tag:blogger.com,1999:blog-19589549105274681922024-02-08T10:22:01.701+00:00ARP ConsultingAnonymoushttp://www.blogger.com/profile/05044720810579744281noreply@blogger.comBlogger15125tag:blogger.com,1999:blog-1958954910527468192.post-2196209807301746202017-04-07T18:23:00.001+01:002017-04-07T18:23:20.582+01:00Licensing: value in sequels for Film<br /><br />We all know that films spawn sequels and prequels. We believe this is because it is so difficult to catch the attention of the mass market, that once you have their attention you will always wish to build on that.<br /><br />A recent article in The Licensing Letter shows that 45% of Upcoming Films are Sequels.<br /><br />"This last year marked the highest earning year in movie history at the domestic box office, with $11.4 billion, up 2.1% over 2015, according to ComScore. The biggest grossing film? Disney’s Finding Dory at $486 million domestically. Internationally, box office sales reached $27.4 billion. The top grossing title worldwide was Captain America: Civil War with $1.15 billion in sales."<br /><br />Growth all round: <div>
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Music<br />So the Recorded Music industry grew in 2016 for the first time in fifteen years. It was up about 1%.<div>
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Film</div>
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The growing box office is good for film. Licensing remains the driver there, owning rights and building on the rights you can exploit. Same old story, you might say. But the context in which it happens has changed radically, and the coming competition to find and develop the right treatments will be as intense as ever.<br /><br />The real battle will be with rights in VR and Augmented Reality, where content from so many sources will be mixed together into new creative formats. That is the area in which to tie down licensing rights.<br /><br />
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Anonymoushttp://www.blogger.com/profile/05044720810579744281noreply@blogger.com0tag:blogger.com,1999:blog-1958954910527468192.post-85462010899346989152017-04-03T16:08:00.001+01:002017-04-03T16:08:22.045+01:00Personalisation and personal 'bubbles' of informationWe all see that newspapers are personalising stories so that each reader gets exactly 'what they want'. We see personalisation in media, where Netflix has 79,000 micro-genres which enable it to give a more personalised service to subscribers than rival services.<br />
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Back in the 1990s when the internet went mainstream, commentators remarked that personalisation would result in each person living in their own 'bubble'. The recent US election has been a case in point, where each side does not even bother to check facts or read what the other side really thinks. The Post Fact 'word' became added to the famous OED and causes consternation to the literati who bemoan the loss of truth.<br />
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One can feel the rise of electronic information which makes all news available worldwide with immediate effect. A small example, there was a bomb in St Petersburg a few hours ago, my phone went bleep with a new item from the NY Times, I mentioned to a colleague at the next desk, 'Oh my, a bomb in St Petersberg this afternoon.' She looks askance at me because she knew that a few hours earlier, which made it old news.<br />
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So here is a nice observation as news, licensing and syndication of information is moving at the speed of light (well, electronics).<br />
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We see articles that AI is on the rise, and will be the coming format for entertainment. So what about this?<br />
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<strong style="background-color: white; color: #6c6c6c; font-family: Arial, Helvetica, freesans, sans-serif; font-size: 18px; letter-spacing: -0.1px;">Ben Fletcher, senior software engineer at IBM Watson Research who worked on a project to build an AI fact checker</strong><br style="background-color: white; color: #6c6c6c; font-family: Arial, Helvetica, freesans, sans-serif; font-size: 18px; letter-spacing: -0.1px;" /><span style="background-color: white; color: #6c6c6c; font-family: Arial, Helvetica, freesans, sans-serif; font-size: 18px; letter-spacing: -0.1px;">We got a lot of feedback that people did not want to be told what was true or not. At the heart of what they want, was actually the ability to see all sides and make the decision for themselves. A major issue most people face, without knowing it, is the bubble they live in. If they were shown views outside that bubble they would be much more open to talking about them.</span><br />
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The great story here is that people want to make up their minds. We have electronic information, and each individual knows how they go about working out what is correct. They see all sides they wish and make up their own minds.<br />
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Nice.<br /><br />And the nicest part is this: <div>
"If they were shown views outside that bubble they would be much more open to talking about them."</div>
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Let's hope that holds true. Personalisation creates bubbles, yes, but people also wish to be challenged, and read opinions outside their bubble.<br /><br /><br /><br /><br /><br /><br /><br /><br /><br /></div>
Anonymoushttp://www.blogger.com/profile/05044720810579744281noreply@blogger.com0tag:blogger.com,1999:blog-1958954910527468192.post-79970230638148546102017-03-30T08:21:00.001+01:002017-03-30T08:21:38.882+01:00YouTube as promotion vs. revenue streamFor many years music fans have used YouTube as a music service as well as a discovery tool. What I mean by a music service is that you can be confident most recordings are available in some form (low or high quality). You can almost rely on YouTube to have the particular music recording you want to listen to now.<br />
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The problem is that the copyright
owners/lawyers (and their artists) are trying to clamp down on
safe harbour exemptions and get YouTube
to address the value gap more directly
(translate this into asking YouTube to pay them more for video plays). It makes sense that if a user can search and play, then the artist and their record company should be paid, right?<br />
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On the other side, there are the artists
themselves and their marketing teams
seeing YouTube not only as the best
way to reach a mass audience quickly,
but also a creative medium in its own
right. Many artists use other video material to accompany their song, using some technology matching techniques from the simple to the intricate. For them YouTube is not expected to pay much money, because the promotion of being found on YouTube will lead users to click on the recording even more on the usual music services like Spotify and others.<br />
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What is YouTube to do? Some record companies say they get nearly as much money from YouTube royalties as the other retailers like Amazon, Spotify and Google Play. The big question is how the promotional services need to balance the promotional effect (reducing royalty payments) against the music service effect (royalty payments because users hear what they choose, when they want it).<br />
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A never ending story, as usual, with some of the people unhappy some of the time (which implied some of the people are happy some of the time). Different interests in a perpetual collision about payments for music licensing.Anonymoushttp://www.blogger.com/profile/05044720810579744281noreply@blogger.com0tag:blogger.com,1999:blog-1958954910527468192.post-55667601725273490662017-03-29T15:06:00.002+01:002017-03-29T15:07:31.979+01:00Electronic world - music available anywhere. Let's pay the artists (Yes, we can).<b>Electronic world - music available anywhere. Pay the artists!</b><br />
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At the start of the century music escaped from physical soundcarriers into electronic formats and was instantly available worldwide. P2P began that phenomenon on a grand scale. See the Gallup poll below, showing users' attitudes to piracy back in 2002.<br />
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2016 was the first year of a slight worldwide rise in recorded music sales after many years of consecutive decline.<br />
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Australia announced 2016 revenue growth, powered by streaming. (Details from ARIA below).<br />
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Finland also announced growth in 2016. (Details from IFPI below).<br />
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The point is that<b> licensing</b> to legitimate music services keeps ownership of recordings as tightly monitored as possible. It is only licensing that ensures musicians get paid (songwriters as well as performing artists).<br />
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The key point in 2002 Gallup research holds: <span style="color: #2b2b2b; font-size: 16px;">The record industry adaptations finally in the works should help the entertainment business as a whole as file-sharing spreads to other media such as movies.</span><br />
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<span style="color: #2b2b2b; font-size: 16px;">In 2016 the benefits of licensing music to retailers is bearing fruit. Licensing to music services since the 2003 deal with iTunes made music legally available. Clearly the majority of music lovers don't mind too much if they have to pay for music services. Their friends are artists and they know their friends need to be paid (even if they continue to despise the record companies). This is a great success for the traditional model of licensing music to distributors, and being tough in monitoring sales to ensure correct royalty payments.</span><br />
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<span style="color: #2b2b2b; font-size: 16px;">(Yes, we know there will always be arguments about those royalty payments). The model in aggregate is working. Music lovers will pay for music services. Music lovers will tolerate advertising if they do not wish to pay. </span><br />
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Data sets for the above are below:<br />
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<strong style="background-color: white; color: #505050; font-family: Helvetica, Arial, sans-serif; font-size: 17px;">Finland recorded-music revenues up slightly in 2016</strong><br />
<span style="background-color: white; color: #505050; font-family: "helvetica" , "arial" , sans-serif; font-size: 17px;">Finland - the third largest of the Nordic countries in terms of population, after Sweden and Denmark - is finally catching them up according to Universal Finland marketing director Kimmo Valtanen, who was talking after the country’s recorded music industry grew for the second straight year. In 2016 recorded music income in Finland was up 1.6% year-on-year to €36.7m thanks, rather inevitably, to the growth of streaming, which grew 25% year-on-year and now represents 72% of the total market. Both downloads and physical music sales dropped a hefty 31%, according to figures released by the IFPI Finland. "The Nordic countries have been at the forefront of the global development of the music industry in terms of the use of digital services since the beginning and Finland has finally reached the same level as the rest of the Nordic region,” Valtanen said. And yet Valtanen believes this is just the beginning for Finland, predicting that the market will double over the next 10 years. IFPI Finland executive director Antti Kotilainen said that a 1.6% increase was slightly lower than expected - for the first six months of 2016 the Finish recorded music market was up 9.4% - but said that this was a good performance given the plunge in physical sales. Other interesting statistics: income from subscription streaming grew 21.8% year-on-year to €23.4m, dwarfing income from ad-supported services of €3m.</span><br />
<span style="background-color: white; color: #505050; font-family: "helvetica" , "arial" , sans-serif; font-size: 17px;">Source: IFPI Finland – </span><a data-saferedirecturl="https://www.google.com/url?hl=en-GB&q=http://musically.us2.list-manage.com/track/click?u%3Dd52f6bce2f35240a62f393249%26id%3Dc389e7ec6e%26e%3D47e42c505f&source=gmail&ust=1490881814768000&usg=AFQjCNGcwFE_7UX3pNjSqRi6TzRxGVc-Tw" href="http://musically.us2.list-manage.com/track/click?u=d52f6bce2f35240a62f393249&id=c389e7ec6e&e=47e42c505f" style="background-color: white; color: #336699; font-family: Helvetica, Arial, sans-serif; font-size: 17px; padding: 2px 0px; text-decoration: none;" target="_blank">http://tinyurl.com/makyfkn</a><br />
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<strong style="background-color: white; color: #505050; font-family: Helvetica, Arial, sans-serif; font-size: 17px;">Australia the latest market to show recorded-music growth</strong><br />
<span style="background-color: white; color: #505050; font-family: "helvetica" , "arial" , sans-serif; font-size: 17px;">The omens are looking good for global growth in recorded-music revenues in 2016, with Australia the latest market to report positive figures for last year. Industry body ARIA released its 2016 wholesale stats yesterday, revealing that revenues were up 5.5% last year to AU$352.2m (around $269m) following a 5% increase in 2015. Once again, streaming is becoming the engine for this growth: it now accounts for 38.5% of the recorded-music market in Australia, growing by 90.5% year-on-year. Physical sales accounted for 30.6% of the market in 2016, meanwhile, although CD sales dropped by 21.1%. Download sales were also down, by 20.8%. The prepared comments from ARIA chairman (and Sony Music exec) Denis Handlin were a familiar industry blend of pride and warnings about safe harbour. “This is a reflection of the industry’s innovative marketing and high level of artist development, as well as the further consumer take up of quality digital retail services,” said Handlin of the growth. “Although our industry is now on a pathway to recovery, it is absolutely critical that Australia retains a strong copyright framework to ensure that artists and labels can continue to invest, innovate and protect their work and earn their fair share in the growing digital market.”</span><br />
<span style="background-color: white; color: #505050; font-family: "helvetica" , "arial" , sans-serif; font-size: 17px;">Source: ARIA – </span><a data-saferedirecturl="https://www.google.com/url?hl=en-GB&q=http://musically.us2.list-manage.com/track/click?u%3Dd52f6bce2f35240a62f393249%26id%3D1f9ec23872%26e%3D47e42c505f&source=gmail&ust=1490881814767000&usg=AFQjCNFpfRc9KGY_zoHBLv_HEeVzZtZYwA" href="http://musically.us2.list-manage.com/track/click?u=d52f6bce2f35240a62f393249&id=1f9ec23872&e=47e42c505f" style="background-color: white; color: #336699; font-family: Helvetica, Arial, sans-serif; font-size: 17px; padding: 2px 0px; text-decoration: none;" target="_blank">http://tinyurl.com/lrxcaub</a></div>
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<time datetime="2002-07-16" itemprop="datePublished" style="box-sizing: border-box; color: #999999; float: left; line-height: 30px;"><br /></time><time datetime="2002-07-16" itemprop="datePublished" style="box-sizing: border-box; color: #999999; float: left; line-height: 30px;"><br /></time><time datetime="2002-07-16" itemprop="datePublished" style="box-sizing: border-box; color: #999999; float: left; line-height: 30px;"><br /></time><time datetime="2002-07-16" itemprop="datePublished" style="box-sizing: border-box; color: #999999; float: left; line-height: 30px;"><br /></time><time datetime="2002-07-16" itemprop="datePublished" style="box-sizing: border-box; color: #999999; float: left; line-height: 30px;">JULY 16, 2002</time><time datetime="2002-07-16" itemprop="datePublished" style="box-sizing: border-box; color: #999999; float: left; line-height: 30px;"><br /></time><time datetime="2002-07-16" itemprop="datePublished" style="box-sizing: border-box; color: #999999; float: left; line-height: 30px;"><br /></time><time datetime="2002-07-16" itemprop="datePublished" style="box-sizing: border-box; color: #999999; float: left; line-height: 30px;"><br /></time><time datetime="2002-07-16" itemprop="datePublished" style="box-sizing: border-box; color: #999999; float: left; line-height: 30px;"><span style="background-color: transparent; background-image: none; border-radius: 3px; border: 1px solid rgb(97 , 194 , 80); box-sizing: border-box; color: inherit; cursor: pointer; display: inline; font-family: inherit; font-size: 39px; letter-spacing: 0.1em; line-height: 30px; margin-bottom: 0px; padding: 0px 15px; position: relative; text-align: center; text-decoration: none; text-shadow: none; vertical-align: middle; white-space: nowrap;"><a class="gel-btn gel-btn-action" data-toggle="modal" href="http://www.gallup.com/poll/6397/New-Spin-Music-Distribution.aspx?g_source=licensing&g_medium=search&g_campaign=tiles#share-article-modal" style="background-color: #61c250; background-image: none; border-radius: 3px; border: 1px solid rgb(97, 194, 80); box-sizing: border-box; color: #2b2b2b; cursor: pointer; display: inline !important; letter-spacing: 0.1em; line-height: 30px; margin-bottom: 0px; padding: 0px 15px; position: relative; text-align: center; text-decoration: none; text-shadow: none; vertical-align: middle; white-space: nowrap;">A New Spin on Music Distribution</a></span></time></div>
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by Steve Crabtree, Contributing Editor<br />
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It's no stretch to say the Internet is making the music industry sweat. Last month, the two largest record companies, Universal Music and Sony Music Entertainment, announced plans to let consumers download songs and record them onto blank CDs for a modest fee. The move signals an about-face from the hostile stance the companies previously took toward online music distribution, and indicates that record execs are finally realizing they will have to adapt to a world online or watch sales continue to drop, especially among young people.</div>
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Indeed, some have predicted that unauthorized online music-sharing will cause, if not the demise of the giant record companies, at least their radical contraction. Michael Wolff of <em style="box-sizing: border-box;">New York Magazine</em> wrote in a June 5 column that the industry would become "a low-margin, consolidated, quaintly anachronistic business, catering to an aging clientele, without much impact on an otherwise thriving culture awash in music that only incidentally will come from the music industry."</div>
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It's undoubtedly troubling for the industry, especially given that music-sharing is so common among teens, a critical age group for record sales. In response to a 2001 Gallup Youth Survey*, 81% of American teens said they were familiar with file-sharing programs like Napster -- and 93% of those who were familiar said they had friends who used such programs to download free music. According to the International Federation of Phonographic Industries (AFPI), global music sales were down 5% last year because of the combined effect of piracy and the economic downturn.</div>
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<strong style="box-sizing: border-box;">Overreaction?</strong></div>
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But some survey results suggest the effect of piracy may be overhyped. According to a May Gallup poll, about four in five Americans (79%) say the fact that music can be shared and copied over the Internet has no effect on their likelihood to purchase CDs -- and another 8% say they are actually <em style="box-sizing: border-box;">more</em> likely to buy CDs because of file-sharing. And only 18% of American adults claimed in May** to have ever downloaded music from an Internet site that was not authorized by a record company. While that is not an insignificant percentage, it is perhaps lower than some observers may have thought.</div>
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<img alt="" border="0" height="280" src="https://media.gallup.com/GPTB/educaYouth/20020716_1.gif" style="border: 0px; box-sizing: border-box; max-width: 100%; vertical-align: middle;" width="440" /></div>
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In the same vein, teens were asked last year whether they thought music-sharing made people more or less likely to purchase CDs or cassettes ("no difference" was not given as a response option for that question). A majority, 55%, said people would be "less likely" to purchase music but a substantial minority (44%) said "more likely."</div>
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<img alt="" border="0" height="290" src="https://media.gallup.com/GPTB/educaYouth/20020716_2.gif" style="border: 0px; box-sizing: border-box; max-width: 100%; vertical-align: middle;" width="440" /></div>
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<strong style="box-sizing: border-box;">Finding the Middle Ground</strong></div>
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Clearly, the music industry is struggling to come to terms with the increased consumer power ushered in by the new technology. The news is not all bad for them -- Gallup polls show the public is divided about the legality of music-sharing, with 43% of adults saying they think it should be legal to trade downloaded songs over the Internet, while 46% say it should be illegal.</div>
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<img alt="" border="0" height="265" src="https://media.gallup.com/GPTB/educaYouth/20020716_3.gif" style="border: 0px; box-sizing: border-box; max-width: 100%; vertical-align: middle;" width="440" /></div>
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Nor is the importance of creative licensing lost among teens: 76% say they think artists, writers and musicians have a right to be paid for their work shared online.</div>
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What form is the compromise between the music industry and music consumers likely to take? Poll results indicate that Universal and Sony have taken a step in the right direction by opening the door to authorized copying of digital music. Having been able to make "mix tapes" of their favorites songs for decades, 63% of American adults say they oppose a law requiring that CD players be manufactured so that consumers are unable to make copies.</div>
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On the other hand, 48% said they would favor a compromise solution: making it possible to create just a few copies of a CD, while 42% are opposed***. However, in the event that CDs were manufactured so that buyers could only make a single copy of them, 64% of Americans said they would still buy the CD, while 24% say they would refuse to buy it even if it was one they would normally buy.</div>
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<img alt="" border="0" height="265" src="https://media.gallup.com/GPTB/educaYouth/20020716_5.gif" style="border: 0px; box-sizing: border-box; max-width: 100%; vertical-align: middle;" width="440" /></div>
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Another piece of good news as record-industry leaders look to the future is that younger adults do not appear more averse to reasonable restrictions than older Americans -- 75% of those aged 18 to 29 say they would buy a CD they could only make one copy of.</div>
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<strong style="box-sizing: border-box;">Key Points</strong></div>
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The music industry has unquestionably been late adapting to the rise in consumer power brought about by the Internet -- but survey data, especially among young people, indicates that it's probably not <em style="box-sizing: border-box;">too</em> late. The record industry adaptations finally in the works should help the entertainment business as a whole as file-sharing spreads to other media such as movies.</div>
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Anonymoushttp://www.blogger.com/profile/05044720810579744281noreply@blogger.com0tag:blogger.com,1999:blog-1958954910527468192.post-78419706464658899942017-02-06T13:25:00.004+00:002017-02-06T13:25:47.727+00:00Algorithms personalise content. Humans are making a comeback on Snapchat. Unexpected, but true.<span style="font-family: Times, Times New Roman, serif;">Personalisation it is a kind of curation for each customer. There is so much 'electronic content' that distributors need to personalise it for each customer (like the <a href="https://www.theatlantic.com/technology/archive/2014/01/how-netflix-reverse-engineered-hollywood/282679/">Netflix article in The Atlantic</a> which clarifies that their computers have identified no less than 79,000 sub genres).</span><br />
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<span style="font-family: Times, Times New Roman, serif;">Now we have the rise of snapchat. It famously does not store the user generated content, so it is completely different to Facebook and Google which save every piece and pixel of content uploaded.</span><br />
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<span style="font-family: Times, Times New Roman, serif;">With the rise of Snapchat (where nothing is preserved for algorithms to process) we are seeing a new phenomenon in personalisation.</span><br />
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<span style="font-family: Times, Times New Roman, serif;">While Silicon Valley was shunning editing and curation done by humans, and instead relying on computers to spot and disseminate news, Snapchat began hiring producers and reporters to assemble clips into in-depth pieces.</span><br />
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<span style="font-family: Times, Times New Roman, serif;">The company calls these Live Stories, and they have been transformative, unlike any other news presentation you can find online.</span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /><span style="background-color: white;">The diminution of personalization algorithms and virality also plays into how Snapchat treats news. Snapchat’s primary format is called a Story, a slide show of a user’s video clips that are played in chronological order. This, too, is an innovation; before Snapchat, much online content, from blogs to tweets, was consumed in reverse chronological order, from the most recent to the oldest. Snapchat’s Stories, which have since been widely copied, ushered in a more natural order — start at the beginning and go from there.</span></span><br />
<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: white;"><br /></span>Now we know that for many, many years Pandora has historically been in the business of hiring warehouses full of of people (music lovers) to mark up music recordings and drive personalisation of the Pandora radio stations. Experts in the monetisation businesses (called VCs and Private Equity) would wonder how Pandora will ever make money if it has to actually pay people to create the massive store of information to drive its playlists. It is correct that Pandora struggled with this expense for many years. </span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span>
<span style="font-family: Times, Times New Roman, serif;">Royalties have to be paid to the record labels by streaming services, so Pandora paid lower royalties for their radio stations, where customers could not choose exactly what would be played. They simply were presented with radio stations. That kept royalty costs down. Spotify and other services paid higher label royalties to deliver 'on demand' streaming, playing the exact song the customer requested.</span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span>
<span style="font-family: Times, Times New Roman, serif;">The unbelievable value placed on Snapchat is probably a result of the human intervention. Nice story that humans are coming back (at least with snapchat).</span>Anonymoushttp://www.blogger.com/profile/05044720810579744281noreply@blogger.com0tag:blogger.com,1999:blog-1958954910527468192.post-62575246074550560842017-01-17T00:30:00.002+00:002017-01-17T00:39:24.777+00:00Blockchain - if it is good enough for a currency, its good enough for royalty systemsThe beauty of blockchain technology is that it offers a public ledger of transactions. The ledger cannot be tampered with. The information in the ledger is irrepudiable. It is the actual history of the transaction. No argument.<br />
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So we can see why companies are getting in on the act of patenting aspects of the technology in order to control the IP. The Economist has an article about this.<br />
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http://www.economist.com/news/business/21714395-financial-firms-and-assorted-startups-are-rushing-patent-technology-underlies<br />
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You can see that this is very important for the protection of IP. I was involved in the build of a major royalty system back in the 1990s when the internet was beginning to mature, and the organisational complexity of collecting and managing the complex sets of information are enormous. There are so many interested parties, with different agendas.<br />
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Thus the fascination of a blockchain technology to provide transparency on music usage and clear up royalty liabilities is attractive, highly complex, and becoming more of a possibility.<br />
<br />
Most creative work of humankind can now be expressed in a digital format. Whether music, books, journalism, research, artwork, design, architecture and more. One of the few artistic creative pursuits which cannot be digitised is sculpture. The other is music performance, so much more commercial than digital recordings.<br />
<br />
So engineers and scientists and businessmen are thinking through the ledger required to run royalty systems. Imagine each music recording having a digital blockchain piece of code, which can track how many times it is played. That information can be kept in a master ledger, so every 'play' on any device anywhere in the world will be registered. That is revolutionary, in terms of tracking activity.<br />
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It is rather like streaming music services, which track each play of a song. Those plays generate royalties and payments. This is very, very different to last century when records were sold and no one knew who listened, or how many times they listened. Now publishers and record companies can have a good chance of knowing exactly how many plays and by whom.<br />
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Imagine blockchain technology recording all that information in a nice secure manner. Imagine people having an account associated with their usage of digital creative works. Imagine the originators of creative works being accurately rewarded.<br />
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It is a far off dream, yes. But the possibility is there, and it will be rather amusing, depressing, challenging and illuminating to follow the way in which this technology matures. Imagine musicians making good money from recordings again. The world is a' changin'.Anonymoushttp://www.blogger.com/profile/05044720810579744281noreply@blogger.com1tag:blogger.com,1999:blog-1958954910527468192.post-15388321215620682312017-01-13T13:34:00.001+00:002017-01-17T00:16:52.291+00:00Licensing in advance of the commercial launchWhen licensing content for a digital product (whether a book, music recording, film, perfume ad, TV show) the owner of the content will have high aspirations for their wonderful IP. They may even be demanding, and use that wonderful phrase, 'Well, if you want the Rolls Royce of content, if you want our content, well it is expensive. We like that. That is why we are so successful. You need <i>our</i> content, and you must pay the right price for it.<br />
<br />
How does a business forecast the commercial value of IP in an electronic format? Electronic generally has destroyed the value of IP which brought enormous revenue as physical product (books, newspapers, music recordings, video releases).<br />
<br />
So the product development has a large licensing cost from inception. This means in addition to all the technical costs and product development, design and production costs the licensing must be paid as a fee and most likely a royalty on sales as well.<br />
<br />
How does the publisher juggle this? For example Spotify have to pay very, very large sums of money to the major record labels which own the recordings, and to the publishers which represent the authors of the songs (from the Beatles and Rolling Stones to Adele and new artists).<br />
<br />
There is a great commercial tension. The owners of the IP can increase their absolute fee, and increase the percentage of gross sales they demand. This means that the distributor when successful can push back to try and maintain their margin. But all too often it is the IP owner with the power, and the IP owner can take the lion's share of revenue, leaving the distribution channel in their debt.<br />
<br />
But the distribution channel also has power, a new type of power. This is because the distributor knows the customer. The distributor clearly knows the customer better now than at any time in the history of the planet. Knowing the customer is power, because algorithms will show what types of product they will like, and that enables the distributor to create the right kind of new content.<br />
<br />
So the Distributor bites back at the IP Owner. Look at the way in which Netflix and Amazon have funded films based on their knowledge about customer tastes.<br />
<br />
So the license fee is a duel. It is a permanent fight, between the IP content owner and the distributor. In some cases there are interesting ways of dealing with the commercial tension. For example with a major IP content owner, one distributor offered a new model on a take it or leave it basis. You can see the potential revenue, IP owner. Look on the revenue and we can uniquely deliver this revenue. But we will only do so if you lower the content fee. Without a lower fee for the IP we cannot survive, and you get nothin. Therefore IP owner, please play ball, and let's keep the commercial opportunity survive.<br />
<br />
See further posts on the pattern of the new IP deals.<br />
See further posts on the coopetition of distributors creating new content, and competing with their suppliers.<br />
See further posts on strong-arm techniques of sites re-posting content they did not develop, but they get the advertising revnue (eg. Google News and it's controversy)Anonymoushttp://www.blogger.com/profile/05044720810579744281noreply@blogger.com0tag:blogger.com,1999:blog-1958954910527468192.post-15334307432802254632016-11-10T15:32:00.001+00:002016-11-10T15:32:24.571+00:00China's control of IP<br /><br />In China, the element of control is legendary. Now we know that strict regulation is certainly an enemy of technological progress. But tech giants are more likely to be worried about the requirement to open up their data to the authorities in China.<br /><br />There are fears that China’s new cybersecurity rules may block western innovation. To quote the MIT Technology Review, "The rules, announced Monday, will provide central Chinese authorities with greater powers over the monitoring of data and hardware. Notably, the laws will open companies up to far greater scrutiny from the government, demanding that Internet firms coöperate with the state’s criminal investigations and provide full access to data if officials suspect them of wrongdoing."<br /><br /> We have seen since Stalinist times that the authorities can ride in on a whim. Without even a suspicion of wrongdoing when they simply wish to monitor and find problems.<br />
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We already know that in China it is difficult to protect IP, so music, film, books and other creative works are pirated and made freely available. However when the 'West' finds out information about Chinese citizens the authorities wish to know about it.<br />
<br />
After the election of Trump in the US it is possible that the American Dream of the last century will be changed, and possibly loose its allure and excitement. At the same time, we may find that moves like this lead to the faster rise of Asia as a controlling power in the world. <br />
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<br />
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Read more:<br />
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https://www.technologyreview.com/s/602812/chinas-new-cybersecurity-rules-may-block-western-innovation/<br /><br /> Anonymoushttp://www.blogger.com/profile/05044720810579744281noreply@blogger.com0tag:blogger.com,1999:blog-1958954910527468192.post-66781429037339936792016-10-24T22:32:00.000+01:002016-10-24T22:32:08.334+01:00Film, IP, China. Controlling perceptions of a country. <span style="-webkit-text-stroke-width: 0px; background-color: white; color: #333333; display: inline !important; float: none; font-family: Georgia, serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: normal; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">Wang Jianlin, chairman of the Dalian Wanda Group, the Chinese conglomerate that is emerging — controversially — as a superpower in the entertainment business is eloquent about who the Chinese company bought </span><span style="-webkit-text-stroke-width: 0px; background-color: white; color: #333333; display: inline !important; float: none; font-family: Georgia, serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: normal; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"><span class="Apple-converted-space"></span></span><a href="http://www.nytimes.com/2012/05/21/business/global/amc-theater-deal-links-china-to-hollywood.html" style="-webkit-text-stroke-width: 0px; background-color: white; color: #879cb4; font-family: Georgia, serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: normal; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">AMC Theaters</a><span style="-webkit-text-stroke-width: 0px; background-color: white; color: #333333; display: inline !important; float: none; font-family: Georgia, serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: normal; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"><span class="Apple-converted-space"> </span>and<span class="Apple-converted-space"> </span></span><a href="http://www.nytimes.com/2016/01/13/business/dealbook/china-dalian-wanda-legendary-entertainment.html" style="-webkit-text-stroke-width: 0px; background-color: white; color: #879cb4; font-family: Georgia, serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: normal; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">Legendary Entertainment.</a><br />
<br />
"<span style="-webkit-text-stroke-width: 0px; background-color: white; color: #333333; display: inline !important; float: none; font-family: Georgia, serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: normal; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">But what about concerns that Wanda is moving aggressively in Hollywood as part of a move by the Communist Party to control the portrayal of China on screen?<span class="Apple-converted-space">"</span></span><br />
<span style="-webkit-text-stroke-width: 0px; background-color: white; color: #333333; display: inline !important; float: none; font-family: Georgia, serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: normal; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"><span class="Apple-converted-space"><br /></span></span>
<span style="-webkit-text-stroke-width: 0px; background-color: white; color: #333333; display: inline !important; float: none; font-family: Georgia, serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: normal; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"><span class="Apple-converted-space">They have </span></span><span style="-webkit-text-stroke-width: 0px; background-color: white; color: #333333; display: inline !important; float: none; font-family: Georgia, serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: normal; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">established a major incentive program to lure movie and TV production to the 408-acre Qingdao Movie Metropolis. This involved a 40% rebate on production expenditures.</span><br />
<span style="-webkit-text-stroke-width: 0px; background-color: white; color: #333333; display: inline !important; float: none; font-family: Georgia, serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: normal; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"><br /></span>
<span style="-webkit-text-stroke-width: 0px; background-color: white; color: #333333; display: inline !important; float: none; font-family: Georgia, serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: normal; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">The incentives plan was to be announced by Mr. Wang; Eric Garcetti, the mayor of Los Angeles; Cheryl Boone Isaacs, the president of the Academy of Motion Picture Arts and Sciences; and Jack Gao, the head of Wanda’s Cultural Industry Group.</span><br />
<span style="-webkit-text-stroke-width: 0px; background-color: white; color: #333333; display: inline !important; float: none; font-family: Georgia, serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: normal; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"><span class="Apple-converted-space"> </span></span><br />
<span style="-webkit-text-stroke-width: 0px; background-color: white; color: #333333; display: inline !important; float: none; font-family: Georgia, serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: normal; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"><span class="Apple-converted-space">So the world is changing as IP and creativity is controlled by new interests, new entrants, new countries, new types of people, new perspectives. It was ever thus. New people taking control in the same ways as before, but with contemporary scale.</span></span><br />
<span style="-webkit-text-stroke-width: 0px; background-color: white; color: #333333; display: inline !important; float: none; font-family: Georgia, serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: normal; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"><span class="Apple-converted-space"><br /></span></span>
<span style="-webkit-text-stroke-width: 0px; background-color: white; color: #333333; display: inline !important; float: none; font-family: Georgia, serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: normal; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"><span class="Apple-converted-space">http://mobile.nytimes.com/2016/10/18/business/media/dalian-wanda-goes-on-an-entertainment-shopping-spree.html</span></span><br />
<span style="-webkit-text-stroke-width: 0px; background-color: white; color: #333333; display: inline !important; float: none; font-family: Georgia, serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: normal; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"><span class="Apple-converted-space"><br /></span></span>
<span style="-webkit-text-stroke-width: 0px; background-color: white; color: #333333; display: inline !important; float: none; font-family: Georgia, serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: normal; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"><span class="Apple-converted-space"><br /></span></span>
<span style="-webkit-text-stroke-width: 0px; background-color: white; color: #333333; display: inline !important; float: none; font-family: Georgia, serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: normal; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"><span class="Apple-converted-space"><br /></span></span>Anonymoushttp://www.blogger.com/profile/05044720810579744281noreply@blogger.com0tag:blogger.com,1999:blog-1958954910527468192.post-83932396886981946742016-10-22T07:30:00.000+01:002016-10-22T07:30:00.150+01:00Knowledge Graphs - semantic indexingGoogle became famous for Knowledge Graphs over recent years, bringing together all tine information on the public internet about people, places, ideas and so on.<br />
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This is actually semantic indexing. It has been around for a long time. It is rather useful because 'machines' can assemble relevant information, and give a human reader insights they did not notice before. Those machines start to seem rather 'clever' when really they are simply processing enormous amounts of information in a structured manner.<br />
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We have Knowledge Graphs of Musicians, Artists, performers, composers and so on. Look at this huge range from Orlando Gibbons to Adele:<br />
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Orlando Gibbons<br />
http://musicweb.academicrightspress.com/artist/50b144fd-2012-4cd9-be65-62a09c3ddb44/Orlando%20Gibbons<br />
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Adele<br />
http://musicweb.academicrightspress.com/artist/cc2c9c3c-b7bc-4b8b-84d8-4fbd8779e493<br />
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David Bowie<br />
http://musicweb.academicrightspress.com/artist/5441c29d-3602-4898-b1a1-b77fa23b8e50/David%20Bowie<br />
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Bob Dylan<br />
http://musicweb.academicrightspress.com/artist/72c536dc-7137-4477-a521-567eeb840fa8<br />
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So enjoy the thrill of finding relationships between Artists who worked together. It gets better and better as our project with a computer science department at a major university extends its findings.Anonymoushttp://www.blogger.com/profile/05044720810579744281noreply@blogger.com0tag:blogger.com,1999:blog-1958954910527468192.post-73559589312944685602016-10-20T19:32:00.000+01:002016-10-20T19:32:09.471+01:00Publishers need to please those who pay the billsAdvertising has paid for the costs and profits of advertisers for many centuries. In the Eighteenth Century the rags and pamphlets in London, Berlin, Moscow, Paris and Rome frequently had advertiser messages.<br />
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Nothing new in the electronic world. Well, it is different because electronic publishing allows us to count how many people see it, and estimate how many people read the ad, and measure how many people tap on the ad.<br />
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So who pays the most? Large corporations. It was ever thus.<br />
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Except sometimes a statistical outlier will raise the money to put their message in the publication. But usually it is the large corporations. How does this affect reporting? Even pop starts use their music to advertise products which would have been unthinkable in the 1970s. They would never have done it then, but because their recordings are now electronic and easily 'shared' with the world, needs to generate revenue have resulted in a different perspective on advertising. Pride in dealing with the big sponsors.<br />
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Control by the moneyed class. It was ever thus. So some bemoan the fact that Brexit Britain will be funded by China, and become a puppet state of China. Well, er... not that but it may become rather beholden to China in some unexpected ways. As China's outpost in Europe, paying the bills, China may call some shots.<br />
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This will arrect IP as well. We can expect that Film and TV may well be a commercial casualty, unable to charge consumers in China in the way the copyright owners expected. Food for thought.<br />
<br />Anonymoushttp://www.blogger.com/profile/05044720810579744281noreply@blogger.com0tag:blogger.com,1999:blog-1958954910527468192.post-35458397026926245462016-10-16T10:15:00.001+01:002016-10-16T10:15:06.007+01:00We are all librarians now, filtering our swim through electronic informationLibrarians have been the gatekeepers of information for their patrons for many centuries. They would make decisions on books for purchase, know where additional books could be accessed, know where journal articles were stored, know which bibliographic information would benefit a particular researcher.<br />
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Now each researcher, each scholar, has a world, a planet, seemingly a universe of information at their 'electronic fingertips'. Most people do not hesitate in impulsively saying, 'I know how to answer that' and launch on a search, and on reflection realise they need the assistance of a librarian to direct them towards relevant resources.<br />
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How many librarians regret the manner in which library patrons do not seek their advice. So the patrons go on long winded searchers? Could their research have been speeded up, or at least focused? Probably.<br />
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Then a question arises about the value of information when it is electronic.<br />
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How do we inform library patrons that content, data, information, databases are paid for and not just available like an Internet search?<br />
- Some companies will not license their books for electronic editions. They fear that electronic means automatic piracy.<br />
- Some companies will not license data for academic research. They fear it will be copied and made available to university colleagues at other institutions.<br />
- Some distributors of electronic databases worry deeply that the 'data' will be 'out there' and the value of the database will fall.<br />
- Focus is on contemporary data.<br />
- How quickly does information go into the public domain, when copyright holders would prefer to keep it copyright during the duration of their ownership of the information?<br />
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The whole concept of Public Domain is changing. An art museum can no longer stop tourists making photos of each painting on its walls. Will licensed academic information become 'Public Domain' in the same way? Simply because it is so easy to do? Simply because students do not perceive licensed information as any different to the free internet?<br />
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Already mighty upheavals are underway.Anonymoushttp://www.blogger.com/profile/05044720810579744281noreply@blogger.com0tag:blogger.com,1999:blog-1958954910527468192.post-75227104737966106072016-10-10T08:30:00.000+01:002016-10-12T09:04:52.472+01:00Where is the money in IP?<div dir="ltr" id="docs-internal-guid-4cce6043-ab85-909e-480c-65cbd38dd2aa" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">Where is the money in IP? Advertising plays a key role.</span></div>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">For centuries newspapers have had ads. In Abraham Lincoln’s day, during the American civil war, newspapers were just a few cents and were read by people at all levels of society. Couriers on horseback would carry speeches from the East Coast to the West Coast within days of Lincoln and his Team of Rivals presenting the speech to packed houses in the midst of political turmoil.</span></div>
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;"><br /></span></div>
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">Everyone could know what was going on. The speeches lasted hours. The full text was published by many local newspapers throughout the land. Ubiquitous. Dinner conversations and breakfast dialogues focused on points in the speeches.</span></div>
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;"><br /></span></div>
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">Today it is electronic. The newspaper publishers do not have a way of restricting readership to paid editions. Their texts are 'everywhere' on their own websites, and re-published 'everywhere'. So where does the money come from?</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">We have seen the Guardian in the UK expand into the USA with it's particular brand of publishing. This is to drive advertising. In addition, they are asking readers to please pay something towards their costs with popup links asking readers to pay £49 for the pleasure of reading.</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">So it is an echo of the business model in Abe Lincoln's day. It is the advertising that counts, not the paying public.</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">But there are strains. Will readers fund the operation out of the goodness of their hearts? At what point is a paywall constructed?</span></div>
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<span style="font-size: small;"><span style="font-weight: normal;">
<b>Guardian asking readers to donate money to continue its 'intelligent journalism'</b></span></span></h1>
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In a piece revealing the London-based Guardian had 17 million hits to
its website as the Brexit vote was counted last Friday, Ms Viner (Editor) urges
readers to sign up as "supporters" paying £5 per month or to make a one
off donation. </div>
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Anonymoushttp://www.blogger.com/profile/05044720810579744281noreply@blogger.com0tag:blogger.com,1999:blog-1958954910527468192.post-9321252131086476842016-10-09T23:16:00.000+01:002016-10-09T23:39:28.947+01:00How can creative people make money in the electronic world? I asked Eric Schmidt of Google in July 2016<div dir="ltr" id="docs-internal-guid-4cce6043-ab82-168a-f847-873dfea77990" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">How must copyright holders make money? I asked Eric Schmidt, the Executive Chairman of Alphabet/Google.</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">The Electronic world has changed all that controlled selling of creative content. I asked Eric Schmidt, the Executive Chairman of Alphabet/Google how creative people can be rewarded and compensated when search is so precise it will find a version of creative content available for free, somewhere out there.</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">He answered as you can hear here. Listen to minutes 6-9.</span></div>
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<a href="https://drive.google.com/open?id=0B59pvqYHM46ZN3BfMjRXX2Y4c0E" style="text-decoration: none;"><span style="background-color: transparent; color: #1155cc; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: underline; vertical-align: baseline;">https://drive.google.com/open?id=0B59pvqYHM46ZN3BfMjRXX2Y4c0E</span></a></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">Eric Schmidt says in July 2016 at the Google Campus in London, with sincerity, that they struggled with this. 95% of the revenue comes from branding, merchandising, endorsements and so on. Revenue comes from adjacent activities. What seems to have happened is that you are able to monetise fame. The product remained very popular when ‘ubiqutous’ and available electronicall, but you made your money in a different way. Writers are making more money than they did 20 years ago because of higher speaking fees, endorsements and so on. ‘We looked at this, and in aggregate the size of the total market place for the type of content you are talking about has grown significantly in terms of total dollars. But your strategy to make money has been forced to change. The model changed from monetising your creative output directly to one as you say, in an adjascent way.’</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">This means that owners of copyright, the authors, musicians, journalists, teachers and the publishing companies need to accept that their creative work will be electronically available. They must therefore find ways to make money in adjacent ways. Musicians play more concerts, where they can control the rarity value and keep ticket prices high. Authors can go on speaking tours or endorse products. We see commercial relationships which artists of the 1970s would have frowned on as selling out! How the world changes. It changes in so many ways as owners of IP find new ways to do the same old thing: follow the money.</span></div>
Anonymoushttp://www.blogger.com/profile/05044720810579744281noreply@blogger.com0tag:blogger.com,1999:blog-1958954910527468192.post-83445148207006976472016-10-09T23:12:00.003+01:002016-10-09T23:12:53.337+01:00Copyright in the electronic world<div dir="ltr" id="docs-internal-guid-4cce6043-ab7d-17ea-f380-683c8e4c68fe" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">In the past copyright was protected on a physical object. For hundreds of years books and newspapers were physical objects.</span></div>
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<span style="background-color: transparent; color: black; font-family: Arial; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;"> </span></div>
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<span style="background-color: transparent; color: black; font-family: Arial; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">Way back in the 1990s copyright material was sold on physical objects, and it was relatively straightforward to manufacture, distribute, manage the supply and set the price. Whether records, pictures, books, articles, the creative ‘content’ was captured on paper, vinyl, CDs, DVDs and sold in a controlled market.</span></div>
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<span style="background-color: transparent; color: black; font-family: Arial; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">Yes, there was piracy, which in the music business was considered to be about 10% of worldwide sales in 1999 when large scale online piracy began with Napster. </span></div>
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<span style="background-color: transparent; color: black; font-family: Arial; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">When all consumers of IP and copyrighted material have an electronic device they have a manufacturing plant which takes the place of the printing presses, the record manufacturers, the movie cinemas, the TV broadcasters and cable/satellite companies. Each consumer is a hyper manufacturer of potentiallly copyrighted material. They are encouraged to be creative, and share (facebook, twitter, linkedin and more).</span></div>
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<span style="background-color: transparent; color: black; font-family: Arial; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">So the result is that the creative content, the IP, is ubiquitous. It is everywhere. The artists must survive. Somehow. That has been the struggle of the last twenty years. Read on for ways in which the challenge was addressed. </span></div>
Anonymoushttp://www.blogger.com/profile/05044720810579744281noreply@blogger.com0