HP is taking legal action against Oracle for allegedly breaching its 2010 partnership agreement of porting HP’s core software products with the latest versions of Itanium. In March, Oracle announced it would not be developing any new versions for products designed for the Itanium processor. Itanium has the ability to power the so-called Business Critical Systems hardware for extremely demanding enterprise applications. However, Oracle said the chip line is about to die.

The companies’ lawyer met in the Santa Clara County Superior Court with Judge James Kleinberg presiding to discuss their side of the event. Others in the courtroom included Ann Livermore, HP board member and former enterprise business chief, and Oracle’s co-President Safra Catz. Catz and Livermore were the two key negotiators for the agreement. Livermore was to testify later in the day. Kleinberg is set to rule if the companies had a legally binding contract.

Jeff Thomas, HP’s lawyer, focused on the so-called Hurd Agreement wording, where the companies reiterated their partnership after Oracle hired Mark Hurd, former CEO for HP. HP also sued Hurd for breaking the confidentiality agreement.

Thomas and the lead lawyer for Oracle focused on one paragraph of the agreement, which read Oracle would continue to provide its product suite on the HP platform in a way that’s consistent with the existing partnership before Hurd’s hiring.

As someone who works in many facets of the music industry, I used to seethe with a mixture of anger and jealousy when I would hear people in more “traditional” goods-based industries argue in favor of music content-based piracy. They made all the classic talking points, like “I wouldn’t spend money on this artist normally, and maybe if I like it I’ll spend money on them when they come to town” (which never happened), or “artists are rich and I’m poor, they don’t need my money” (rarely the case), or the worst, “if it were fairly priced and worth paying for, I’d buy it” (not true).  I always wondered if they’d have the same attitude if 63% of the things acquired by customers in their industries weren’t actually paid for, as was conservatively estimated as the case for the music industry in 2009 (other estimations put the figure of pirated music at 95%). Well, we may soon see the answer to curiosities like that. Though one can say with tentative confidence that music piracy is on the decline thanks to services like Spotify and Rdio, it could be looming on the horizon for the entire global, physical supply chain. Yes, I’m talking about 3d printers.

Before I get into the heart of this article, let me take a moment to make one thing clear: I think these machines are incredible. It’s damn near inspiring to think of even a few of their potentially world-changing applications: affordable, perfectly fit prosthetic limbs for wounded servicemen and women; the ability to create a piece of machinery on the spot instead of having to wait for a spare to arrive in the mail, or en route if your car or ship breaks down in a far away place; a company based out of Austin, TX even made a fully functioning firearm from a 3d printer a few months ago.

If these machines become as consumer-friendly and idiot-proof as possible (like computers), it’s possible that in a matter of decades (maybe less), a majority of U.S. households will have their own 3d printer. There’s also the possibility they could take the tech-hobbyist path, one that is much less appealing to the masses. Dale Dougherty of Makezine.com estimates there are currently around 100,000 “personal” 3d printers, or those not owned for business or educational purposes. I don’t think they’ll ever be as ubiquitous as computers, but there are plenty of mechanically inclined, crafty hobbyists out there who would love to play around with a 3d printer if it was affordable enough.

That being said, is there reason to worry about the economic implications of consumers making what they want, essentially for free, instead of paying someone else to produce it? Or will the printers instead be used for unique items more so than replicating and ripping off other companies’ merchandise in mass amounts? The number of people working in industries that would be affected by a development like this is far greater than the number of people who work in content-based industries, so any downturn would probably have a much larger economic implications. Certainly, those times are a ways off, but a little foresightedness never hurt anyone!

I remember the day like it was yesterday. Pac Man had finally arrived on the Atari 2600.  It was a clear and sunny day, but it was slightly brisk. My dad drove us down to the video store about three miles from our Michigan house. If I remember correctly, the price for the game was $24.99.  It was quite expensive for the day, probably equaling a $70 game in today’s market, but it was mine. There *was* no question about it. If you purchase a game, it’s your game… right?

You couldn’t be more wrong.  With all the licensing agreements in games today, you only purchase the right to play it. You don’t actually “own” the game. 

Today, game designers want total control over the money that comes in for a game. They add in clauses that keep the game from being resold, rented, borrowed, copied, etc. All of the content in the game, including the items you find that are specifically for you, are owned by the software developer. Why, you ask, do they do this? It’s all about the money.

This need for greed started years ago, when people started modifying current games on the market. One of the first games like this was Doom. There were so many third part mods made, but because of licensing agreement, none of these versions were available for resale. The end user, or you, had to purchase Doom before they could even install the mod.  None of these “modders” were allowed to make any money off their creation.