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this is only because of low demand. As more and more valuable content appears in QuickTime format, there will be greater incentive for these spoofing clients to be written, and QuickTime provides no technical barriers whatsoever to the creation of such software. Of course, much of the streaming content available on the Internet will have only limited value. It is entirely possible that media properties of limited value will be offered under the honor system, analogous to the shareware movement in computer software. This invitation to pay what the consumer thinks the media is worth has proven quite successful in the software application arena and could succeed for certain types of streaming media content. This system can make content producers very wealthy, yet requires no rights management solution at all. The unacknowledged truth about digital media is that the determined thief can steal it, no matter what measures are taken to prevent theft. This is as true for DVD movies, shrink-wrapped software applications, and digital television as it is for Internet streaming media. What the industry must do is to make theft difficult, costly, and slow, through preand on-the-fly encryption, using tamper-resistant player hardware. This level of technical protection must be achieved without alienating honest consumers. However, even with these measures in place, imperfect, but acceptable, copies of the digital media cannot be prevented. As with the war on software virus writers, resort to legal enforcement is needed, as is public education. Stealing streaming media from people who spend much time and money producing it is akin to killing the goose that laid the golden egg. The most sought-after media is the most entertaining and best-made media: precisely the sort of digital content that will disappear entirely, in the future, if it is stolen widely and often.
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Other ways of streaming digital media are already in widespread use. However, these tend to be related to digital television and therefore conform to the we play, you watch broadcasting model. Digital Video Broadcast streams MPEG-2 encoded digital video from point to multipoint. DVD players stream MPEG-2 encoded video from the surface of the disk to the player s video output. PSIP (Program and System Information Protocol) streams digital metadata about the accompanying video and audio data, which allows set-top boxes to construct interactive electronic program guides to aid channel surfing. Extraordinarily, prior
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to PSIP, television channels were just broadcast, with no metadata description other than what could be embedded in the program stream itself. ATVEF (Advanced Television Enhancement Forum) adds interactive features to digital television, providing a synchronized multimedia experience that emulates on a television set what is possible with Web content. There are many other proprietary schemes for adding interactivity and conditional access to television signals, but all these systems run into the sometimes-severe constraints and limitations of the asymmetric nature of broadcast content. While acknowledging the outstanding technical achievements of those involved with these forms of streaming media, this book discusses streaming digital media that is somewhat free from the constraints of closed-access systems such as broadcast television. Rather, we have focused on a discussion of technologies that rival television technology and in many cases exceed its capabilities and freedoms. There are many fine sources of information on digital video technology. An in-depth discussion here could add little to the literature. The reader is referred to those other works when considering digital media streaming in a broadcast television context.
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The short answer to why streaming media was invented is that it was recognized that people learn to observe visually and audibly long before they can talk, read, or write. People are good at assimilating information when it is presented as video and audio. Technologies to do this existed, but the Internet, a great system for distributing digital media, was invented. People wanted to find a way to get audio and video across this giant, resilient, fast-growing, and ubiquitous network. If a company found a way to get audio and video content across the Internet, riches should follow, either by controlling advertising to this large group of viewers, by controlling access to content, by selling the machinery to make video and audio available on the Internet, or by stealing viewers from other audio and video technologies. It was realized early on that consumers wanted an experience like television, which already was a satisfactory, if limited, way of getting audio and video. That meant the pictures and sound had to be as good
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