La gestion des DRM en perspective

§2- Tattooing

The techniques of tattooings, mainly the watermarking, or the fingerprinting, have as an aim of « to add, on a medium (which can be an image, a song, a video film), a mark which must be sufficiently unperceivable not to deteriorate the medium and sufficiently robust to be able to be detected even after treatment of the medium that it is a usual treatment or that resulting from an attack of the system of marking ».^13(*)

It will be specified that this « mark » can:

- to contain information on the permissions attached to the document,

- to indicate which is owner of the document,

- to mark having it right of the document.

Figure 2 : example of Mark on an image

(cf : http://www-rocq.inria.fr/codes/Watermarking/)

The interest of the watermarking and the fingerprinting, one will have included/understood it, lies in the fact that it inserts in an unperceivable but so specific way a mark inside contents ; what allows then « to follow ». However, it will be necessary, like technologies of cryptology to key, to choose the best manner of crypter this mark. According to Sirs Brunet and Raynal, if it « asymmetrical marking represents the panacea. More need for third of confidence, the mark is a property of the medium that everyone can read. And yet, nobody can remove it. However, one did not find an algorithm valid of marking asymmetrical ».^14(*) Also, it seems that that is it « marking plugs that it is advisable to use in the measurement of course where the algorithm of marking is solid cryptologiquement ». ^15(*)

Thus, like points out it Philippe Chantepie, the use complementary to these two techniques is necessary within the framework of a system of GDN.

Indeed, the fingerprinting allows the traceability of work, control by identification of the diffusion of works and the watermarking the administration of the evidence as for the integrity, the origin, even the titularity, if it relates to the mode of the rights of works, the control of the reproduction, the checking of the modifications of information or deteriorations of works. ^16(*)

Despite everything, it is by no means a question of setting up inviolable systems because that would require too heavy investments and would probably not facilitate the use of the consuming users/. The phenomenon of the counterfeit and the hacking always exists and will exist, no technology not being completely reliable.^17(*) The goal being more in correlation with the principle of precaution and proportionality to knowing, to establish a subtle and adequate balance between the whole of the chain, the artist to the producer, the diffuser and finally to the consumer. ^18(*)

§3- the Language

If the techniques of cryptology are necessary to the numerical management of the contents, that cannot be done without a suitable language. That implies in this field a convergence of the whole of the actors towards a common language.

At present, there are no yet standards ; on the other hand, one can indicate right now that the standards have a common base, metalanguage XML already used and adopted in industry.

For the moment, the two principal languages are the ODRL^19(*) and XrML. ^20(*)

If, for the moment, no decision were still taken, it would seem nevertheless that XrML was adopted for standard MPEG-21.^21(*) This question is determining insofar as, the description of the rights « as well determine nature originating in the rights of author's copyright and artistic that the place and the function of the respective actors, and the whole of the modes of uses of works, in other words the marketing strategies present and future ». ^22(*)

The stake is all the more important as it is about a language owner thus being the subject of rights, which is not the case with the ODRL. ^23(*)

Major interest of the language, beyond the purely technical aspect being which it is about a language known as of description of the rights consequently making it possible to set up documents by contract having vocation to define precisely « legal conditions of operating and use of certain works by certain people under certain conditions (...) : A numerical system of management of the rights thus associates a language of description of information on the rights with technical protection measures aiming at controlling the respect of the contract ». ^24(*)

Thus, it will be allowed to exert the rights of access to the contents by completely dissociating the supply of the support of the rights associated with this one.^25(*)

* ¹³ Problems of Watermarking, Brownish Matthieu and Frederic Raynal, May 31, 2000  : www-rocq.inria.fr/codes/Watermarking/

* ¹⁴ Problems of Watermarking, Brownish Matthieu and Frederic Raynal, May 31, 2000  : http://www-rocq.inria.fr/codes/Watermarking/

* ¹⁵ Ibid

* ¹⁶ Philippe Chantepie, Technical Measurements of Protection of works & DRMS, 1ère Left: an Inventory of fixtures, January 8, 2003, p 64.

* ¹⁷ Daniel Sebaya notes: «  Content The term darknet refers to the collection off networks used to share digital illegally. Thesis networks include peer-to-peer file sharing networks, have well have sharing off keys, passwords gold even music and movies in person. The furnace researchers At Microsoft believe that the darknet will never fully Be stopped  ». Daniel Semaya, The Future off DIGITAL Rights Content Management for Distribution, May 30, 2003, p. 4. http://www.cs.princeton.edu/ugprojects/listing.php?user=dsemaya&type=senior One will read with all the more interest the document on Darknet of Peter Biddle, Paul England, Marcus Peinado, and Bryan Willmann. The darknet and the future off content distribution. November 18, 2002. http://msl1.mit.edu/ESD10/docs/darknet5.pdf

* ¹⁸ One will also observe the promising beginnings of a young Medialive company which has, in particular, developed a technology of progressive jamming of the contents not resting on watermarking. The guiding principles of Medialiving® process are: «  Avoid content exposing Al online by extracting has off small part the digital stream and substitute has lure for it, sending has Lured_Mediafile®, with exactly the same length and same file format. The extracted share, generally butt 1% gold original less off the dated, is locked in A Control_File® server; Digital Distribute freely the lured stream; Distribute the extracted shares in real-time upon payment gold any other vent that would trigger year accesses authorization to the entertainment part. The Live_Composer® is reconstructing the original digital stream in No time  ». Philippe Crouzillacq, Medialive places films and musics under high protection, 24/05/2004, www.01net.com/article/242984.html

* ¹⁹ It was born from fusion between language XMCL (extensible Media Trades Language) of Real Networks and from language MRV developed by Nokia. Philippe Chantepie, Technical Measurements of Protection of works & DRMS, 1ère Left: an Inventory of fixtures, January 8, 2003, p. 83. Bill Rosenblatt, 2003 in Review: Standard DRM, January 5, 2004, http://www.drmwatch.com/standards/article.php/3295291

* ²⁰ http://www.xrml.org/ It is the new name of language DPRL (DIGITAL Property Rights Language) resulting from work of Xerox Palo Alto Research Center (Xerox-PARK) and whose patents are held from now on by Contentguard whose Microsoft is shareholder. Ibid, p. 84.

* ²¹ Cf Hereafter and in particular on the level of the working group WG11.

* ²² Ibid, p. 84.

* ²³ «  The Open DIGITAL Rights Language (ODRL) is has off proposed language for the DIGITAL Rights Management (DRM) community for the standardization expressing rights information over content. Flexible The ODRL is intended to provide and interoperable mechanisms to transparent support and innovative off uses digital resources in publishing, distributing and consuming off electronic publications, digital images, audio and movies, learning objects, computer software and other creations in digital form. The ODRL has No license requirements and is available in the spirit off «open source» software  ».

http://www.w3.org/TR/2002/NOTE-odrl-20020919/

* ²⁴ Philippe Chantepie, Technical Measurements of Protection of works & DRMS, 1ère Left: an Inventory of fixtures, January 8, 2003, p. 88.

* ²⁵ Within this framework, one will note that the support provides can be it in several forms  : completely not exploitable without the associated rights where partially exploitable, one thinks of commercial forms of diffusion, but requiring supplementary laws to reach the entirety of work.