The internet of things, End User License Agreements, and Digital Rights Management are increasingly being used to give electronics manufacturers control and ownership over your stuff even after you buy it. Radio Motherboard talks to Aaron Perzanowski and Jason Schultz, authors of The End of Ownership about what we stand to lose when our songs, movies, tractors, and even our coffee makers serve another master.

From the book’s website

If you buy a book at the bookstore, you own it. You can take it home, scribble in the margins, put in on the shelf, lend it to a friend, sell it at a garage sale. But is the same thing true for the ebooks or other digital goods you buy? Retailers and copyright holders argue that you don’t own those purchases, you merely license them. That means your ebook vendor can delete the book from your device without warning or explanation—as Amazon deleted Orwell’s 1984 from the Kindles of surprised readers several years ago. These readers thought they owned their copies of 1984. Until, it turned out, they didn’t. In The End of Ownership, Aaron Perzanowski and Jason Schultz explore how notions of ownership have shifted in the digital marketplace, and make an argument for the benefits of personal property.

Of course, and other digital goods offer users convenience and flexibility. But, Perzanowski and Schultz warn, consumers should be aware of the tradeoffs involving user constraints, permanence, and privacy. The rights of private property are clear, but few people manage to read their end user agreements. Perzanowski and Schultz argue that introducing aspects of private property and ownership into the digital marketplace would offer both legal and economic benefits. But, most important, it would affirm our sense of self-direction and autonomy. If we own our purchases, we are free to make whatever lawful use of them we please. Technology need not constrain our freedom; it can also empower us.

Read more here.

Photo by Sean MacEntee

The post Aaron Perzanowski and Jason Schultz on the End of Ownership in the Internet of Things Era appeared first on P2P Foundation.

Francesca Pick: “Get paid for every play” is one of the mottos of Resonate. What is this project about?

Peter Harris: If Spotify was a cooperative, that would be Resonate — built and owned by the people that use it. We’ve developed a new listing model called “stream to own,” which aims to solve a lot of the problems around unfair compensation for artists.

What makes Resonate different from other music streaming services?

First, that everyone owns it. It isn’t like entertainment platform Tidal, where only a small number of super-rich rock stars can call themselves owners. This is about everyone — musicians, indie labels, fans, and the people who work and volunteer to make this happen share in decisions and profits, alike.

Apart from that, we don’t have a monthly subscription, but have developed the stream-to own-model because we think that this is where a lot of the problems arise around unfair payments. Stream-to-own makes it more affordable for fans to experience truly engaging music discovery and will track micro-payments through blockchain technology so there’s no dispute about what got played and what needs to get paid.

How would you like to see the music industry transform with the help of services like this?

The music industry needs to become more open and inclusive, with better tools for artists to manage their careers so they can focus on the art and not have to worry about the business and promotion side of things. A lot of energy and efficiency is wasted by having separate silos for everything. We hope to provide tools and solutions to integrate data, content, and payment flows in a number of ways to make music careers much more sustainable.

You’ve been working on this project for a while now. How did it get started?

Resonate was birthed out of 15 years of stewing on the fundamental question of how to adapt music consumption from scarcity to abundance. Streaming service Napster hit in 1999 and changed the model for music consumption completely, almost overnight. But with all of the services and projects that have come and gone since then, it always felt like no one had designed a system that helps us get back to the unique process of passionate music discovery, while also fairly compensating the creators.

We’ve been hearing a lot about blockchain technology recently, but it seems there is often more myth than talk of real-life applications. How will Resonate use blockchain?

There’s a lot of hype around blockchain simply because people don’t understand it yet. Much like they didn’t get the Internet in the late ’90s. At Resonate, we’re going to build a metadata blockchain which will help secure authorship and ownership for creators, whilst allowing other services to increase efficiency, as well.

Resonate is a so-called platform co-op, which is defined as web-based products or services that are collectively owned and governed by those working for the platform or using the service. Your website says you aim to have 70,000 co-owners of your service when you launch. How will this group govern itself and make decisions once you reach this goal?

We plan on using collaborative decision making tools like Loomio to create working groups around key issues, so individual communities can hash out ideas and draft proposals. Although 70,000 people could participate in decision making with such a tool, we doubt everyone will want to stay fully in the loop, because not everyone has time for that. What is key for us is that there is an open access that lets us deal with issues in a truly democratic fashion when they arise and integrate them into the service efficiently.

You’ve just started raising $350K to launch the service. How can people support and be part of this project?

There is lots to do and lots of ways to help! We just launched our crowd campaign calling for people to join as co-owners of the platform and spread the word about the concept. We also have a volunteer channel and a Github account for developers, if you would like to get more involved.

Article cross-posted from OuiShare. Images courtesy of Resonate.

Author Francesca Pick is OuiShare Fest Chair, writer, and project manager. She helps teams working on meaningful projects increase their impact through collaboration and communication. She likes to experiment with new forms of distributed organization and leadership.

Photo by Analog Weapon

The post Take Back the Music – With Platform Coops appeared first on P2P Foundation.

Jon Brodkin, Ars Technica

Source: arstechnica.com. As  the allegedly illegal (and apparently now defunct) PopcornTime app showed, it is possible to combine streaming video and P2P torrent-style downloading. In fact despite the demise of the original app, others inspired by it have started to appear.

So given that such a hybrid technology is possible, why should a copyright-respecting company like Netflix not make use of a similar technology, and thereby circumvent the monopolistic bandwidth tolls levied on it by dinosaur ISPs in the USA?

Job ad says Netflix wants to “integrate P2P as an additional delivery mechanism.”
by Jon Brodkin – Apr 25 2014, 10:45pm CEST

When we wrote about the possibility of Netflix using a peer-to-peer architecture for streaming earlier today, it seemed like more of a thought experiment than a real possibility.

But it turns out Netflix is looking for an engineer to research this very type of system. By searching Netflix job postings we found an opening for a senior software engineer who would work on Netflix’s Open Connect content delivery network while researching how P2P technology could be used for streaming.

“Netflix seeks a seasoned Senior Software Engineer with a special focus in peer-to-peer networks,” the listing says. Responsibilities include:

Research and architecture of large-scale peer-to-peer network technology as applicable to Netflix streaming.
Liaise with internal client and toolkit teams to integrate P2P as an additional delivery mechanism.
Design and develop tools for the operation of peer-to-peer enabled clients in a production environment.

The successful applicant is required to have “At least five years of relevant experience with development and testing of large-scale peer-to-peer systems.” Preferred qualifications include “Knowledge of and proven experience with P2P, CDN/HTTP cache/proxy technology.”

The job posting appears to be at least a month old. When asked whether the company intends to stream video using P2P, a Netflix spokesperson replied only that “the best way to see it is that we look at all kinds of routes.”

Our story this morning was spurred by a blog post written by BitTorrent, Inc. CEO Eric Klinker, who argued that a peer-to-peer architecture would help Netflix deliver its traffic without having to pay Internet service providers. We spoke with Klinker this afternoon, and he expanded on his thoughts.

“Netflix has a hard time getting traffic onto these networks. It’s because they are in a hub-and-spoke model where the traffic flows in only one direction, from Netflix to the consumer,” Klinker told Ars.
Read more at Ars Technica

The post Netflix researching “large-scale peer-to-peer technology” for streaming appeared first on P2P Foundation.