2005
http://news.com.com/Coming+to+campus+E-books+with+
expiration+dates/2100-1025_3-5825301.html
4. PAFKO, W; “Digital Watermarks in Scientific Visualization,” May 2000
http://64.233.179.104/search?q=cache:Jcj5m9O8jWoJ:
www.pafko.com/wayne/docs/watermark_sci_vis.pdf
+proving%2Bdigital%2Bownership&hl=en&ct=
clnk&cd=12&client=safari
5. ANONYMOUS; “iWatermark”, Scriptsoftware.com
http://www.scriptsoftware.com/iwatermark
6. HELLER, D; “Running a Photography Business on the Web”, danheller.com
http://www.danheller.com/ep-webuse
7. ORLOWSKI, A; “EMI recalls DRM-encumbered CD”, Sep. 2005
http://www.theregister.co.uk/2005/09/29/
emi_recalls_drm_cd/
8. ALLINDER, J; “Copyright - Image Protection”, wildlifephoto.net, 2006
http://www.wildlifephoto.net/articles/webdesign/
imageprotection.html
9. ALLINDER, J; “Protecting Your Images on the Internet”, Nature Photographers Online Magazine, 2000
http://www.naturephotographers.net/ja1200-1.html
10. FRANCE; in response to:
FORUM; <Protecting Images Forum I>, About Inc, Feb 2000
http://forums.about.com/n/pfx/forum.aspx?nav=messages
&tsn=1&tid=385&webtag=ab-graphicssoft
11. HELLER, D; “Running a Photography Business on the Web”, danheller.com
http://www.danheller.com/ep-webuse
12. ANONYMOUS; “Codemasters continues to fight a Cold War against game piracy in preparation for the release of Operation Flashpoint in early September”, June 2001
http://www.cdmediaworld.com/hardware/cdrom/
cd_protections_fade.shtml
13. CREW, K; “The Expiration of Copyright Protection: Survey and Analysis of U.S. Copyright Law for Identifying the Public Domain”, Indiana University School of Law-Indianapolis, April 2001
http://www.dml.indiana.edu/pdf/dml-copyright-duration
-report.pdf
14. ALLINDER, J; “Copyright - Image Protection”, wildlifephoto.net, 2006
http://www.wildlifephoto.net/articles/webdesign/
imageprotection.html
15. ALLINDER, J; “Copyright - Image Protection”, wildlifephoto.net, 2006
http://www.wildlifephoto.net/articles/webdesign/
imageprotection.html
16. ALLINDER, J; “Protecting Your Images on the Internet”, Nature Photographers Online Magazine, 2000
http://www.naturephotographers.net/ja1200-1.html
17. ALLINDER, J; “Protecting Your Images on the Internet”, Nature Photographers Online Magazine, 2000
http://www.naturephotographers.net/ja1200-1.html
18. CHAPMAN, S; “Image Protection”, About Inc, 2006
http://javascript.about.com/b/a/138930.htm
19. HELLER, D; “Digital Watermarking”, The Digital Journalist
http://digitaljournalist.org/issue0105/heller.htm
20. FORUM; “Java Technology Forums - Reading and writing metadata from jpeg image”, Java Technology Forums, 2004
http://forum.java.sun.com/thread.jspa?threadID=
478634&start=0
21. HODDER, M; “DRM: Fade Does Just That To games, But Sunncomm Loses With The Shift Key”, BIP Log: Berkeley Intellectual Property Weblog, Oct 2003
http://journalism.berkeley.edu/projects/biplog/archive/
001218.html
22. CREW, K; “The Expiration of Copyright Protection: Survey and Analysis of U.S. Copyright Law for Identifying the Public Domain”, Indiana University School of Law-Indianapolis, April 2001
http://www.dml.indiana.edu/pdf/dml-copyright-duration-report.pdf
23. CREW, K; “The Expiration of Copyright Protection: Survey and Analysis of U.S. Copyright Law for Identifying the Public Domain”, Indiana University School of Law-Indianapolis, April 2001
http://www.dml.indiana.edu/pdf/dml-copyright-
duration-report.pdf
24. KING, S; University of Ulster, Feb 2nd 200
25. MONTGOMERY, I; University of Ulster, March 1st 2006
26. PASSMORE, J; University of Ulster, March 8th 2006
27. CASE, M; Whitenoise, March 22nd 2006 |
|
 |
Image Protection
ALLINDER, J; “Copyright - Image Protection”, wildlifephoto.net, 2006
http://www.wildlifephoto.net/articles/webdesign/
imageprotection.html
ALLINDER, J; “Protecting Your Images on the Internet”, Nature Photographers Online Magazine, 2000
http://www.naturephotographers.net/ja1200-1.html
CHAPMAN, S; “Focus On JavaScript”, About Inc, 2006
http://javascript.about.com/library/blimgprot.htm
CHAPMAN, S; “Image Protection”, About Inc, 2006
http://javascript.about.com/b/a/138930.htm
TURTLE; “The mystery of the robots.txt file revealed”, Dreamweaver FAQ.com, 2003
http://www.dwfaq.com/Tutorials/Miscellaneous/
robot_txt.asp
ANONYMOUS; “FAQ: How do you protect images from being taken?”, HTML Lite
http://www.htmlite.com/faq010.php
ANONYMOUS; “HTML Protector”, WCCL, 2006
http://www.html-protector.com/encrypt/?pu=false1http://
www.html-protector.com/encrypt/?pu=false
ANONYMOUS; “HTML Protector: Features”, WCCL, 2006
http://www.html-protector.com/encrypt/features.aspx
ANONYMOUS; “Image Guardian - the tool for enhanced Image Protection”, ProtWare Inc, 2006
http://www.protware.com/default.htm
ANONYMOUS; “Image Protection”, Highlands & Islands Enterprise, 2006
http://www.hie.co.uk/ebusiness/robots_spiders.html
ANONYMOUS, “JavaScript - Image Protection”, 2004
http://www.quirksmode.org/js/improt.html
ANONYMOUS, “JpegGuard Image Protection“, Zapper Software Ltd, 2002
http://www.zappersoftware.com/jpegguard.html
FORUM; <Protecting Images Forum I>, About Inc, Feb 2000
http://forums.about.com/n/pfx/forum.aspx?nav=messages
&tsn=1&tid=385&webtag=ab-graphicssoft
FORUM; <Protecting Images Forum II>, About Inc, Dec 2000
http://forums.about.com/n/pfx/forum.aspx?nav=messages
&tsn=1&tid=1238&webtag=ab-graphicssoft
Watermarking
HELLER, D; “Digital Watermarking”, The Digital Journalist
http://digitaljournalist.org/issue0105/heller.htm
ISENBERG, D; “Digital Watermarks: New tools for copyright owners and webmasters”, Jupitermedia Corporation, 2006
http://www.webreference.com/content/watermarks/
PAFKO, W; “Digital Watermarks in Scientific Visualization,” May 2000
http://64.233.179.104/search?q=cache:Jcj5m9O8jWoJ:
www.pafko.com/wayne/docs/watermark_sci_vis.pdf+
proving%2Bdigital%2Bownership&hl=en&ct=clnk&cd=
12&client=safari
RAMKUMAR, M; “Increasing Robustness of Image Watermarks to Counterfeit Attacks,” New Jersey Institute of Technology
http://citeseer.ist.psu.edu/cache/papers/cs/13281/http:
zSzzSzwww.rpi.eduzSzwebzSzCDVMRzSzpublic_
ationzSzgc991.pdf/increasing-robustness-of-image.pdf
ROCKWELL, K; “Digimarc, Watermarking and Image Degradation”, kenrockwell.com, 2004
http://www.kenrockwell.com/tech/digimark.htm
SACCO, A; “Philips Designs Watermark System to Curb Video Piracy”, CSO Online, Feb 2006
http://www2.csoonline.com/blog_view.html?CID=17879
ANONYMOUS; “Digimarc and Jura to Cooperate in Use of Digital watermarks in Travel Documents”, Digimarc Corporation
http://www.digimarc.com/about/release.asp?newsID=351
ANONYMOUS; “Digimarc News: U.S. Supreme Court Directs Attention to Digital Watermarking as a Means to Curb Copyright Infringement ”, Digimarc Corporation, 2005
http://www.digimarc.com/about/release.asp?newsID=339
Visual Watermarking Software
CHASTAIN, S; “How To Add a Text Watermark Over a Photo in Photoshop 5.5 or higher”, About.com, 2006
http://graphicssoft.about.com/cs/photoshop/ht/
apswatermark.htm
FRAKES, D; “(Water)Marks-A-Lot”, Macworld
http://www.macworld.com/weblogs/macgems/2004/11/
iwatermark/index.php
NELSON, J; “iWatermark 3.0”, Macworld
http://www.macworld.com/2006/01/reviews/iwatermark3/
index.php/index.php?pf=1
ANONYMOUS; “AiS Watermark Pictures Protector (AiS WPP)”, Watermarker.com
http://www.watermarker.com/watermark-protector/
?source=adwords
ANONYMOUS; “Batch Watermark Creator”, Easy Tools, 2006
http://www.easy-tools.net/batch-watermark/index.html
ANONYMOUS; “Example of usage AiS Watermark Pictures Protector and
AiS Watermarker ActiveX”, Watermarker.com, 2004
http://www.watermarker.com/watermark-protector/
watermark-examples.aspx
ANONYMOUS; “iWatermark”, Scriptsoftware.com
http://www.scriptsoftware.com/iwatermark
ANONYMOUS; “PhotoWatermark Professional Overview”, PhotoWatermark.com, May 2005
http://photowatermark.com/?gclid=CMmZ0rmIu
YMCFRYTQgod6k1NaA
ANONYMOUS; “What is Photomark?”, Wekasoft.com, 2004
http://www.photomark.biz/?ad.google.other&gclid=
CNz61OakuYMCFURXEAod1kR9Eg
Digital Watermarking Software
ANONYMOUS; “Eikonamark”, Alpha Tec Ltd, 2005
http://www.alphatecltd.com/watermarking/eikonamark/
eikonamark.html#
ANONYMOUS; “Giovanni Frequently Asked Questions (FAQ)”, Blue Spike Inc, 2005
http://www.bluespike.com/faqongiovanni.html
ANONYMOUS; “Giovanni® in Action: A Brief Tour”, Blue Spike Inc, 2005
http://www.bluespike.com/giovannitour.html
ANONYMOUS; “Giovanni®, Making Currency of Bits”, Blue Spike Inc, 2005
http://www.bluespike.com/ongiovanni.html
ANONYMOUS; “Giovanni Under the Hood: Blue Spike Marries Cryptographic
Techniques to Signal Processing”, Blue Spike Inc, 2005
http://www.bluespike.com/giovanniexplained.html
http://www.bluespike.com/giovanniexplained-part2.html
ANONYMOUS; “MyPictureMarc”, Digimarc, 2006
http://www.digimarc.com/watermark/mypicturemarc/
ANONYMOUS; “MyPictureMarc: How It Works: Digital Watermarking”, Digimarc Corporation, 2006
http://www.digimarc.com/mypicturemarc/
how-it-works/default.asp
ANONYMOUS; “MyPictureMarc: How It Works: Image Tracking”, Digimarc Corporation, 2006
http://www.digimarc.com/mypicturemarc/
how-it-works/default2.asp#console
ANONYMOUS; “MyPictureMarc: How It Works: Visual Watermarking”, Digimarc Corporation, 2006
http://www.digimarc.com/mypicturemarc/
how-it-works/default4.asp#console
ANONYMOUS; “SureSign Plug-ins – Product Overview”, Signum Technologies, 2006
http://www.signumtech.com/template3.asp?pageID=
4&prodID=%2019
ANONYMOUS; “SureSign SDK - Product Overview”, Signum Technologies, 2006
http://www.signumtech.com/template3.asp?pageID=
4&prodID=%203
ANONYMOUS; “Tutorial: Backup”, Digimarc Corporation, 2006
http://www.digimarc.com/mypicturemarc/support/
tutorial_backup.asp
ANONYMOUS; “Tutorial: Covert Digital Watermarking”, Digimarc Corporation, 2006
http://www.digimarc.com/mypicturemarc/support/
tutorial_covert.asp
ANONYMOUS; “Tutorial: Linking”, Digimarc Corporation, 2006
http://www.digimarc.com/mypicturemarc/support/
tutorial_linking.asp
ANONYMOUS; “Tutorial: Visual Watermarking”, Digimarc Corporation, 2006
http://www.digimarc.com/mypicturemarc/support/
tutorial_visual.asp
ANONYMOUS; “Tutorial: Tracking”, Digimarc Corporation, 2006
http://www.digimarc.com/mypicturemarc/support/
tutorial_tracking.asp
ANONYMOUS; “Watermarks”, webreference.com, June 2003
http://www.webreference.com/multimedia/
watermarks.html
Photographers' Opinions
ELSON, P; “A Digital Watermarking Watchdog for Your Online Images”, Studio Photography Magazine (reproduced on Digimarc website), June 2005
www.digimarc.com/mypicturemarc/docs/SPDmag_
PaulElson_0805.pdf
HELLER, D; “Running a Photography Business on the Web”, danheller.com
http://www.danheller.com/ep-webuse
Expiration
BORLAND, J; “Coming to campus: E-books with expiration dates”, C|Net News.com, Aug 2005
http://news.com.com/Coming+to+campus+E-books+
with+expiration+dates/2100-1025_3-5825301.html
GIBSON, W; “Agrippa: A Book of the Dead”, williamgibsonbooks.com, Nov 2002
http://www.williamgibsonbooks.com/source/source.asp
GIMON, C; “Heroes of Cyberspace: William Gibson”, InfoNation, March 1997
http://www.gimonca.com/personal/archive/gibson.html
REUTERS; “H-P sued over printer cartridge expiration”, MSNBC.com, Feb 2005
http://www.msnbc.msn.com/id/7012754/print/1/
displaymode/1098/
WEISS, AR; “Agrippa (1992)”, antonraubenweiss.com, Jan 2006
http://www.antonraubenweiss.com/gibson/gibson0.html
ANONYMOUS; “Introduction to ASPCache: Item Expiration”, WebGecko, 2002
http://www.aspcache.com/products/aspcache/docs.asp
?page=expiration.htm
Expiration Of Copyright
CREW, K; “The Expiration of Copyright Protection: Survey and Analysis of U.S. Copyright Law for Identifying the Public Domain”, Indiana University School of Law-Indianapolis, April 2001
http://www.dml.indiana.edu/pdf/dml-copyright-
duration-report.pdf
Alternate Models
FOX, B; 'Subversive' code could kill off software piracy”, newscientist.com, Oct 2003
http://www.newscientist.com/article.ns?id=dn4248
HODDER, M; “DRM: Fade Does Just That To games, But Sunncomm Loses With The Shift Key”, BIP Log: Berkeley Intellectual Property Weblog, Oct 2003
http://journalism.berkeley.edu/projects/biplog/archive/
001218.html
ANONYMOUS; “Codemasters continues to fight a Cold War against game piracy in preparation for the release of Operation Flashpoint in early September”, June 2001
http://www.cdmediaworld.com/hardware/cdrom/cd_
protections_fade.shtml
ANONYMOUS; “Fade”, Game Burn World, 2003
http://www.gameburnworld.com/protections_fade.htm
Commenting On JPGS
NOAKES, D; “Metadata Extraction in Java”, drewnoakes.com
http://www.drewnoakes.com/code/exif/
ANONYMOUS; “All you ever wanted to know about the EXIF format used by digital cameras”, Future Publishing Ltd, May 2002
http://www.maxpc.co.uk/tips/default.asp?siteid=7&
sectiontypeid=6&subsectionid=719&pagetypeid=4&
articleid=5695&page=1
FORUM; “Java Technology Forums - Reading and writing metadata from jpeg image”, Java Technology Forums, 2004
http://forum.java.sun.com/thread.jspa?threadID=
478634&start=0
Miscellaneous
GASS, B; “The Word for Today”, USB, Spring 2006
LINDERMAN, M; “Web Interface Design Tip: The Yellow Fade Technique”, 37 Signals: Basecamp, Feb 2004
http://www.37signals.com/svn/archives/000558.php
MICHELA, A; “I’m rebooting. See you then: The Fade Anything Technique”, axentric.com
http://www.axentric.com/posts/default/7
REUTERS; “Again (This Time Legally) Napster Offers Free Music”, The New York Times, May May 2006
http://www.nytimes.com/2006/05/02/technology/
02napster.html?_r=1&oref=slogin
DRM (Module 3)
ORLOWSKI, A; “EMI recalls DRM-encumbered CD”, Sep. 2005
http://www.theregister.co.uk/2005/09/29/
emi_recalls_drm_cd/
Visiting Guest Speakers
CASE, M; Whitenoise, March 22nd 2006
KING, S; University of Ulster, Feb 2nd 2006
MONTGOMERY, I; University of Ulster, March 1st 2006
PASSMORE, J; University of Ulster, March 8th 2006 |
|
 |
| |
|
|
 |
|
|
|
|
