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These tools, it must be emphasized, are critical, but they are means to an end. That end is a dynamic, content-rich, readily accessible, and hassle-free marketplace that excites and engages consumers while it also compensates those who, for almost a century, have made it possible for American movies, music and other media to entertain and educate audiences (around the world). We will continue to do our part: seeking out and embracing innovative new models, transforming how we do business to serve the 21st century consumer and offering fans countless new ways to enjoy their favorite content. The steps we identify in this submission are designed to bolster these efforts and ensure that both the existing and emerging business models attain their full potential to serve and satisfy both the public and those who create content.
Ina similar vein, Buczynski (2006 98) argues that Ray Bradbury's 1950sFahrenheit451 visionof a society where "everyone had audio devices in their ears allthe time" has now been realized. Given this reality, hechallenges libraries to meet user demand: "While many librariespossess large holdings of music and audio books on CD, consumerstoday expect online download or live streaming access" (99). Hisarticle also includes intelligent discussion of digital rightsmanagement (DRM), and of sites and services that provide onlineaccess to music and audiobooks. Although he never mentions mobileaccess explicitly, the implication is clear: "Bridging the audioholdings gap using emerging audio services, consumer audio services,and a risk taking mindset, are the first steps to addressing patrondemand for new media content" (103).
Whenthe project started in 2006, it only featured stories in the publicdomain in an effort to adhere to copyright legislation thatspecified: "reading, recording, and distributing the audio of acopyrighted story requires permission from the publisher and author,unless the clip is less than three minutes in length" (Jeske 3). Soon after, the DPL took steps to offer access to stories outsidethe public domain by obtaining permissions from publishersindividually. This effort was somewhat successful: severalpublishers responded, and permissions were obtained to offer accessto titles as long as attribution was specified with each podcast. The collection has grown to more than seventy stories which areavailable for free download and private use. 2ff7e9595c
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