DISPS exists to provide a novel revenue source for content producers. The architecture we describe derives from a pragmatic assessment of the increasing inefficacy of copy restriction given massive increases in storage space, bandwidth and interconnectivity. If we accept that restricting copies is becoming a Sisyphean task, it follows that we must look beyond copies and copyright in conceptualising systems of remuneration for cultural work.
Looking forward, we see a great opportunity for small-to-medium sized media enterprises (SMEs) to maximise usage of efficient, scalable, free p2p networks by encouraging free copying and distribution of their materials, whilst actively seeking voluntary supportive payments from consumers.
Embracing the Pirate: The New Landscape of Online Media Sharing by Resources, review by Pamela Cohn:
IDFA is the largest documentary festival and market in the world. And this being my first foray to the International Documentary Festival Amsterdam, things have been a bit overwhelming. But certain themes are cropping up that reflect the sign of the times, not only in documentary, but in making and disseminating art for the marketplace, in general. So here’s a short missive from what I’ve been hearing the last few days.
Films Transit CEO Jan Rofekamp says that,The circuit of documentary festivals has created the partly-true illusion that the market is immense, which in turn has fed immense production volume. But the question is whether the traditional distribution channels can absorb it.The one thing I keep hearing from folks who have been coming to IDFA for years, is that the stars of the festival seem not to be the filmmakers anymore, but the sales agents and other industry entities that come to buy films and other media products here.
In response to that, there is very vocal pushback from the filmmaking community as DIY production and the possibilities of DIY marketing and distribution on the Internet take precedence over more traditional scenarios. Rofekamp also says, In the near future [Jamie King would argue that the future is now, in this regard], I think the revenue stream for entrepreneurial producers will be found online. . . . Internet distribution will mean complete freedom to the filmmakers: they can obviously offer a five-minute masterpiece or an extended five-hour version, depending on their intentions. The consensus seems to be that for all the mass proliferation of online studios that are offering revenue sharing to showcase, market and distribute film and music, filmmakers no longer need to feel that that’s the wisest choice in terms of making money for themselves.
Yesterday was the last day of the IDFA Forum and at the Now Media Hour that closed out the three intense days of pitches, Jamie King from the UK talked quite eloquently, even poetically, about the latest developments in DIY distribution. King is a writer and publishes articles on new media in various online and off-line magazines, and is also one of the makers of Steal This Film I and II. These films talk about media file sharing, and the Old Guard’s fear of new distribution forms. During his presentation, King showed a clip from Part II and explained that both brick-and-mortar and online distributors should be fearful. He’s helping to create freeware for Distributive Supportive Payment (DISP) systems basically using the same model that, say, Radiohead is using for its latest album release of voluntary supportive payments that go directly to the artists.
King preached to the audience, Embrace piracy it is the most efficient distribution system out there. Stop trying to keep people from seeing or using your media. King also reiterated that pay models are doomed because the distribution problem is solved; there is no longer a scarcity of media (hardly), and that lack of product scarcity makes the possibility of making money vanish’s time to give it away and reap the rewards. A completely anti-intuitive concept, yes, but apparently true as we watch the landscape shift irrevocably beneath our feet.