I’ve just posted an analysis of Hollywood’s latest Congressional report, in which the MPAA reveals its perverse fascination with “plugging the analog hole.” It’s every bit as dirty as it sounds.
The second section, “Plugging the Analog Hole,” reveals Hollywood’s plan to turn a generic technology component, the humble analog-to-digital convertor, into a device that is subject to the kind of regulation heretofore reserved for Schedule A narcotics.
Analog-to-digital converters (ADCs) are the building blocks of modern digital technology. An ADC’s job is to take samples of the strength (amplitude) of some analog signal (light, sound, motion, temperature) at some interval (frequency) and convert the results to a numerical value. ADCs are embedded in digital scanners, samplers, thermometers, seismographs, mice and other pointer devices, camcorders, cameras, microscopes, telescopes, modems, radios, televisions, cellular phones, walkie-talkies, light-meters and a multitude of other devices. In general, ADCs are generic and interchangeable — that is, a high-frequency ADC from a sound-card is potentially the same ADC that you’ll find in a sensitive graphics tablet….
Virtually everything in our world is copyrighted or trademarked by someone, from the facades of famous sky-scrapers to the background music at your local mall. If ADCs are constrained from performing analog-to-digital conversion of all watermarked copyrighted works, you might end up with a cellphone that switches itself off when you get within range of the copyrighted music on your stereo; a camcorder that refuses to store your child’s first steps because he is taking them within eyeshot of a television playing a copyrighted cartoon; a camera that won’t snap your holiday moments if they take place against the copyrighted backdrop of a chain store such as Starbucks, which forbids on-premises photography because its fixtures are proprietary works.