Introduction
Distributed computing, examples of which include software such as “file-sharing” or “peer-to-peer (P2P)” applications, represents an incredibly powerful and widespread advance in modern technology that has already been adopted by approximately 80 million consumers worldwide, and this number continues to increase at an impressive rate.
The shared resource deployments brought about by distributed computing represent a revolution in the way that people interact with one another, disseminate information, distribute media, conduct research, and solve increasingly complex technical problems. Simply put, distributed computing is a reality that cannot be ignored.
The intent of this paper is not to set forth arguments for the merits or liabilities of the technology, but rather to encourage the realization of its massive potential for commercial use when adopted by the music industry specifically. Models for content distribution and monetization structures, which offer benefits to all stakeholders, including consumers, technology, entertainment, communication, and software companies, will be presented and explored.
Situation Analysis for Recorded Music
Changes in Consumer Behavior
Music sales are in decline. According to 2002 and 2003 RIAA data, US retail music sales have fallen to levels below $990 million per month. The recording industry’s retail sales are forecast to continue declining at a compound annual rate of 2.1% over the next four (4) years if current industry conditions persist.
At the same time, as referenced above, P2P adoption among consumers has exploded, which, among other significant outcomes, has resulted in some uses of the technology that infringe copyrights; although authorized, legal file-sharing is also rapidly increasing.
It is clear that new and creative models of packaging, distributing and pricing content, particularly music, are immediately necessary. The emergence of P2P has already begun to generate innovative business practices among industry early adopters, and the collaborative process DCIA promotes will help all parties achieve a system whereby sellers and buyers can join in mutually satisfying transactions that build a healthy and sustainable business, marrying commerce with science and creativity, and addressing the legitimate needs and desires of consumers.
The Music Industry’s Response
To date, the recording industry has generally resisted P2P, while encouraging more traditional marketing of content on the web in a limited way. Some actions which have been taken by members of the recording industry include:
- Licensing content to non-P2P Internet sites for limited online distribution.
- Suing P2P software companies to slow technology proliferation.
- Lobbying Congress to curtail P2P expansion in various ways.
- Suing consumers to drive mass market away from P2P services.
As of yet, the major music labels have not yet engaged in legitimate online sales of music via the largest new marketplace for content, peer-to-peer file sharing.
If a similar strategy were implemented by the music industry in the offline world, the consequences would be devastating. For example, if labels refused to sell music through large brick-and-mortar retail chains like Wal-Mart, Target, and Best Buy (which were not factors in music sales twenty years ago), music sales would be crippled, nearly to the point of collapse.
The Opportunity
The 80 million consumers who currently utilize P2P represent only a fraction of the number who will embrace this technology as appealing new applications are developed and online access continues to proliferate in both first-world and developing nations around the world.
Exposure to creative content increases demand, and P2P offers a highly efficient distribution channel, as well as one which is uniquely configured to allow consumers to control their sampling, assessment, and acquisition behaviors. The exposure of creative content to tens – if not hundreds – of millions of consumers occupying the world of P2P will greatly expand the total market for this material. In contrast, the tactic of suing individual alleged copyright infringers may avert some small-scale infringement in the short term, but does little to increase sales and is not a viable long-term commercial solution.
Once content rights holders partner with other important stakeholders to develop viable business models for P2P, many current infringers will be converted into paying customers, which will result in significantly increased short-term and long-term revenue. Independent studies indicate that by wholeheartedly embracing a licensing system for online distribution of content including P2P, the music industry could grow retail music sales at a nearly 10% compounded annual rate over four (4) years – far outstripping projected GDP growth.
Common Interests
Content creators are interested in ensuring that copyrighted material is not infringed upon and can be monetized for the benefit of those who produce it.
Technology companies are interested in ensuring that the dissemination of information is quick, efficient, and responsive to the needs and desires of consumers.
However, it is crucial to understand that all involved parties are ultimately interested in the same result, a fair and effective business model that allows content and technology to live in harmony – with opportunity and profit for all. The following models are presented as potential solutions to reach this goal with respect to recorded music.
DCIA P2P Music Models
Three (3) models have now been proposed by DCIA: the first was presented to attendees at DCIA’s Fall General Meeting on October 8, 2003; the second to attendees at The Western Show on December 4, 2003; and the third to attendees of DCIA’s Press Conference on February 5, 2004.
For each model, Phase 1 represents the first major action that can be accomplished without the development and implementation of significant new technologies and/or changes in business infrastructures. Phase 2 of each represents a mid-term stage of implementation, providing additional necessary time (e.g. 18-to-24 months) for the development and implementation of new technologies and/or business infrastructures. Phase 3 of each model depicts the full, long-term (e.g. 24-to-36 months) implementation of all aspects set forth in the particular model, including significant technical, operational and marketing adjustments.
These models represent both holistic solutions for further consideration and also platforms to expose elements and options surrounding key issues that can help guide further discussion and lead to subsequent blueprints for viable new business practices. As well, solutions that prove effective for recorded music will, inevitably, help guide approaches for other content, media, and applications sectors.
Each model is based upon input from technology providers and music industry representatives, independently sourced music industry research and analysis, and the marketplace experience of DCIA Members. Detailed assumptions as well as supporting mathematical formulas are available upon request to DCIA members. Non-members may contact DCIA to schedule a private and confidential meeting at which this detailed information may be reviewed.
Each model is intended to represent all interests fairly, with opportunities for copyright protection, technological development and massively increased revenues for all stakeholders. Feedback on the proposed models is strongly encouraged, and those wishing to comment may do so via confidential correspondence with DCIA representatives or publicly within the context of DCIA meetings.
It should also be noted that the next steps are for a consensus of diverse industry interests to determine which of these models, or which aspects of them, should be further explored and refined for potential implementation. In this regard, it is clear that individual components of each of the current alternative plans carry different levels of benefit for different stakeholders, and pose different challenges of implementation. Quite possibly, business or legislative changes associated with full implementation of a model, or a blend of models, may be difficult enough that one or another component will have to be delayed or even set aside. The point is to assemble a set of elements that together promise to sufficiently and fairly monetize P2P file sharing in ways that are attractive to consumers and business interests, and that at the same time can be implemented within a time frame acceptable to all parties.
The direction that the DCIA ultimately takes in this regard will be ratified by its Members.
Model A
Presented at the DCIA Quarterly General Meeting, October 8, 2003
Implementation Stages
Sell content to consumers in the P2P marketplace – first by using DRM, then through universal ISP-based billing.
Implement and build-out the new business model in three phases:
- Phase 1: Make the content of top-five major labels available for sale in the P2P marketplace with existing credit-card billing
- Phase 2: Expand payment options for consumers by adding the option of charging music track downloads to phone bills
- Phase 3: Implement ISP-based billing that will allow for universal payments for the majority of downloads of copyrighted content
Model A – Phase 1 – P2P Music Sales with Existing Credit-Card Billing
Expand current business model of selling limited range of legitimate content in the P2P marketplace by adding top-five major labels.
Implementation and build-out:
- P2P distributors establish DRM – WMA library of content with existing digital assets and new assets provided via licenses from majors.
- Populate licensed content in priority position on search screens and activate use of credit-card payment.
- Post-rollout, majors continue to deliver new content into Kazaa and other P2P applications in the marketplace
- Promote to users the benefits of legitimacy and quality of content.
Target the approximately 600 million licensed downloads per month with a portion of those being paid for by credit-card registration, with low conversions to transactions initially, but showing growing acceptance and promise.
Prepare for phase 2 – telco-based billing:
- Negotiate payment deals with telcos to enable bill-to-phone.
- Evaluate regulatory issues to ensure consistent fair rates.
- Record artist bill-to-phone messages, introduce value-add and other up-sell.
P2P Adaptation of Business Practices from Successful Search Engines
As with sponsored links on search engines, licensed music will be placed at the top of P2P search results.
The monetization of P2P content searches is in its infancy — comparable to 1992 in the traditional web search market.
Model A – Phase 2 – Expand Payment Options with Telco Billing
Expand P2P legitimate sales by making user experience more seamless with a bill-to-phone option.
Implementation and build-out:
- Turn on bill-to-phone features in DRM payment gateway.
- Promote use of phone and artist voice connectivity as benefit over unlicensed music.
- Monitor results and begin to add complementary smaller label and independent music into P2P platforms.
Project growth to approximately 1.7 billion licensed downloads per month with some expansion of proportionate credit-card utilization and much larger share of telephone usage so that monthly retail revenues in this time frame rapidly ramp to over $40 million per month.
Model A – Phase 3 – Implement ISP-Based Billing
Make payment of online music through P2P systems universal using ISP-based billing and file-hash-signature monitoring
Implementation and build-out:
- Work with ISPs collectively to enable bulk-billing solutions and pricing that resembles previously negotiated telco rates.
- Explore possible need for legislation to ensure that solutions develop for capturing data tags on traffic flowing between ISPs and end users.
- Negotiate with router manufacturers to provide a packet header and file hash turnstile billing solution to be implemented at the ISP level.
- Work with the music industry to establish databases of copyrighted files using file hashes.
Target 1.8 billion downloads of copyrighted files per month with sales revenue rapidly ramping to approximately $900 million per month with credit card and telco billing enduring as niches. Online music sales will grow to outperform traditional music sales.
ISP deliverables:
- Implement router solutions within a fixed time frame.
- Bill for registered copyrighted music flowing through their networks.
- Agree to suitable payment terms for music content.
Model A – Projections – Phases 1 & 2
Without the broken market, the industry would normally be expected to grow in line with GDP (2.7% per year).
If the music Industry does not embrace the new online distribution model, it will likely continue to see an erosion of sales (forecast to be -2.1% CAGR over 4 years).
In the short-term, credit card- and telco-based billing models create a niche retail segment and help to modify online consumer behavior.
Model A – Projections – Phase 3
The new business model will yield market expansion greater than the traditional model – growing at a 9.9% CAGR over 4 years.
The advent of ISP-based billing will radically change the way consumers consume music online — They will be required to pay for downloads.
Traditional sales will never fully disappear because many will prefer not to interface with a computer or will want to buy special edition releases.
Model A – Overcoming the Gating Factors
Overcoming Political Gating Factors
- Commercial players to agree to and convey support for business model.
- Considered legislative actions need to be consolidated and focused upon solutions.
- RIAA members need to stop discrediting P2P and engage in substantive discussion.
Overcoming Trade Gating Factors
- Granting open licenses from major labels and establishing cohesive music industry view.
- Securing functional bill-to-phone suppliers at reasonable rates.
- Continuing to build successful user interfaces at application levels.
Overcoming Revenue Growth Gating Factors
- Lack of instant micro-billing (without registration) is key impediment to growth.
- P2P software companies must initially support a contiguous DRM solution.
- Telcos & ISPs must support final phases of new industry model.
- RIAA consumer education – to continue.
- Labels need improved digital production and marketing techniques.
Model B
Presented at the Western Show, December 4, 2003
Model B – Implementation Stages
Sell content to consumers in the P2P marketplace – first by means of a universal basic subscription, then through tiered genre-and-theme channels, and ultimately per-track sales.
Implement and build-out the new business model in three phases:
- Phase 1: Impose a monthly music-access fee to be paid by all broadband ISP subscribers who have installed P2P file-sharing applications.
- Phase 2: Introduce optional premium channels of newer music and editorial content using broadcast encryption technology.
- Phase 3: Add DRM protected a la carte offerings of individual music tracks of newest releases with value-adding features.
Model B – Phase 1 – P2P Music Universal Basic Subscription
Impose a monthly fee on all broadband ISP customers with P2P file-sharing apps to compensate music rights holders.
Implementation and build-out:
- Establish statutory rate, revenue sharing, operational roles, and initial term – assemble multi-industry coalition to present proposal to Congress.
- Work through legislative process to enact P2P music subscription as law.
- Develop operational elements for statistical tracking, billing and collections, etc.
- Communicate the benefits of legitimized music file-sharing to consumers.
Target results at approximately 40 million subscriptions per month at time initial payment mechanisms are initiated and project growth to track with consumer broadband deployment.
Prepare for phase 2 – genre-and-theme channels:
- Develop secure broadcast encryption technologies needed for implementation.
- Package newer music content with editorial features and create service marks.
- Prepare marketing communications programs to launch these optional services.
Model B – Phase 2 – Add Genre-and-Theme Music Channels with Broadcast Encryption
Introduce tiered P2P services featuring newer music and editorial content as add-ons above basic universal service.
Implementation and build-out:
- Prepare and launch several alternatives appealing to major listener segments.
- Promote benefits of multi-pay subscriptions over basic-only P2P music service.
- Monitor results and begin to add complimentary niche music services into P2P platforms.
Project growth to approximately 225 million pay subscriptions per month at an average 3:1 pay-to-basic unit ratio with an 80% cost differential so that total monthly retail revenues in this time frame ramp to over $600 million per month.
Prepare for phase 3 – individual music track sales:
- Develop new P2P-specific DRM technologies to protect brand new music releases.
- Compliment such security with consumer-friendly micro-payment technologies.
- Integrate new content protection and billing with existing CRM systems.
Model B – Phase 3 – Implement Per-Track P2P Music Sales
Add DRM protected a la carte offerings of individual music tracks of newest releases with value-adding features and inaugurate sequential distribution.
Implementation and build-out:
- Perfect secure P2P DRM technologies with off-premises backup facilities
- Develop plans for promotional programs to optimize per-track music sales in early release window
- Define business practices for moving titles from a la carte to premium channels to universal basic service levels to maximize total revenue over life of property
- Create and launch campaigns to introduce this final level of P2P music distribution
Target 600 million downloads of a la carte music files per month and total P2P music revenue ramping up to approximately $900 million per month with premium channels and universal basic service enduring as foundation.
Online music sales will grow to outperform traditional music sales.
Model B – Projections – Phase 1
Without the broken market, the industry would normally be expected to grow in line with GDP (2.7% per year).
If the music Industry does not embrace the new online distribution model, it will likely continue to see an erosion of sales (forecast to be -2.1% CAGR over 4 years).
In the short-term, P2P music universal basic subscriptions create a revenue stream for music labels and publishers to offset decline.
Model B – Projections – Phases 2 & 3
The new business model will yield market expansion greater than the traditional model – growing at nearly 10% CAGR over 4 years.
The advent of premium channels and per-track sales will significantly increase the total revenue generated from P2P music distribution.
Traditional sales will never fully disappear because many will prefer not to interface with a computer or will want to buy special edition releases.
Model B – Overcoming the Gating Factors
Overcoming Political Gating Factors
- Commercial players to agree to and convey support for business model.
- Legislative actions need to be consolidated and focused upon solution.
- RIAA members need to stop discrediting P2P and engage in substantive discussion.
Overcoming Trade Gating Factors
- Labels, publishers, ISPs, and P2Ps to establish cohesive industry view.
- Establish technical path from statistical to actual P2P music file tracking.
- Develop broadcast encryption and robust P2P DRM at reasonable rates.
- Continue successful user interfaces at application and content package levels.
Overcoming Revenue Gating Factors
- Lack of instant micro-billing (without registration) is key impediment to growth.
- P2P software companies must ultimately support a contiguous DRM solution.
- Music companies and ISPs must support final phases of new industry model.
- RIAA consumer education – to coordinate with phased roll-out of model.
- Labels need improved digital production and marketing techniques.
Model C
Presented at DCIA Press Conference, February 5, 2004
Implementation Stages
Sell content to consumers in the P2P marketplace – first by digital watermarking and DRM, then through uploader incentives and user participation programs.
Implement and build-out the new business model in three phases:
- Phase 1: Combine file-fingerprinting with DRM for label-seeded and consumer-originated copyrighted music in P2P.
- Phase 2: Provide incentives to high-volume file-sharers to convert legacy music collections and become licensed redistributors.
- Phase 3: Introduce user-friendly software system to permit consumers to register and monetize original musical works.
Model C – Phase 1 – Music File Watermarking and P2P DRM Solutions
Introduce file-fingerprinting system to apply DRM to copyrighted music in P2P distribution regardless of its points of origin.
Implementation and build-out:
- Establish watermarking technologies – fingerprints applied in post-production to ID same recordings of songs whether seeded or ripped into P2P.
- Agree upon ID-reading / DRM-applying software and hardware solutions.
- Contract P2P software companies and/or broadband ISPs to deploy systems and serve as online P2P music resellers.
- Unregistered music files continue to be redistributed in P2P as currently.
Target results at approximately 400 million paid downloads per month representing two-thirds of major music file-sharing activity with a fifty percent conversion rate yielding monthly revenue approaching $320 million.
Prepare for phase 2 – uploader redistribution incentives:
- Develop file-replacement / DRM-application consumer technology.
- Define economics for pre-existing music file conversion program.
- Prepare turnkey file-sharing distributor’s kit and communications.
Model C – Phase 2 – Extend P2P Reselling Opportunity to User-Uploaders
Incentivize active file-sharers with revenue-sharing program for upgrading and applying DRM to music files they redistribute.
Implementation and build-out:
- Promote incentive program to heavy uploaders in advance of deployment.
- Deploy consumer-level pre-existing music file removal/replacement and DRM-application software.
- Develop micro-distributor channel with marketing support programs for most productive cyber-DJs and file-sharing mixologists.
Project total P2P music sales growth to approximately 600 million licensed downloads per month including continued expansion and improved efficiency of label-seeded and consumer-originated new release files and monthly revenue of $420 million.
Model C – Phase 3 – Expansion to Include Original Amateur Musical Works
Ubiquitously deploy ID/DRM system to protect consumer-produced as well as professional copyrighted musical works.
Implementation and build-out:
- Develop technologies to permit consumers to insert file-fingerprints and register their own recorded musical works for P2P distribution.
- Define economics for consumers to become self-publishers and self-distributors of such original music.
- Roll-out program broadly to consumers and closely monitor adoption rate.
- After full marketplace acceptance, evaluate TBD methods for potentially filtering unknown music files in manner acceptable to all affected parties.
Target 2.25 billion downloads of copyrighted DRM encrypted files per month at average effective price of $.40 per track with sales revenue ultimately ramping to $900 million per month. Online music sales will grow to outperform traditional music sales.
Model C – Projections – Phase 1
Without the broken market, the industry would normally be expected to grow in line with GDP (2.7% per year).
If the music Industry does not embrace the new online distribution model, it will likely continue to see an erosion of sales (forecast to be -2.1% CAGR over 4 years).
In the short-term, P2P sales of watermarked / DRM-protected copyrighted music combined with non-P2P online sales create a revenue stream for music labels and publishers to more than offset this potential decline.
Model C – Projections – Phase 2
The advent of licensed uploader content redistribution will dramatically increase the total revenue generated from P2P music distribution.
Model C – Projections – Phase 3
The new business model will yield market expansion greater than the traditional model – growing at nearly 10% CAGR over 4 years.
The introduction of watermarking/registration and consumer-applied DRM for original amateur music will complete the commercial development of P2P music distribution.
Traditional sales will never fully disappear because many will prefer not to interface with a computer or will want to buy special edition releases.
Model C – Overcoming the Gating Factors
Overcoming Political Gating Factors
- Commercial players to agree to and convey support for business model.
- Considered legislative actions need to be consolidated and focused upon solutions.
- RIAA members need to stop discrediting P2P and engage in substantive discussion.
Overcoming Trade Gating Factors
- Labels, publishers, ISPs, and P2Ps to establish cohesive industry view.
- Establish technical path for watermarking and DRM applications.
- Develop technologies to securely bring these to consumer level in stages.
- Continue successful user interfaces at application level as consumer role grows to micro-distribution and publishing of DRM-protected work.
Overcoming Revenue Growth Gating Factors
- Lack of integrated watermark-reading / DRM-applying / instant micro-payment charging system is key impediment to growth.
- P2P software companies must ultimately support a contiguous DRM solution.
- Music companies and ISPs must support implementation of new industry model.
- RIAA consumer education – to coordinate with phased roll-out of model.
- Labels need improved digital production and marketing techniques.
DCIA Background
The DCIA is a consensus-based non-profit trade association established in July 2003 to address the wide range of vital issues affecting the ability of content creators and rights holders, software providers, technology and telecommunications companies, and other stakeholders to create commercial business opportunities using distributed computing technologies such as P2P file-sharing software applications.
The DCIA works to:
- Establish business practices to commercialize distributed computing, including file-sharing P2P software applications, while protecting the interests of stakeholders. DCIA potentially will also mediate the creation of technical standards.
- Encourage the voluntary adoption of such practices and related codes of ethics in affected industry segments.
- Provide information to shape public policy and promote consumer awareness of key issues affecting distributed computing.
- Where deemed necessary by its Membership, the DCIA will pursue legislation that will establish enabling mechanisms for agreed-upon standards-and-practices and/or oppose proposed legislation that its Membership believes would impede legitimate commercial development of distributed computing.
Ideology
Human history has shown that while technological change often seems disruptive, painful, and chaotic at first, it is not only inevitable, but also beneficial and constructive for the advancement of civilization.
Innovation is essential to the continued growth and progress of any society, and once the floodgates of such a widely accepted change as P2P have been opened, there can be no going back to the way things once were.
In this case, consumer acceptance has outstripped the ability of both the technology, which is still in its earliest stages, and related industry practices, as a result of their current lack of responsive business models, to profitably accommodate such widespread activity.
An urgent response is needed to create solutions frameworks for industries with vital interests in whether, and how, P2P succeeds commercially.
It should be abundantly clear to all parties that, metaphorically speaking, the tide of change has burst through the retaining wall of past industry practices, and the flood of distributed computing is upon us.
The onset of this new industry has already begun — it is the harnessing and refining of it that we must examine and seek to influence today.
Mission
The mission of the DCIA is to support the realization of the full potential of distributed computing while protecting consumer, business, and intellectual property rights; ensuring interoperability; and maintaining the highest standards of security, availability, and quality of service.
The discussion that the DCIA is leading now revolves around the issues of how to best guide, shape and channel the flow of ideas and proposed actions to the benefit of all affected constituencies, from business communities to the public at large. With change can come growth, and with growth, new opportunities.
We believe that positive outcomes can be better achieved through collaboration than through confrontation, and that it is in everyone’s interest to gauge the current situation constructively and to contribute actively towards mutually beneficial solutions.
The DCIA was created in response to the opportunities and challenges posed by the continuing evolution of file sharing into a unique means of sharing ideas and opinions, creative works, and even computing power. We recognize that no single industry sector alone can resolve the issues raised by P2P – or harness its full potential – but believe that by working together in a balanced and structured manner involving all relevant business interests, real progress can indeed be made.
Our goals are to map a route through changes in attitudes, business practices and consumer behavior to reach firmer ground where the enormous value and potential offered by P2P can reward commercial as well as consumer interests, and foster the acceptance of solutions that are both sustainable and profitable to all parties.
DCIA’s initial focus has been to collaborate with P2P software companies, music labels and publishers, and telco- and cable-owned broadband ISPs, to devise and discuss alternative models to monetize any consumer behavior that currently does not reward creation or respect intellectual property — specifically with respect to copyrighted works of the music industry. Our intent has been to spur the development of constructive business alternatives and to support a process for adoption and implementation of the most promising of them.
The three (3) alternative P2P music distribution business models signal a start of that process. The collaborative approach taken in creating these models has presented an opportunity for major stakeholders to think creatively and participate actively in our ongoing efforts.
These are not meant to be end-all and be-all proposals, but rather are intended to serve as launching pads for further cooperation. Each is presented in the spirit of encouraging open-and-honest dialogue, and hopefully, will be taken as such.
DCIA’s objective is to provide qualified proposals from multiple sources with an open-and-honest hearing, to shape options, and to help principals decide upon one or more optimal business models to implement as expeditiously as possible.
DCIA plans to fulfill the role of the honest broker in facilitating constructive solution-focused discussions among music labels and publishers, telcos and broadband ISPs, P2P software companies, and relevant technology suppliers.
Organizational Structure
The DCIA’s organizational structure centers around its three Membership divisions: the DCIA Platform Group – for communications and computing hardware companies; the DCIA Operations Group – for distributed computing software and related applications providers; and the DCIA Content Group – for media content creators and rights holding companies. DCIA’s charter calls for each Group to contribute equally to DCIA’s budget and to retain equal voting rights.
Groups are empowered to structure and elect their own Governing Boards in a manner most appropriate to Group needs. Association resource allocations for policy, public relations, research, and working group efforts are to be agreed upon by the Executive Committee, which has Membership representation of two Board delegates from each Group.
Member Voting Rights
The DCIA’s Membership structure is based on a bicameral system of governance, allowing all of its Members to participate as fully as possible in the organization. Member responsibilities include: recommending DCIA policies, positions, and priorities; participating in meetings and working groups; recommending conference agendas; and suggesting projects.
Each Group (Platform, Operations, and Content) is represented by two Members it elects to serve on DCIA’s Board of Directors. The Executive Committee is comprised of the Board of Directors and the DCIA CEO who serves as Chairman. The Executive Committee sets the positions and policies of the organization and provides primary governance, including in the following areas: driving strategic direction of the DCIA, approving budgets and staff appointments, setting conference and meeting agendas, assigning projects and working groups, adopting standards-and-practices recommendations, approving special initiatives and calls for raising funds.
Involvement Drives Results
The surest way to influence change is to participate actively. The DCIA urges you to accept our invitation and join our Membership. Market segments working in isolation lack the ability to cooperate with other stakeholders, and will inevitably conceive of solutions that fail to take critical perspectives into account. It is only when disparate interests come together that profound and comprehensive changes can be wrought. The DCIA is not an exclusionary organization. Quite the contrary – we welcome every concerned party to join with us and become a force for reconciliation, collaboration, and progress. Working together, we will develop, implement and achieve long-term solutions that serve the needs of all parties.
