The Media Value Chain Ontology (MVCO, 21000-19) facilitates rights tracking for transparent royalties payment by capturing and their permissible actions on a particular property (IP) asset. However, widespreadionadoopft interactive music services (remixing, karaoke and collaborative music creatio-n)thanks to Interactive 1. INTRODUCTION Music Application Format (ISO/IEC -21320)0-0raises the issue of rights monitoring when reuse entities is involved, such as, ortraecvkesn segments them in new derivative works.
achieving interoperability among infrastructures, 2. STANDARDS AND FORMATS FOR DATA DRIVEN databases andsystems so to be accessed, shared PEaRnSdONALIZATION exchanged by all stakeholders. For data drivpeenrsonalization the main approach is to
In Europe, one of blockchain's evangelists isconstihdeer the selection and usage tracking of audio a Grammy awar-dwinning UK singer, songwriter anvdideo objects for placement into an existing scene producer Imogen Heap. She has launched a blocpkrcehsaeinntation. hisT section gives a brief overview of th project, Mycelia [4]. Although in stiiltls foundational components needed for such a music and media tradi stages, she intends it to be an entire ecosysteecmosysttehmat, based on MPEG standards: utilizes blockchain as a way to enact a complete shake up in the music industry. Mycelia's mission •is tCoo:nte(in)t identification is a fundamental empower a fair, sustainable and vibrant music industrcyomponent of any asset trade system. An asset ecosystem involivng all online music interaction identifier can be random so long as it can also be services; (ii) unlock the huge potential for creators danisdcovered by alternate IDs such as the their music related metadata so an entirely neIwnternational Standard Recording Code (ISRC) or commercial marketplace may flourish; (iii) ensure allthe International Standard Work Code (ISWC) or involved are paid and acknowledged fully; (iv) soetther internal fields or keywords. These alternate commercial, ethical and technical standards in order toIDs enable two or more organizations to discover exponentially increase innovation for the music servicesand share a common identifier for an asset. of the future; and (v) connect the dots with all those involved in this shift from our current outdated musTiche MPEG-21 Digital Item Identification [9] industry models, exploring new technolsoogluictai olns provides a simple, extensible and interoperable to enliven and positively impact the music ecosystem. smyesctehmansisnmot oonnlyheoxwisttionginbtuetgervaeten fiuntumreusailctertrnaadtee
However, whilst enthusiasm is growing for identification schemes by facilitating the elements: blockchain, it is likely to be several years before w(ei) Idseenetifier; and (ii) RelatedIdentifier. it rolled out in a-scalwe,ide mainstream capacity.
Blockchain enables value to be retrdansfoevrer the • ISO Base Media File Format (ISO BMFF) [9] is Internet. For contractual media (or other) asset tradinscgturrurcetnutrlye tshteanmdoasrtdw(i.dmeply4adeoxptetnedsiomnu)ltfimaceilditiaatfinilge smart contracts can be used to encode the terms stoarnadge, interchange, management and editing. ISO conditions of a contract (business logic) [5]. TheByMFF derived MPEG-A: Interactive Music validate contractual agreements between stakeholders Application Format (IM AF) [10] (aka STEMS [11]) before a blockchain valunesfertra is enabled [6]. In specifies how to combine multiple audio tracks other words, smart contracts, implemented via with additional information, e.g., dynamic volume software, could allow audio and video royalties to chbaenges for DJ mixing and lyrics for karaoke administered almost instantaneously and manage usage applications. allowances and restrictions. Rather than passing through intermediaries, reuven from a stream or For example, with IM AF various tracks can be download could be distributed automatically between rreemmiixxeesd inbysoucsiaelrsneetnwaobrlkinsg. Rtehceimpientot usshearrseotfhtehier rights holders, according to agreed terms conditions (e.g., splits), as soon as an downloaded or streamed [7].
andmedia can develop a reputation through music asset citiastions, similar to that of scientific citations [12].
the usmerusoivcerlays.
While the main focus of this paper is in dAoVmCOain sadtnandtahred de(sScericptitoionn o3f, the4, rec5e,ntly 6),publir•sehlaetde(DdDyAnSaHm)ic[13A]daisptiavne adSatpretiavmeinbgitratoevesrtreaHmTiTnPg developments (e.g., standards, formats and smart technique, universally deployed, that allows smart contracts) in ttheelevision domain are also discussed TVs and mobile phones to consume high quality (Section 2) from the media trading and personalizatiomnultimedia content, while seamlessly adapt to point ovfiew (Section 7). variable network conditions. • •
Following the example of IM AF, DASH streaming enables radio producers and DJs to schedule playlists for streaming to their radio stations and clubs, respectively, and perform live mixing. In this case, artists could even be notified when their assets are scheduled for streaming, thus, enabling artists/fans interaction.
Media Contract Ontology (MCO) [14] facilitates • the conversion of narrative contracts to digital ones. It consists of a core model, which provides the elements for the creation of generic deontic statements encompassing the concepts of permission, prohibition and obligation, and two extensions: o Exploitation of Intellectual Property Rights, e.g., licensing for broadcasting or public performance; o Payments and Notifications, e.g., royalties’ splits between rights holders and currency conversions.
Media Value Chain Ontology (MVCO) [15, 16, 17] is capable of representing in a machine processable way, the life cycle (aka value chain) of Intellectual Property (IP) entities. The relationship between a user and a particular IP entity type (e.g., work, adaptation, product, copy) is specified through the concept of role. The actions that a user takes on a given IP entity determine the role of that user with respect to the IP entity in question. Users get roles (e.g., creator, adaptor, producer, enduser) that attribute them rights over actions (e.g., create work, make adaptation, produce, distribute, synchronise) that can be exercised on specific IP entities. Any given user may take on any number of roles within a given value chain. These relations are shown in Figure 1.
transparent royalties’ payment by capturing roles and their permissible actions on a particular
Audio Value Chain Ontology (AVCO) [18, 19] facilitates transparent IP rights management even when content reuse is involved. In particular widespread adoption of interactive music services (remixing, karaoke and collaborative music creation) - thanks to IM AF/STEMS - raises the issue of rights monitoring when reuse of audio IP entities is involved, such as, tracks or even segments of them in new derivative works.
issue by extending MVCO functionality related to description of composite IP entities in the audio domain, whereby the components of a given IP entity can be located in time, and for the case of multi-track audio, associated with specific tracks.
user •
MPEG-M digital media services ecosystem is described in [20]. In our context, of particular interest is the that MPE-GM facilitates eacsryeation of new services by combining service components (aka engines), such as the aforementioned ones, as well as, innovative business models because of the ease to design a implement interoperable me-dhiaandling value chains since they are all bnasetdhe o same set of technologies, especially MPEG technologies. An -MMPEaGrchitecture adapted for enabling interactive music applications with IP rights tracking, based on the aforementione components, is shown in Figure 2. software, after completing cesusfcully all ballot stages, e.g., Preliminary Draft Amendment (PDAM), Draft Amendment (DAM) and Final Draft Amendment (FDAM), published as ISO/IEC international standards, in June and October 2018, respectively.
The MVCO inistended to handle asset IP entities of different domains, such as music, still image, video a text. Although it provides the means for the descripti of composite IP entities, this functionality is limited simply stating which IP entities arfe anpoarthtero IP entity, without specifying them further, e.g., in time However, there are many cases where a more detail description of IP components becomes necessary for the accurate tracking of contributions and rights of composite IP entity, incgludin the audio domain, with DJ mixes, podcasts, music samples in compositions, an multi-track audio becoming increasingly popular. (i) the specification on Multimedia Framework (MPEG21) - Part 19: Media Value Chain Ontology (MVCO) / Amendment 1: Extensions on Time-Segments and
19:2010/AMD1:2018) [18]; and, (ii) its associated reference software on Multimedia
/ Amendment 4: Media Value Chain Ontology
Thus, the AVCO constitutes an extension of MVCO a in particular of its functionality related to th description of comptoesi IP entities in the audio 3. ISSUING BODY AND SCHEDULE domain, whereby the components of a given IP enti Taking into consideration the music industry and caarntistsbe located in time and, for the -tcraascek of multi needs for interoperable smart contracts enabling 'mauudsiico, associated with specific tracks. The motivation i rights transparency' dan after collection ofto facilitate rights management of audio IP entities, requirements and sufficient support in terms parotifcular when reuse of audio IP entities is involved. resources from a number of National Bodies, ISO/IEC MPEG Requirements Group decided to approve Fthuerthermore, in the audio domain there are severa embarkation of the development of both: examples, where a work is created by reusing existi IP entities. For instance, DJ mixes consist of a sequ of recordings, where songs can be gemthixeerd to during transitions. In modern music production, especially in electronic dance music it is commonplac that parts of other recordings are- alrseousekdnown as sampling. Ideally, a rights management system shal be capable of locating these cnotsmpowniethin such a composite IP entity.
development of the which are collectively Ontology (AVCO) was the ISO/IEC MPEG requirements have been the AVCO specification the Requirements aforementioned anlsoown k as Audio carried out under
Systems Group. published in June and its associated
Multi-track audio resources can have audio on different tracks that are derived from entities with different rights holders. In
Group, idethnetify the media value chain in these amendmentns,ecessary the individual tracks and their Value Chaimnetadata to be able to be represented in the auspwicaeys. of
The AVCO 2015, wThheile concept of time segments and tracks referleoncacetion of IP entities is illustrated in Figure 3.
material individual order t cases, it associated a consis for t
Widespread adoption of -mtrualctki formats such as the MPE-GA: Interactive Music Application Format (ISO/IEC 2300-012) raises the issue of rights monitoring for fair and transparent royalties payment with respect to reusable tracks or even segmeFnigtsure o4f. Classes and relationships for the representation them in derivative new works. The AVCO for IPSegeomnfetIinPttiEsensctaintieaslstohbaetcaosnsotaciinatoetdhewritehxiisntdinivgidIPuaElnTtirtaiecsk.s of in the audio domain addresses this issutaetinbgy facili a multi-track audio IP Entity. complex matr-ixbased rights monitoring on time vs tracks throughout the media value chain. It defines concepts for the representation of time segments Anand Interval is defined, similarly to Intervals in t tracks of m-utlrtaick audio IP entities. Segments aTnimde Ontology in 1O, WLas eampotral entity with tracks may contain IP entities tbheat trceaanted as extent. The duration of the audio resource is specifi conventional IP entities as defined in ThMeVCO. with the duration property linking to an explici introduction of an additional action 'ReuseIPEntity'dataintype. The property onTimeLine relates the Interval MVCO enables granting permissions for the reusweith of a timeline. In order to express that the Seg existing IP entities in order to create new deexriivstastivewithin a icnertaInterval on the same timeline, in composite IP entities. a similar fashion an Interval is related to the Seg using the interval property. The beginning and end of
Interval are specified through an explicit datatype usin 5. DESCRIPTION OF RELATIONS FOR IP ENTITY SEGMENTS the propertiestart and end, respectively.intTerhveal AND TRACKS is related to the timeline with the onTimeLine proper The relations for the representation of composiSteinceIP Segment is a subclass of IPEntity, it is Entities in the audio domain that reuse other expisotsisnigble IPto associate the Segment with its own timeli Entities are illustrated in Figure 4. The reuTsehde tIiPmeline class is based on the timeline model of Entities may exist on specified Segments and, Tiinmeltinhee Ontolog2y. case of m-utlrtaick IP Entities, onifiesdpecTracks. An IP Entity (object) has a certain Segment. A Segment Fiosr thine acase of -mtrualctki resources, an IP Entity is part-of relationship with the IP Entity linked writehlatetdhe to Tracks with the hasTrack property. T hasSegment property, and its class is subsumeedxprebsys that a Segment exists on a certain Track, IPEntity. The Segment, in turn, 'contain' anothelirnkeIdP to the respective Track using the onTrac Entity, which repernetss one of the components pthroeperty. composite IP Entity is made up of. Since we are dealing with IP Entities in the audio domain, we can associate a timeline with it. The property interval links an 1IPhttpsE://nwtwitwy.w3.org/TR/owl‐time/ to an Interval. 2 http://motools.sourceforge.net/timeline/timeline.179.html
Consider a podcast, for instance a program AlmicaedMeanifestation2 is associated available in digital format that consists of severalthemupsriocperty onTrack. pieces. A podcast may be defined as a single IP Entity. Alice However, thepodcast consists of a number of media mvco:User items such as songs with individual pigrhotpse,rty r which are played successively.
segment containing wBitohbTrack1 using issuedBy
License1 mvco:Permission
permitsAction actedBy
ActionTemplate1
amvco:Reuse isMadeUpOf hasSegment actedBy actedBy
Action1 mvco:CreateWork resultsIn AliceWork mvco:Work actedOver
Action2 mvco:MakeManifestation actedOver
resultsIn AliceManifestation mvco:Manifestation contains isAudio
In this example, with respect to Figure 5, the podcast is represented by the ManifesBtaotbiomnanifestation.
Bob is the creator of the respective Work (not shown), hence it is stated that the rights owner t ofis the podcas the useBrob. It is stated that, within the time interval of 122.1 s to 324.3 s, a Manifestatio’sn WoforkAlicise part of the program. For Bob to acquire the appropriamtvecBo:oUbser permission for this action, Alice issues the permission (License1) for Bob teouse r her IP Entity (ActionTemplate1). In order to represent the time hasRightsOwner information, an IntervaIlnter(val1) spanning the duration of the podcast is associated with mvBcoob:MMaanniiffeessttaattioinon BobManifestation using the duration propIenrtteyr.val1 is related to a timeBlionbeTime(Line) with the isAudio onTimeLine property. The individBuoablSegment True interval represents the segment BoobfManifestation in which AliceManifestation is present:BobSegment ‘has’ the amvcInot:eIrnvtael1rval segment BobSegment, whileBobSegment ‘contains’ AliceManifestation. The segmentassiosciated with an duration Interval In(terval2) which is characterized by a start and end point specified with the data properties"P^T^1x8s0sd0t:.ad0u0rr0a0tt0i0o0n0S" onTimeLine and end. To express that this segment exists on the same timeline as the podBcoabsMt ani(festation), the property hasTimeLineinkls Interval2 with BobTimeLine.
Consider a music resource that is distributed- in a multi track format. The individual tracks (or segments Speocnifying tracks and segments that contain IP those tracks) have different media value chainsE.ntiFtoiers enables the user to: instance, with restpecto Figure 6, theBobumseary create a 4 minutes long music p•ieceanswer queries about the components of composite (BobManifestation2), which uses a vocal recording byIP Entities; Alice (AliceManifestation2) on a separate Track withi•n aanswer queries about which kind of Role a User 210 s interval starting at 10 s. Expressing this wipthlaysthwe ith respect to a certain IP Entity of a ACVO is done inmilar sfiashion as in the podcast particular track or time segment; tehxeampaledditdioensaclribeidnforimnatiothne wpirtehvioursegarsdesctionto. Htroawc•kesverap,niesrsmweisrsioqnusericeosncaebrnoiuntg pirnodvievnidaunacle, prairgthsts ofanda tsehpxepecriefsieTsderdackbBybaonybTrifanicrtkset1g.erstTaithdienegntBifoT‘it1berh’rMaauctaksni nifgesintadtthiivoeind2upa‘hrloaps’eirsty also cvoamlupeocshiateinI.P Entity, covering the complete media AliceManifestation2 mvco:Manifestation
"1" start end "PT10.00000000S" ^^xsd:duration "PT220.00000000S" ^^xsd:duration "PT240.00000000S"^ ^xsd:duration
BobTimeLine2 amvco:TimeLine
The Reference Software for MVCO [16] has been updated to support its Extensions -oSnegmTeinmtse Link individual Works to java -jar rvdac.jar -r -lc and Mul-tTi rack Audio [19]. It should be noted thatMuosincWlyork MusicWork GuitarWork the ontologies MVCO and AVCO are nor mleatitvhee whi interfaces written in Java are optional. The latter allows java -jar rvdac.jar -r -lc application developers and system integrators to MusicWork LyricsWork develop their own interfaces in the programming language of their preference matching their development environment and application. The composition is performed by two musicians, guitarist G(uitarist) and a sinVgoecralis(t), who belong
The fololwing use case illustrates composite toIP a collective of performPeersforme(rs). The Entities that are made up of other IP Entpiteirefsormoannce constitutes a Manifestation segments and tracks. These IP Entities have di(fMfeuresinctManifestation), that is made up of two individua rights holders that are members of collectives. manifestations, one for the gGuuiittaarrMa(nifestation)
Consider a Work, that is made up of a coamndposiotinoefnor the vocaLlsyric(sManifestaion). In order to associated with a Guitar score and another wimthakethethe manifestatiotnhsree permissions are created. lyrics of the song. The rights holder of the Thcoempcloetlleective of composers gives a permission to t Work M(usicWork) is a CollecCtiovmepo(sers) that has collective of performers, while the individual composers as its members the rights hColmdperosserG(uitar and give permissions to the respective mepres.rforThe ComposerLyrics) of the individual worrksthe fo guitar steps required for this Manifestation registration are composition G(uitarWork) and the lyrLiycrsics W(ork). shown in Table 2 alongside the corresponding Jav The steps required for this Work registration arecosmhmowannds. in Table 1 alongside the corresponding Java commands.
Instance M(usicInstance). In this example the rights holders of the Instance to be the that made the Manifestations. Three Instances made. The collective Performers mMauksiecsInstance, which is an InstanceMusiocfManifestation. uGitarist makes GuitarInstance, which is an Instance GuitarManifestation. Vocalist makeLsyricsInstance, which is an InstancLeyricosfManifestation. The Java commands required for the registration of Instances are shown in Table 3.
On the instance level the tracks and segments a
described. The recording consists of two tracks, one f
the guitar and one for the vocals. The guitar track
the whole recording, while the vocal track is specifi
by an interval starting at 3e0nsdingand150s. The
individual performers give the colPleecrtfiovremers the
permission to‘reuse’ the individual Instances to be
combined inMusicInstance. The steps required for
combining tracks and segments in an Instance ar
shown on Table 4 alongsidceorretshpeonding Java
commands.
possibilnefrasttoructure behind has been
auser platform [
B2B we consider asset
sound track to audio a video programme programme)
part of video programme version, for of different language tracks, a clip version of a program(fmore example in delivery container), etc.
presentation object as or programme
part A video presentation object as part or programme (and likely
th clips which example on of a differe an IMF of of an an object object bas bas $ java -jar rvdac.jar -r -lic MusicWork Administration Console LyricsWork GuitarWork $ java -jar rvdac.jar -r -lic MusicManifestation Administration Console LyricsManifestation GuitarManifestation $ java -jar rvdac.jar -r -lic MusicInstance Administration Console LyricsInstance | segment: 30s to 150s | track: 2
GuitarInstance | track: 1
The simple, workflow described MVCO/AVCO executed on aforementioned use case however, complex use on Baby Boy song by in [3], could similarly smart contracts which blockchain.
may be cases, Beyonce be built in turn
Having established the AVCO technology for audio assets to be reutsheed, application can be considered for personalization of video where assets of interest end viewers are selected and integrated into a me work. We also need to consider the cases whe finished media works are delivered to an end user may utileiz an element of that program, for example, extract of the soundtrack, an interview, a specific obje etc. Such items are the intellectual property copyright of the original author, performer, etc. an need to be recorded and made availatbrlaectufaolr con use. Such assets may have restrictions and stipulatio for further usage. For example, the copyright owner a soundtrack may want to restrict its usage in fu works to avoid association undesired social or politica relataivffeilliyations. e.g., rigFhutrsther to this, a media market ft. SeeannvisaPgaeudl washere assets are sought uponfeatuusrieng works on a rapid basis. coulrdespobnesive contractual environment.
are seen as such a lightweight time media edits for personalized environment can b and integrated int This requires an i
Smart contracts scheme stt-oin- allow ju usage. 7. DATA FOR THE VALUE CHAIN PERSONALIZATION Object-based media [22] also allows e-unsders For media personalization (including standaridnteract with the object components of the broadcast platforms) a likely scenario is for audainod ancdonsequently such objects may carry video assets to be sought and acquired from thirredstripctairotnys. Again, such usage allowances libraries and traded into cthipeientre video for recorded and instantaneously operable to distribution and playback to the viewer. The disdaalltoaw interactinos as required by owner, any
the copyright combination of
owner copyright of the holders copyright work, or work.
[f1o]r ‘Ht.hR.e5447 - 115th Congress: Music Modernizatio’n, 2A0c1t8. [2] ‘Modernization of the EpUyrigChot Rule’,s 2018.
[3] Rethink Music‘,Fair Music: Transparency and Payment Flows in the Consequently we see a media value chain withMusiac Industr’,yBerkleeICE, 2015.
[4] Imogen Heap‘ M,ycelia’, 2016. suitable semantic access as afforded by the MVC[O5] aMnordge,n E. Pe‘cBkl,ockchains: How They Work and W’lhl y ChTahnegye as describedabove, the AVCO as an extension. We nthoe wWorl’,dIEEE Spectrum, pp-.312, 2 Oct. 2017.
[6] Henry M. Kim, Marek Laskowski and N‘Fiinrgst NSatnep, in th-e Co see the need for contractual processes to utilize thEveosluetion of Blockchain and Ontologies: Towards Engineering an standards but “atomized” object level, and hence the Ontology of Governance at the Blockchain Proto’,coSlSRNLevel need for smart contract procedures secured o[7n] EMlaaercctruosnic’ODaJior,urneatl, ‘ Mal2u,0s1ic8. On The Block’c,hMaidndlesex University, July suitable platform, currently envisaged to be -blockchain 2016. based. However it should also be considered th[8a]t I.St.heBurnett, S.J. Davis and ‘MG.PME.G-2D1ruryd,igital item declaration and identificatio-nprinciples and compress’i,onIEEE Transactions on link between the contract layer and the blockchain laMyueltirmedia, Vol. s7s,ueI 3, pp. -440070, June 2005. should be kept open, like an API interface. This[9] allIoSOw/IsEC a1449-612, ‘Information technology-- Coding of au-dviosual objects -- Part 12: ISO base media fil’.e format loose-coupling and a flexibility between the two [l1a0y]erInss,eon Jang, Panos Kudumakis, Mark Sandler and Kyeo‘nTghoek Kang, so the contract process mpaeyrforbmeed on other MPEG Interactive Music icAaptpioln Format Stand’a,r dIEEE Signal security layers, and to interwork w-biltohckcnhoanin [11] PMr.ocesLseing GMofaf,gaziCn.e, CVaorlr.ier28, aInsdsue S.1‘-I,1n5tWpr4o,pad.lukJcae1inrn5,.g0 20s1t1e.m: a new platforms (as most traditional media trading platformsmultichannel audio form’, aint Proceedings of International Society for will be for some time yet). Music Information trRieval Conference (ISMIR), 2015.
[12] J. Corral Garcí a, P. Kudumakis, I. Barbancho, L.J. Tardo n, M. Sa Object based InteractiPveersonalized TV services are ‘Enabling interactive and interoperable semantic music ap’,pilnications Bader R(.eds), Springer Handbook for Systematic Musicology,- pp. 911 presented as a proposed platform3]. inTeh [2various 921, Jan. 2018. types of data management are subject to incr[1e3a]sinISgO/IEC 23009‘,Information technology-- Dynamic adaptive streaming over HTTP (DAS’.H) scrutiny for ethics and moral applications. Th[i1s4] Vi.s Rodrí g-uDeozncel, J. Delgado, S. Llorente, E. Rodrí guez, L. Boch, particularly so for profile management where end us‘eOrverview of the M-2P1EG Media Contract Onto’,lSoegmyantic Web, Vol. 7, Issue 3, pp-.33321,1 March 2016. data is needed to increase the success of a pe[r1s5o]nIaSlOi/zIeECd 2100-019, ‘Information technology-- Multimedia framework placement into a video, ancdiallyespefor advertising (MPEG-21) -- Part 19: Media value chain y’o.ntolog purposes [24, , 252]6. [16] ISO/IEC 2100-08/AMD2, ‘Information Technology -- Multimedia Framework (MPE-G21) -- Part 8: Reference software / ReAfeMreDn2ce software for media value chain ’o.ntology [17] V. Rodrigue-zDoncel, DJ.elgado, ‘A Media Value Chain Ontology f-or MPEG 8. CONCLUSIONS 21’, IEEE MultiMedia, Vol. 16, Issue -45,1, ppO.c-tD.4e4c. 2009.
[18] ISO/IEC 2100-019:2010/AMD1:2018, ‘Information Technology -the itsforapplicationMultimedia Framework (MP-2E1G) -- Part 19: Media Value Chain
AMD 1 ExtensioTnimse-oSengments and M-uTlrtiack Audi’,o The AVCO extension to MVCO and reusable music assets has been describeWd. ith increasing reuse of object based audio and for advanced services includinsgonapleizration, there increasing need to identify and manage the assets, and to provide for a lightweight mechanism to allow their trading and usage, near-real-time. Contracts based on MVCO/AVCO have been introduced ins tphaiper which has described ability to facilitate machine readable deontic expressions for permissions, obligations prohibitions, with respect to particular users entities. Further, their suppordtistroinbutead ledger platform, e.g., bolckchain, enabels transparency and interoperability towards fair tradmeedioaf assets. This secure asset trading and management platform provide a solid base for commer-cdirailvendatamedia personalization services.