RELs are obviously key to the functioning of DRM systems but they raise a number of important issues at the point where legal and technical regulation of the use of content intersect. Consider the following.
RELs 顯然是 DR 系統運作的關鍵，但是在內容使用的法律管制與技術管制交會點 上，它們卻引發一些重要問題。考慮以下情形：
Many people are familiar with using a remote control device to control the function of a piece of equipment: an air conditioner, a CD player, a television set. It is a convenient way of directing the machine from a distance to perform certain functions: cool, fan, play, stop, change channel.
使用遙控器控制一個機件的運作，這是許多人所熟悉的事：空調機、 CD 播放機、
電視機。它是一個由遠處指揮機器完成特定功能的方便方式：冷卻、搧風、播放、停 止，變更頻道等。
In the case of a CD player or a TV set, the basic instructions given to the machine via the remote control (on/ off, volume, channel) have nothing whatsoever to do with the copyright issues governing the access to or use of the content the machine is playing or displaying. Nothing in the content copyright nor in the chain of contracts between the original copyright owner in the content and the user has any bearing on the delivery of functional instructions to the machine.
在 CD 播放機或電視機的情形，由遙控下達到機器的基本指令（開∕關，音量、
頻道），無關於機器所播放或顯示內容的著作權取用問題。在內容著作權上，或內容 著作權人與使用者之間的契約關係，都不影響對機器下達功能指令。
In recent years however the rights in the content have been given recognition in the functionality of the machine, and thus in the interpretation of instructions sent to the machine.
In the summer of 1990, the recording industry and the consumer electronics industry agreed on a technical system to limit serial digital copying of content from digital audio sources. A consumer trying to create a second generation digital copy found that the copy function of the recording device was blocked.
不過在近年來，內容上的權利以及指令解釋，已經輸入機器功能中。在 1990 年夏 季，錄製產業與消費性電子產業同意一套技術系統，以限制對數位聲音來源的內容進 行連續性數位複製。當消費者嘗試製作第二代數位複製時，會發現錄音設備中的複製 功能被封鎖。
Some years later the film industry divided the world into six regions and coded DVDs for delivery to each of those regions accordingly. A DVD from one region will not play in a DVD machine from another region. The basis for that division of the global market thus
effected was provided at least in part by the import controls provided by copyright laws in different territories.
幾年之後，影片產業將全世界分成六區，並將銷往各地區的 DVD 以不同區碼加 密。某一地區的 DVD 無法在另一地區的 DVD 播放機器上播放。將全球市場做這種區 分，至少有部分理由是不同地區著作權法所提供的重要控制。
There is therefore a well established, albeit recent, history of the interposing of copyright interests between the delivery and execution of instructions governing the functioning of machines.
因此，在機器功能指令的傳達與執行之間，置入著作權利益考量，雖然屬於新近 的作法，但已經有了相當明確的歷史。
DRM systems logically advance this process: they give the content provider, through the digital licensing mechanism, control over the functioning of the machine on which the content will be used in relation to the use of that content. Usually, there is no alternative digital licence other than that of the content provider, and without the instructions contained in the digital licence the machine will simply not function in relation to the content in question. In simple terms this might be seen as a record company not only delivering the CD but also the remote control device enabling it to be played.
DRM 系統順著邏輯推進了這個過程：在內容使用於機器時，經由數位授權機制 ， 這些系統使內容供應者控制了機器的功能。通常情形是，除了內容供應者的數位授權 之外，別無其他替代選擇，而在不具備數位授權指令時，機器對於系爭內容就停止功 能。簡單地說，這看起來就像是錄音唱片公司不但銷售 CD，而且也銷售播放 CD 的遙 控器。
Understandably, a growing number of commentators have highlighted this direct association between rights in content and the functionality of the machine as well as the dominance of the rightsholder in the digital licensing process. Their concerns come back again to a central theme of this study: How can legally enforceable exceptions to copyright be implemented in an environment over which, through rules applied to content, the content provider exercises exclusive control? Deidre Mulligan and Aaron Burstein consider, in relation to the United States Copyright Act, what is required to resolve this situation:
可以理解的是，有更多評論者特別指出了內容權利與機器功能之間的直接關連，
以及數位授權程序中權利人的優勢地位。他們的顧慮再度直接回到本研究的中心主題：
在內容供應者以內容規則進行控制的環境下，合法的著作權例外規定如何實施？關於 在美國著作權法應如何解決這個局面，Deidre Mulligan 與 Aaron Burstein 認為：
“If RELs are to be agnostic as to legal context they must at least support the expression of the exceptions and limits on exclusivity found in copyright policy. To do so, several additional steps must be taken to better align RELs, and thereby DRMs, with copyright policy. First, the REL must be supported by a messaging protocol that enables statements of “rights” in multiple directions and from multiple sources, and resolves conflicting assertions of rights. The messaging protocol and REL must allow for the assertion and exercise of rights not yet granted or recognized and their later resolution.
Second, recognized social norms regarding the use of works should be easy to reflect in RELs. Third, recognizing that RELs alone cannot address the imbalance that DRM can introduce protocols for processing and enforcing REL-based rules should provide a buffer between rights holders and the users of copyrighted works. This separation would both alleviate some of the concerns relating to DRM technology and privacy and protect the kinds of unauthorized but fair use that the Copyright Act allows.”
「如果 RELs 對於法律情境不置可否，它們至少必須支援著作權政策中對於專屬 權例外與限制規定的表達。為了這麼做，必須額外採取幾項步驟，使 RELs 以及 DRMs 與著作權政策更加一致。首先，必須以某種通訊協定(messaging protocol)支 援 REL，而能進行多重方向與來源的「權利」陳述，並解決權利上的衝突主張。
第二，RELs 應該易於反映使用著作的公認社會規範。第三，一旦體認到僅憑 RELs 無法處理 DRM 帶來的不平衡，在著作權人與受著作權保護著作使用者之間，
應該由處理與執行 RELs 規則的協定提供緩衝。這項區分可以緩和 DRM 科技與隱
私權的某些顧慮，並保護未經授權，但著作權法所允許的合理使用。」44
There are a number of points to consider here: the idea that the control function can be exercised or at least influenced from a source or actor other than the content provider; the idea of building REL instructions to allow machines to function in accordance with exceptions and limitations to copyright; that some method has to be found to provide the contextual information necessary to assess the applicability of an exception to copyright to a particular use without encroaching on the privacy of the user.
在這裡必須考量以下幾點：內容供應者以外的來源或行為人，能夠行使或至少影 響控制功能；建立 REL 指令，以允許機器根據著作權例外與限制規定而運作；必須找 到某些方法提供必要情境資訊，使著作權例外規定能適用於特定的一項使用，而不侵 害使用者隱私權。
Establishing standards for technology and for technology-related practices is a cornerstone of the information society. And, as we have seen, there are clear precedents where the content industry has introduced copyright-based controls into the functionality of devices. There would seem to be therefore no logical reason why the public interest aspects of copyright law could not form the basis for controlling the functioning of a machine, where necessary, overriding the instructions of the copyright owner.
建立科技與科技相關實務的標準，是資訊社會的基礎。如我們先前所見，內容產 業在設備的功能中引進著作權控制，已有明確先例。著作權法的公共利益層面，為何 不能在必要時優先於著作權人的指令，而成為控制機器功能的基礎，這在邏輯上並沒 有理由。
The practical reality is very different. The digital copying and DVD regional agreements referenced above were voluntary standards driven by industry and by the content industry in particular. Industry has no incentive to press for standards threatening control of content.
實際上的情形則相當不同。先前所提的數位複製與 DVD 區域協議，是產業界自 願推行的標準，尤其是內容產業。對不利於他們控制內容的標準，產業界並沒有誘因 去推動。
Furthermore, as various legislative initiatives in the United States over the last few years have shown, technology interests are becoming increasingly resistant to controls on the capability of the technologies they develop. Again, there is no real likelihood of technology interests promoting voluntary standards along the lines suggested by Mulligan and Burstein.
此外，如美國近年來各項立法所顯示，對於產業界發展科技的能力加以控制，越 來越遭受科技利益所抵制。再者，科技利益所促進的自願標準，不可能遵循 Mulligan 與 Burstein 建議的方向。
44 Mulligan, Deidre and Burstein Aaron: Implementing Copyright Limitations in Rights Expression Languages, 2002; available at
<http://crypto.stanford.edu/DRM2002/mulligan_burstein_acm_drm_2002.doc>.
This leaves solutions mandated by law as the only option. Again there are precedents for this: the Serial Copy Management System (SCMS)45 control on second generation digital copying is part of the United States of America Audio Home Recording Act and controls on the copying of analogue video recording are also mandated in United States of America law.
Again, however, mandated solutions seem unlikely to succeed.
這就使法律規定成為唯一的選項。在這一點也有前例。控制第二代數位複製的連 續複製管理系統(Serial Copy Management System, SCMS)，是美國家庭錄音法的一部分，
而複製類比式錄影的控制，也規定於美國法中。不過，法律規定的解決方案不太可能 成功。
First, there is no precedent at international level for mandated technical solutions in the field of copyright. And while the current importance of the United States consumer technology market could lead to a de facto globalisation of a United States mandated solution, there would be no guarantee of its sustainability.
首先，在著作權領域，並沒有國際層面的技術解決方案規定。即使當前美國消費 性科技市場具有重要地位，能夠事實上導致美國解決方案的規定成為全球化，在永續 性上也沒有擔保。
Second, mandated technical solutions are difficult to formulate and are often quickly outdated by further advances in technology. Given the currently immature state of DRM technologies, the risk of ending up encumbered with at best an ineffectual and at worst, an obstructive mandated “solution” is heightened accordingly.
第二，技術解決方案規定在制訂上有困難，而且往往因為科技進展而過時。鑑於 DRM 科技目前還未成熟，加以總結的話會導致風險，最好的情形是沒有用處，而最壞 的情形則是，造成阻礙的「解決方案」更加惡化。
Implementation, both from a technical and operational perspective, would be a totally different proposition.
由技術面與操作面來看，執行將會是一個完全不同的事情。
As to the second idea – encompassing exceptions and limitations to copyright in REL expressions – Professor Ed Felton does not appear to share the optimism of Mulligan and Burstein as to the ready achievability. Focusing first on the concept of fair use in United States of America law he describes the mismatch of legal and computer code standards:
關於第二個觀念－將著作權例外與限制規定包含在 REL 的表達－Ed Felton 教授對 於現有的可行性並不像 Mulligan 與 Burstein 一樣樂觀。他首先關注於美國法上合理使 用的概念，而描述法律與電腦編碼標準的不一致：
“The legal definition of fair use is, by computer scientists’ standards, maddeningly vague. No enumeration of fair uses is provided. There is not even a precise algorithm for deciding whether a particular use is fair. Instead, the law says that judges should make case-by-case decisions based on four factors: the nature of the use; the nature of
45 According to the Wikipedia the Serial Copy Management System or SCMS was created in response to the digital audio tape (DAT) invention, in order to prevent DAT recorders from making second-generation or serial copies. SCMS sets a "copy" bit in all copies, which
prevents anyone from making further copies of those first copies. It does not, however, limit the number of first-generation copies made from a master.
根據維基百科(Wikipedia)，連續複製管理系統(Serial Copy Management System, SCMS)的 創造來自於因應數位錄音帶(digital audio tape, DAT)的發明，它可以預防 DAT 被錄製為第 二代或連續性重製物。SCMS 在所有重製物中設定了一種複製位元("copy" bit)，使人無法
根據維基百科(Wikipedia)，連續複製管理系統(Serial Copy Management System, SCMS)的 創造來自於因應數位錄音帶(digital audio tape, DAT)的發明，它可以預防 DAT 被錄製為第 二代或連續性重製物。SCMS 在所有重製物中設定了一種複製位元("copy" bit)，使人無法