[xiph-commits] r9665 - in websites/xiph.org: . about images
giles at svn.xiph.org
giles at svn.xiph.org
Sat Jul 30 13:54:20 PDT 2005
Author: giles
Date: 2005-07-30 13:54:13 -0700 (Sat, 30 Jul 2005)
New Revision: 9665
Added:
websites/xiph.org/about/index.shtml.en
websites/xiph.org/css/
websites/xiph.org/donate/
websites/xiph.org/images/banners/
websites/xiph.org/images/logos/
websites/xiph.org/index.shtml.en
websites/xiph.org/ssi/
websites/xiph.org/templates/
Removed:
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websites/xiph.org/about/bottombar0.gif
websites/xiph.org/about/bottombar1.gif
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websites/xiph.org/about/bottombar3.gif
websites/xiph.org/about/cdparanoia.gif
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websites/xiph.org/about/froggword2.gif
websites/xiph.org/about/index.html
websites/xiph.org/about/mgmfront.gif
websites/xiph.org/about/ogg-project.gif
websites/xiph.org/about/ogg-vorbis.gif
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websites/xiph.org/about/xiphword.gif
websites/xiph.org/about/xiphword2.gif
websites/xiph.org/contact/
websites/xiph.org/index.html
Log:
Merge current state of websites-new into the live website. This replaces
the frontpage, contact, about, and donate pages. Rest of the site still
needs to be ported; hopefully working on the live tree will make that
more attractive.
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--- websites/xiph.org/about/index.html 2005-07-30 20:40:38 UTC (rev 9664)
+++ websites/xiph.org/about/index.html 2005-07-30 20:54:13 UTC (rev 9665)
@@ -1,336 +0,0 @@
-<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"
- "http://www.w3.org/TR/html4/loose.dtd">
-<html>
-<head>
- <title>Xiph.Org: about us</title>
- <!--#include virtual='/include/head.include' -->
-</head>
-<body>
-<!--#include virtual="/include/xiphtop.include" -->
-<h1>a little bit about us, what we do, and why you should care...</h1>
-<!--#include virtual="/include/xiphmid.include" -->
-
-A market-speak summary of the Xiph.Org Foundation might read something
-like: "Xiph.Org is a collection of <a
-href="http://www.opensource.org/">open source</a>, multimedia related
-projects. The most aggressive Xiph.Org effort, the <a
-href="/ogg/">Ogg project</a>, works to put the foundation standards of
-Internet audio into the public domain, <em>where all Internet standards
-belong</em>." ...and that last bit is where the passion comes in.<p>
-
-Xiph.Org is about open source and the ideals for which free
-software stands. Open source is not a fad any more than the Internet
-is. It is a necessary force driving innovation and the Internet
-forward while protecting the interests of individuals, artists,
-developers and consumers.<p>
-
-We're about bringing open source and open source ideals to
-multimedia... and media on the Internet needs us.<p>
-
-<h2>
-"Why do I need open source? I'm not a hacker."
-</h2>
-
-Closed source software is not evil, nor is it necessarily inferior in
-quality to open source. What is certain, however, is that closed
-source and closed protocols do not serve the public interest; they
-exist by definition to serve the bottom line of a corporation. The
-foundations of the Internet today are built of a long, hardy history
-of open development, free exchange of ideas and unprecedented levels
-of intellectual cooperation. These foundations continue to weather
-the storm caused by the corporate world's rush to cash in.<p>
-
-It is not a coincidence that Microsoft was blind to the phenomenon of
-the Internet for so long. The burgeoning Internet was against their
-very way of thinking; a Microsoft Internet (tm) would have been
-profit-directed, designed by the same people who considered 'on-demand
-TV' the great innovation of the future. Microsoft Internet, if
-profitable, would have been followed by the release of IBM's
-marginally compatible OS/Internet, Borland's TurboInternet, ad
-absurdum. The Net, as designed by warring corporate entities, would
-be a battleground of incompatible and expensive 'standards' had it
-actually survived at all.<p>
-
-The Internet exists today and continues to move forward
-<em>despite</em>, not because of, corporate self-interest; critical
-mass passed the point of no return long before Microsoft and Netscape
-tried to salt the earth of their rivals. The great advances in
-computer engineering and science came from research labs and
-universities, freely shared with the rest of the world. You would not
-be reading this at your PC, workstation or iMac today if Microsoft
-held a patent on TCP/IP. <p>
-
-The point is not that companies that try to make money on the new
-popularity of the net are in some way inherently immoral or greedy.
-Rather, the point is that companies must not be allowed to use the
-infrastructure we all depend upon as a weapon against their rivals to
-the detriment of all others. The Internet is a common resource and as
-with other cooperatively shared resources, the "Tragedy of the
-Commons" looms large. Competitive behavior dictates that eventually a
-company will act on their own interests to the detriment of all others
-<em>unless a mechanism exists to prevent it</em>.<p>
-
-Commodity standards and software must be free because open source is
-that controlling mechanism. We're the only mechanism we've got.<p>
-
-<h2 id='fraunhofer'>"Why does multimedia specifically need open source?"<br>Example: An 'open' standard closes</h2>
-
-In September of 1998, the world of Internet media took an unexpected
-(but long dreaded) turn when Fraunhofer IIS sent a "letter of
-infringement" to several small commercial and open source MPEG audio
-layer 3 development projects.<p>
-
-<blockquote>
- In the letter, [Fraunhofer claims] that due to patents
- they hold related to MP3, they are entitled to
- royalties for any commercial players, all encoders
- (whether sold or <strong>given away</strong>), and
- also works of art sold in MP3 format.<p>
-
- The letter of infringement had an immediate effect on
- the free encoder programs with many being removed from
- their official web site. Affected encoders include
- Plugger, CDEX, soloH, 8Hz, Blade, Canna, and
- others. [...] Fraunhofer is demanding a royalty
- payment beginning at $25 per encoder. Additionally, a
- 1% or .01 per file royalty is also put forth as being
- required.
- <p>
- --<a href='http://www.mp3.com/news/095.html'>mp3.com article by Michael Robertson</a>
-
-</blockquote>
-<p>
-The projects affected had based their work on code long freely
-available in the ISO MPEG audio standard. The debate about whether or
-not Fraunhofer was within their rights or not is beside the point;
-this is an illustration of the amount of control commercial entities
-will attempt to exert over commodity standards; this meddling is
-detrimental to open efforts and deadly to business (except for members
-of the MPEG consortium that is). Keep in mind that MPEG is considered
-among the <em>most</em> open multimedia standards (at least until the
-800-lb. gorilla members of MPEG manage to sue the smaller encoder
-efforts out of existence); there are few or no cutting-edge open
-standards for streamed audio or video on the Internet today. Closed
-competition has just made matters worse; now there are several
-dominant and entirely incompatible closed 'standards'.<p>
-
-Our purpose is to open the field up a bit. Unfortunately we're not
-fighting on this front alone. Music and media on the net today also
-face corporate domination of the <em>content itself </em>...<p>
-
-<h2>Music isn't an <em>art</em>, it's an <em>industry</em>.</h2>
-
-Internet media issues don't apply solely to source code or information
-format. Controlling the music itself is a burning issue for the music
-industry.<p>
-
---and <em>industry</em> is the key word here. Music is no longer an
-expression of the soul or the work of an artist; it's a 'product' that
-is manufactured, packaged, catalogued, distributed, managed,
-regulated, and above all <em>sold</em>. Music is just another vehicle for
-maximizing profits. The RIAA, mainly a front for the recording
-industry that supports the status quo, trumpets loudly that the
-Internet is the greatest threat to artists that the world has ever
-known... at the same time that the RIAA is making a desperate grab to
-control this new distribution infrastructure. The great irony is that
-the Internet might indeed be an artist's worst nightmare-- if the RIAA
-<em>succeeds</em>:<p>
-
-<blockquote>
- ...corporate mergers are squeezing hundreds of
- musicians out of the business without even giving
- them the rights to their recordings, and executives
- of major record labels are meeting behind closed
- doors to develop a way to police and control the
- distribution of music on the Internet.<br>
- [...]<br>
- Putting control of the Internet in the hands of the
- corporations means that a utopian musical vision may
- be dying. ...the chances of a dystopian world are
- increasing, one in which record companies have even
- greater control over music distribution
-
- <p>
- --the New York Times, Monday, May 17, 1999, article by Neil Strauss
-</blockquote>
-<p>
-
-One major push in the RIAA effort to control the music distribution
-infrastructure of the Internet is to legislate mandatory 'digital
-watermarks' for playback. Players that do not look for these
-'watermarks' or play the music anyway will be illegal. Make an
-educated guess as to who will control the watermarks. <p>
-
-<blockquote>
- the record industry has a plan to force
- hardware and software companies to exclusively
- adopt its Secure Digital Music Initiative as
- the standard for delivering music online.
- ...SDMI backers want manufacturers to build a
- time-bomb trigger into their products that,
- when activated at a later date, would prevent
- users from downloading or playing
- non-SDMI-compliant music. The hardware would
- initially support MP3 and other compressed
- file formats, but a signal from the RIAA would
- activate the blocking trigger.
- <p>
- --<a href="http://www.wired.com/news/news/technology/story/19682.html">Wired News article by Christopher Jones</a>
-</blockquote>
-<p>
-
-
-<h2>a history lesson</h2>
-
-The current position and function of the music industry is an
-invented one. Approximately one lifetime ago, recordings were not
-technologically possible. With the advent of recorded sound,
-enterprising businessmen (Thomas Edison, a worthy predecessor of Bill
-Gates, and Columbia Music, just as tough and nasty) found that
-prepackaged recordings could be turned out in endless, identical
-quantity for very little cost and sold. <p>
-
-This wasn't an entirely new idea; an example of a preceding 'packaged
-performance' technology is the player piano roll. It is interesting
-to note, however, that these rolls were held by the courts to be
-<em>uncopyrightable</em>; the music itself was protected, but the
-'performance' was not. The music industry originally lobbied the
-courts and Congress to keep these formats copyright-free so that it
-would not owe artists any royalties; in 1908, the Supreme Court ruled
-that phonograph records and player piano rolls did not fall under
-copyright.<p>
-
-It is important to note that selling recordings was a tenable business
-plan only because the average person could not produce a recording.
-If the phonograph record were cheaply reproducible in that day, the
-prepackaged music industry would never have existed as it would have
-been impossible from the very beginning to prevent people from making
-copies which were, at the time, entirely legal.<p>
-
-Congress changed the copyright law in 1909 to explicitly grant
-composers royalties on recordings sold. At the time, the music
-industry protested the decision bitterly; eventually it settled for
-requiring artists to sign over copyright on all work as a standard
-element of a recording contract.<p>
-
-The copyright protects the record label, not the artist.<p>
-
-(<a href="http://www.news.com/SpecialFeatures/0,5,34963,00.html">an article on the subject from CNET</a>)<p>
-
-<h2>Fast forward to the 1970s</h2>
-
-The undoing of the distribution profit juggernaut began with the
-compact cassette tape, a development greeted by as much wailing and
-gnashing of teeth within the walls of Music Inc. as MP3 is causing
-today. Although the copy wasn't as good as the original, it was cheap
-and easy to make. Copying commercial music was once only the domain
-of organized crime; now any individual could make a copy trivially.
-The industry tried to outlaw the compact cassette, then settled for
-taxing it and legislating against copying.<p>
-
-Digital audio tape (DAT) caused the next uproar; a perfect copy was
-now possible. The music industry players, forerunners to the RIAA,
-sought to destroy this technology and mostly succeeded; DAT never
-caught on at any sizable level. It is interesting to note that
-"small-time" artists depend heavily on DAT for production and
-recording; this is practically the only music segment that ever bought
-into DAT. Clearly the RIAA didn't have their interests at heart.<p>
-
-Computers, the Internet and especially MP3 have now made the copy
-easier, cheaper and more convenient than the prepackaged content on
-sale.<p>
-
-That the copy costs nothing concerns intellectual property, a real
-worry for artists. That the <em>distribution</em> costs nothing is
-what really motivates the anti-MP3/anti-Internet effort. Copyright,
-once bitterly contested by the music industry, is now clung to as a
-weapon to preserve the distribution chain.<p>
-
-<blockquote>
- Copyright law has always been more about protecting
- the interests of publishers than those of creators.
- The Internet in general, and MP3 in particular, have
- drastically reduced the costs (financial,
- convenience, material, distribution) of creators
- getting their material out to their audience, and
- have *almost* made it trivial for audience members
- to *directly* pay creators for access to their work.<p>
-
- The middlemen have become irrelevant. The smart
- ones are devising new business models --- O'Reilly
- isn't going away because they are perceived as
- genuinely adding value and lots of their customers
- would buy their books even if they're available for
- download.<p>
-
- I just paid $20 for Neal Stephenson's new book; he
- probably got about $3 of my money, if that. The
- other $17 went to the distribution chain, of which
- *maybe* $1 goes to people who actually contributed
- to the book --- editors who actually edited,
- proofreaders, etc.<p>
-
- Eventually, a favorite author will release a new
- novel and I will pay $5, of which the majority will
- go to the author and all but a few pennies to other
- real contributors, for access to it with rights to
- print one copy.<p>
-
- The middlemen are merely fighting a rearguard action
- against the tide of history; a delaying action that
- may alter *when* I will buy a book that way, but not
- the ultimate reality.<p>
-
- <p>
- --Carl Alexander <a href="mailto:xela at mit.edu"><xela at mit.edu></a>
-</blockquote>
-<p>
-
-The music industry finds itself in a position where the basic
-assumption behind its original business model (the recording is too
-expensive for a person to reproduce him or herself and the
-distribution can be tightly controlled for maximal profit) is no
-longer true. The music industry feels extremely threatened. It
-should. This is a major evolutionary pressure.<p>
-
-Evolutionary? Of course; commercial music is faced with extinction
-only as long as it refuses to adapt, as long as it refuses to loosen
-its grip on the endless easy profits it believes it is entitled to.
-The industry is not acting to protect artists or the artists'
-interests (bards, musicians and storytellers thrived long before there
-was an industry to 'protect' them), it is not acting to prevent
-musicians from being 'driven out of business' (it impoverishes artists
-itself); it is acting to preserve the status quo and its own
-profit-inflated bulk. It's quite possible for the music industry to
-refashion itself, but rather than evolving and thriving in a new
-niche, the Dinosaurs, staggering under their own smothering weight,
-are trying to legislate the Mammals out of existence.<p>
-
-<h2>The double-whammy</h2>
-
-From one side, we see groups (Fraunhofer, IBM, Thomson, Progressive
-Networks, Microsoft et al.) trying to control music technological
-infrastructure (MPEG, TwinVQ, etc) to be used as weaponry against
-their competitors. On the other front, we have the music industry
-trying to squeeze all the cash they can out of the content to maintain
-their enormous, recently obsolete bulk. In case they don't succeed in
-eliminating electronic music formats, they too are making a major bid
-to control the infrastructure.<p>
-
-There are multi-trillion dollar interests represented in the above
-clash. Businesses that only have a few million dollars are entirely
-outclassed.<p>
-
-As an individual, I expect I'm no longer on the map.<p>
-
-Or am I? Ogg and other projects of Xiph.Org are my way of doing
-something about the imbalance; a good programmer can still change the
-world. Big players may want to utterly dominate the Net, but they
-don't yet. If the rest of us are lucky, Xiph.Org, the Open Source
-community and Ogg will help make that impossible.<p>
-
---Monty 19990514<br>
-<a href="mailto:monty at xiph.org">monty at xiph.org</a>
-
-<!--#include virtual="/include/xiphbottom.include" -->
-</html>
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-<title> Xiph.Org: home </title>
-
-<!--#include file="style.include" -->
-
-<!-- news supertitle -->
-<p style='font-size: larger; text-align: center;'>
-<!-- <a href='http://www.helixcommunity.org'>Xiph.Org selected for a RealNetworks Helix Community Grant;<br>Real's Helix Player adds Ogg Vorbis and Theora support</a> -->
-<!-- <a href="http://fluendo.com/press/releases/PR-2004-01.html">Fluendo, a streaming media startup building products<br>around GStreamer, Funds Ogg Theora development.</a> -->
- <a href="http://fluendo.com/press/releases/PR-2004-03.html">Fluendo funds RTP delivery effort <br> for Xiph.org free multimedia codecs.</a>
-</p>
-
-<!--#include file="indextop.include" -->
-<!--#include file="indextopbar.include" -->
-
-<h1 style='font-size: 12pt; font-weight: normal;'>Welcome to the Xiph.Org Foundation homepage.</h1>
-
-<p>
-Xiph.Org Foundation is a non-profit corporation dedicated to protecting
-the foundations of Internet multimedia from control by private interests.
-Our purpose is to support and develop free, open protocols and software to
-serve the public, developer and business markets.</p>
-
-
-<!--#include file="indexbottombar.include" -->
-
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