/ / Articles, News

Why DRM is the root of all evil

In my latest Guardian column, What happens with digital rights management in the real world?, I explain why the most important fact about DRM is how it relates to security and disclosure, and not how it relates to fair use and copyright. Most importantly, I propose a shortcut through DRM reform, through a carefully designed legal test-case.

The DMCA is a long and complex instrument, but what I’m talking about here is section 1201: the notorious “anti-circumvention” provisions. They make it illegal to circumvent an “effective means of access control” that restricts a copyrighted work. The companies that make DRM and the courts have interpreted this very broadly, enjoining people from publishing information about vulnerabilities in DRM, from publishing the secret keys hidden in the DRM, from publishing instructions for getting around the DRM – basically, anything that could conceivably give aid and comfort to someone who wanted to do something that the manufacturer or the copyright holder forbade.

Significantly, in 2000, a US appeals court found (in Universal City Studios, Inc v Reimerdes) that breaking DRM was illegal, even if you were trying to do something that would otherwise be legal. In other words, if your ebook has a restriction that stops you reading it on Wednesdays, you can’t break that restriction, even if it would be otherwise legal to read the book on Wednesdays.

In the USA, the First Amendment of the Constitution gives broad protection to free expression, and prohibits government from making laws that abridge Americans’ free speech rights. Here, the Reimerdes case set another bad precedent: it moved computer code from the realm of protected expression into a kind of grey-zone where it may or may not be protected.

In 1997’s Bernstein v United States, another US appeals court found that code was protected expression. Bernstein was a turning point in the history of computers and the law: it concerned itself with a UC Berkeley mathematician named Daniel Bernstein who challenged the American prohibition on producing cryptographic tools that could scramble messages with such efficiency that the police could not unscramble them. The US National Security Agency (NSA) called such programs “munitions” and severely restricted their use and publication. Bernstein published his encryption programs on the internet, and successfully defended his right to do so by citing the First Amendment. When the appellate court agreed, the NSA’s ability to control civilian use of strong cryptography was destroyed. Ever since, our computers have had the power to keep secrets that none may extract except with our permission – that’s why the NSA and GCHQ’s secret anti-security initiatives, Bullrun and Edgehill, targetted vulnerabilities in operating systems, programs, and hardware. They couldn’t defeat the maths (they also tried to subvert the maths, getting the US National Institute for Standards in Technology to adopt a weak algorithm for producing random numbers).

What happens with digital rights management in the real world?

/ / News, Podcast

Here’s a reading of a recent Guardian column, What does David Cameron’s Great Firewall look like? which debunks the UK government’s stupid arguments for its national anti-porn firewall:

David Cameron’s attempt to create a Made-in-Britain version of Iran’s “Halal Internet” is the worst of both worlds for parents like me. Kids are prevented from seeing things that they need to access – sites about sexual health, for example – and I still have to monitor my daughter all the time when she uses the net (or teach her how to cope with seeing things no kid should see) because the filter won’t stop her from accessing the bad stuff.

And for parents who don’t understand that filters are bunkum, the situation is much worse. It’s one thing to know that there are risks to your kid from the internet. But parents who rely on the filter are living in bubble of false security. There’s nothing more deadly than a false sense of security: If you know your car is having brake problems, you can compensate by driving with extra care, increasing your following distance, and so on. If you falsely believe your brakes to be in good running order, you’re liable to find out the hard way that they aren’t (if you survive, you can thank Bruce Schneier for that apt and useful analogy).

Mastering by John Taylor Williams: wryneckstudio@gmail.com

John Taylor Williams is a audiovisual and multimedia producer based in Washington, DC and the co-host of the Living Proof Brew Cast. Hear him wax poetic over a pint or two of beer by visiting livingproofbrewcast.com. In his free time he makes “Beer Jewelry” and “Odd Musical Furniture.” He often “meditates while reading cookbooks.”

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/ / Homeland, News


Locus Magazine has published its annual Recommended Reading list, which is my favorite annual guide to the best that science fiction and fantasy have to offer. The 2013 roundup includes several of the books I’ve reviewed on Boing Boing this year, including Paolo Bacigalupi’s Zombie Baseball Beatdown, Charlie Stross’s Neptune’s Brood, Lauren Beukes’s The Shining Girls, Richard Kadrey’s Dead Set, Terry Pratchett’s Raising Steam, Ian Tregillis’s Necessary Evil, Holly Black’s The Coldest Girl in Coldtown and Nathan Ballingrud’s North American Lake Monsters.

I’m also delighted to see that my novel Homeland (the sequel to Little Brother) made the list!

The whole list is just a fantastic signposting of the best the field has to offer.

2013 Locus Recommended Reading List

(via Tor.com)

/ / News


Locus Magazine has published its annual Recommended Reading list, which is my favorite annual guide to the best that science fiction and fantasy have to offer. The 2013 roundup includes several of the books I’ve reviewed on Boing Boing this year, including Paolo Bacigalupi’s Zombie Baseball Beatdown, Charlie Stross’s Neptune’s Brood, Lauren Beukes’s The Shining Girls, Richard Kadrey’s Dead Set, Terry Pratchett’s Raising Steam, Ian Tregillis’s Necessary Evil, Holly Black’s The Coldest Girl in Coldtown and Nathan Ballingrud’s North American Lake Monsters.

I’m also delighted to see that my novel Homeland (the sequel to Little Brother) made the list!

The whole list is just a fantastic signposting of the best the field has to offer.

2013 Locus Recommended Reading List

(via Tor.com)

/ / Little Brother, News


Locus Magazine has published its annual Recommended Reading list, which is my favorite annual guide to the best that science fiction and fantasy have to offer. The 2013 roundup includes several of the books I’ve reviewed on Boing Boing this year, including Paolo Bacigalupi’s Zombie Baseball Beatdown, Charlie Stross’s Neptune’s Brood, Lauren Beukes’s The Shining Girls, Richard Kadrey’s Dead Set, Terry Pratchett’s Raising Steam, Ian Tregillis’s Necessary Evil, Holly Black’s The Coldest Girl in Coldtown and Nathan Ballingrud’s North American Lake Monsters.

I’m also delighted to see that my novel Homeland (the sequel to Little Brother) made the list!

The whole list is just a fantastic signposting of the best the field has to offer.

2013 Locus Recommended Reading List

(via Tor.com)

/ / Makers, News


Rebecca Nguyen is a high-school senior who is a fan of my young adult novels. Recently, she read my book Makers and liked it so much that she wrote a great review of it, which she placed with the Poughkeepsie Journal. It’s an incisive review, and I’m very grateful to Rebecca for it. Thank you, Rebecca! I hope the Journal gives you more reviewing work in the future — you’re very good at it!

/ / News, Podcast

Here’s a reading of my latest Locus column, Cheap Writing Tricks, which discusses the mysterious business of why stories are satisfying, and how to make them so:

Plots are funny things. In the real world, stuff is always happening, but it’s not a plot. People live. People die. People are made glorious or miserable. Things eagerly awaited are realized, or hopes are cruelly dashed. Love is gained; love is lost. But all these things are not a plot – they lack the fundamental tidiness and orderliness that makes a story a story.

In fiction-land, stories have beginnings, middles and ends. They have dramatic tension, which rises to a climax towards the end of the story, and then roll on a while longer, into denouement. A plot is what you get when you draw a line around a set of circumstances and say, ‘‘These things are all part of one story, and they comprise its beginning, middle and end, and its arc from low tension to high. This moment here is the climax of this story.’’

That line is wholly arbitrary, of course – your personal life-story’s climax is merely a passing moment in someone else’s arc – but the really weird thing is that a story that lacks this arbitrariness feels arbitrary. A bunch of things that happen without any curation or pruning away of extraneous moments do not a story make, despite the fact that this is how the world actually works.

Mastering by John Taylor Williams: wryneckstudio@gmail.com

John Taylor Williams is a audiovisual and multimedia producer based in Washington, DC and the co-host of the Living Proof Brew Cast. Hear him wax poetic over a pint or two of beer by visiting livingproofbrewcast.com. In his free time he makes “Beer Jewelry” and “Odd Musical Furniture.” He often “meditates while reading cookbooks.”

MP3

/ / News


Rebecca Nguyen is a high-school senior who is a fan of my young adult novels. Recently, she read my book Makers and liked it so much that she wrote a great review of it, which she placed with the Poughkeepsie Journal. It’s an incisive review, and I’m very grateful to Rebecca for it. Thank you, Rebecca! I hope the Journal gives you more reviewing work in the future — you’re very good at it!

/ / News


Yesterday, FirstSecond formally announced the publication of In Real Life, a graphic novel about gaming and gold farming for young adults based on my award-winning story Anda’s Game, adapted by Jen Wang, creator of the amazing graphic novel Koko Be Good. Jen did an incredible job with the adaptation.

Kotaku conducted a Q&A with Jen and me about the book and its themes, and lavishly illustrated it with art and panels from the book:

The book touches on points that some people who play video games don’t want to think about, like the social attitudes or economic politics surrounding the delivery and maintenance of these experiences. The reluctance happens because it’s not easy to think about these things. “I am as guilty of this as anyone is. It doesn’t feel good to think about it. I think that life in the modern world embodies all kinds of contradictions that are difficult to face,” Doctorow said over e-mail. “We don’t decide to abandon our principles in a rush—rather, they slide away in a series of incremental steps, each of which seems like a reasonable compromise based on the LAST compromise.”

“We are most capable of detecting relative differences. Once you’ve made a little compromise, another little compromise seems like not much, and another, and another. No one wants to admit that the fun bit of plastic he unboxed from Amazon this morning is awash in invisible blood, especially because, as an individual, there’s nothing he can do about the blood, and not buying the thing doesn’t make it any less bloody. So you draw the curtains.”

Gold farming is the kind of thing that captured the public imagination for a while and is now accepted as par for the course in massively online games. When asked why he’d want to re-visit the practice now, Doctorow said that “science fiction isn’t about the future, it’s always about the present.” “When you contemplate the microscale phenomenon of a world-in-a-bottle like an MMO and the toy economy within it, it equips you with a graspable metaphor for understanding the macroscale world of monetary policy. In other words: thinking about gold farming is a gateway drug to thinking about money itself.”





In Real Life [Amazon]

Reminder: Gold Farmers Are People, Too

/ / News


The Kitschies are a British award for science fiction and fantasy; every year they choose some marvellous books to honour. This year, I’m proud and pleased announce that they’ve shortlisted the UK editions of my novels Pirate Cinema and Homeland for the “Inky Tentacle” award for best cover. Both covers were designed by the studio Amazing15 for my British publishers, Titan Books. I’m indebted to the judging panel and the Kitchie volunteers — thank you!