I was checking out Tor’s new wallpapers and thinking about the uses of provenance in the art world. Tor is a science fiction publisher, and they’ve been doing one of those Publisher Experiments with the new digital world. (In fact, Tor released this week Farthing by Jo Walton for free — this was an amazing alternate history book. If you can still get the copy, do it! I already had my print-and-ink copy but was delighted to have an electronic one as well.)
Tor’s model is to release something on their website, and then take it off. No DRM on the released wallpapers or the PDF of the book so far as I know (don’t take my word on that: I didn’t test it out or go looking for testimonials; I just took a bare look at the file format & basic ability to do what I wanted, namely, copy-and-paste). But they make a big deal out of “get it this week, because this it’ll be gone”.
Of course, for the desperate or enterprising fan, they will still be able to get it, somewhere, on the Internet, or from some fan or was a bit more on the ball. But it got me thinking (as I often do, anyway) about this kind of model of distribution. Tor is using the carrot approach to bringing traffic to their website and to their writers and artists, as opposed to the stick approach. (I wouldn’t be surprised if the fabulous & tech-savvy Nielsen Hayden’s were responsible in part for this approach.) They Might Be Giants has done this sort of thing for a while, too, and other artists as well.
Signed-and-numbered prints or casts of works of art are a slightly different take on creating scarcity. Rather than time-limited, the works are quantity-limited. FaceBook just happened on this calculus too: my partner and I were recently amused to see FaceBook hawking icons of flowers and chocolates and what-not for a dollar apiece, noting that they are limited! Only a hundred thousand available! I guess in a network of millions a hundred thousand is limited. And there’s no question that FaceBook would be pretty darn happy if a hundred thousand people pony up a buck apiece for an icon of a chocolate. Hell, even if only a tiny fraction do it, it’s spam economics: Practically free for FaceBook to offer it, so any income generated is 99.999% pure profit.
Tor, or any artist or group trying to create scarcity, could easily do this too, and you’d never need DRM: Electronically number each copy, and maintain a provenance database. That’s the simple version. You could also do something fancier, like provide a unique hash of the original download data trail, for instance. Whatever you did, the point is to make the copies unique in some fashion, and to “officially” verify and/or track the unique copies. Sure people would copy the items, but without proving provenance, you wouldn’t have the original. The knock-offs are every bit as good as the original, except to the collectors and fans — who would be driven by the strange economics of fannish obsession to acquire originals. Or maybe even multiple originals.
In theory the general market for commercial software — which is typically licensed with their “unique” serial numbers — could operate this way, but MS Word just doesn’t have collectability. Functionality is ever the enemy of collectability.
While this idea is wholly my derivation and assemblage of the constituent components ™, ©, etc., I’m sure it has probably been independently invented and may even be out there in other publisher or artist or musician experiments somewhere. If any readers know of such a distribution, I’d be delighted to hear about it in comments or email.
1 – Spellcheck suggests that “collectibility” is probably more correct, but that just irks me. Collectibles is fine, but the attraction of collectibles should be collectAbility.
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