Objects in Flux - RMIT Research Repository - RMIT University
Objects in Flux - RMIT Research Repository - RMIT University
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