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    IPeMS : a Digital Rights Management framework for learning objects, 31 July 2006 : a thesis contributing to a Master of Information Science degree, Information Systems Department, Massey University, Palmerston North, New Zealand
    (Massey University, 2006) Hill, Margaret
    The Internet is long-acclaimed to provide a medium for easy sharing of ideas and collaboration, and has huge potential for academic and training organisations to share learning resources. However, there are no formal mechanisms for managing intellectual property (IP) and there remain today tensions between freedom to share and ownership of creativity. Theories around land property rights have contributed to the rights of IP as we know them today. Creating digital IP, however, is not a physical labour like toiling the land. It does not preclude the owner from retaining a copy and copying the IP does not make the IP more scarce, or competitive to possess. Management of IP rights is about finding a balance between over zealous enforcement and 'free' use of IP. Protection of IP can be achieved by law and technology, and a mechanism for managing the use of digital learning objects would require a digital rights management (DRM) framework. Architecture of XML (eXtended Markup Language) Web Services is emerging as a standardised approach to dynamic component connectivity and interoperability that relies on self-describing components and open connectivity standards and emerging standards, including IP (Internet Protocol), SOAP (Simple Object Access Protocol), WSDL (Web Services Description Language) and UDDI (Universal Description, Discovery and Integration). XML Web Services technologies have great potential as the underlying technology for the establishment of a DRM framework for learning objects (LOs) on the Internet. An initial survey, with endorsement of findings by experts in Information and Communication Technologies (ICT) in education, identifies the components of an online contract that would license an educator to use LOs. A framework is proposed and a prototype of an intellectual property electronic management system (IPeMS) is designed and developed. Web Services operations authenticate teachers and enable the teachers to search for LOs. The teachers can view permissions and constraints of use of the LOs, and can create a contract, with or without payment as the conditions dictate, that, on agreeing to, will license the teachers to use one or more learning objects. Another evaluation survey completes the research study, giving feedback about IPeMS, with respect to its application to an educational environment, to license an educator to use digital LOs.
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    How does widespread copyright violation, as facilitated by networked telecommunications, impact upon artistic practice and industry in New Zealand? : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Media Studies at Massey University, Manawatū, New Zealand
    (Massey University, 2016) Jurgens, Timothy Carl
    The culture of artistic content creation is changing. Once upon a time cultural products, and the ability to dictate how they were used and consumed, could be easily controlled via virtue of the difficulty of working with analogue formats in regards to modification, mass duplication or sampling. The widespread adoption of digital technologies, and the Internet serving as a global vector of seemingly endless information exchange, has rendered these hindrances to content duplication, distribution, and manipulation irrelevant in the wake of a globally distributed network of techno-cosmopolitan media content consumers. With the widespread normalisation of illegal online file-sharing, consumers of entertainment can essentially source anything they desire at a non-existent cost, whilst simultaneously excluding themselves from traditional economic channels of distribution. This research, partially presented as a documentary, investigates the opinions of artists (photographers, filmmakers, and musicians) working and living in New Zealand regarding the prevalence and impact of online copyright infringement. How has this new digital ecosphere impacted their work/practice as an artist and the industry generally? Is the fact that content gains far greater proliferation via these networks an advantage to media creators? Or does the reduction in scarcity and/or effort to obtain said art remove much of the associated value and thus the need to pay? A consumer can steal art considerably more easily now, but an artist can also source material for inspiration or reappropriation in ways largely unavailable in the past. In what ways (and with how much success) have content creators adapted to this new paradigm? How do these viewpoints correlate with variables such as medium, time spend in the industry and level of professional/economic involvement? And, indeed, how should both the creators, and the consumers, of media content think about art in a new world where it can be digitised so easily?