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Objects in Flux - RMIT Research Repository - RMIT University

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through direct action but rather through the<br />

careful structur<strong>in</strong>g of the consumer realm. Sony’s<br />

action aga<strong>in</strong>st aibopet.com should be understood<br />

not as an attack on an <strong>in</strong>dividual but as part of a<br />

broad strategy to control the Aibo user environment.<br />

In their attempt to structure product use<br />

Sony used a number of control mechanisms. In<br />

shutt<strong>in</strong>g down the aibopet.com website Sony<br />

sought to control representation of the Aibo product<br />

by limit<strong>in</strong>g the visibility of this divergent use.<br />

Through contractual control mechanisms such as<br />

product warranties and End User License Agreements (EULA), 12 Sony<br />

deterred users from carry<strong>in</strong>g out unauthorized product modifications.<br />

State regulation, specifically the anti-circumvention provisions given<br />

with<strong>in</strong> the DMCA, allowed Sony to claim this divergent use as illegal.<br />

In the design of the Aibo product Sony limited the functionality of the<br />

robot to a def<strong>in</strong>ed set of movements and employed technical protection<br />

measures to prevent users from alter<strong>in</strong>g or add<strong>in</strong>g to these movements.<br />

And f<strong>in</strong>ally, by forc<strong>in</strong>g the removal of <strong>in</strong>structions and software<br />

perta<strong>in</strong><strong>in</strong>g to the Aibo modification Sony effectively controlled the<br />

<strong>in</strong>formation available to consumers and limited the possible paths of<br />

engagement.<br />

Through this comb<strong>in</strong>ation of control mechanisms Sony sought to limit<br />

the <strong>in</strong>terpretative flexibility of the Aibo product, however, their use of<br />

direct legal action aga<strong>in</strong>st aibopet.com angered many <strong>in</strong> the Aibo user<br />

community. Sony had underestimated the importance of this site to<br />

Aibo customers. Richard Walkus, an Aibo owner stated:<br />

‘Aibo is an excit<strong>in</strong>g toy, but Aibopet’s enhancements kept the excitement<br />

go<strong>in</strong>g … He’s made tools to see what mood Aibo was <strong>in</strong>, or set it<br />

<strong>in</strong> different life stages, or have better wireless communications. There<br />

are tools to see <strong>in</strong> real time what Aibo sees, and vital signs, emotions,<br />

mood, voice recognition. Those were enhancements rid<strong>in</strong>g on top of<br />

Sony’s Aibo that Aibopet created.’ (Cited <strong>in</strong> Manjoo, 2001.)<br />

Disgruntled Aibo owners threatened to boycott Sony; <strong>in</strong> response,<br />

Sony released a number of Aibo programm<strong>in</strong>g tools for non-commercial<br />

use. The release of official programm<strong>in</strong>g tools had a similar effect<br />

Stategies of Control and Tactics of Use<br />

[Figure 6-6]<br />

Sony Aibo, 2008.<br />

Photograph Schockwellenreiter.<br />

12/ An End User License Agree-<br />

ment (EULA) is a contract between a<br />

producer/distributor and a user/con-<br />

sumer of a product or service. EULAs<br />

are commonly used for software and<br />

digitally distributed media and often<br />

grant special copyright exemptions to<br />

users, such as allow<strong>in</strong>g then to <strong>in</strong>stall<br />

and run software or load media onto<br />

a specified number of devices, where<br />

such actions may normally constitute<br />

a violation of copyright law. In addi-<br />

tion to this, EULAs may be employed<br />

by producers to expand their control<br />

of use beyond that given with<strong>in</strong> the<br />

copyright act.<br />

115

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