Eloge de la redocumentarisation Titre alternatif de ce billet : Tout ce que vous avez toujours voulu savoir sur la redocumentarisation sans jamais avoir osé le demander. PROLOGUE. La redocumentarisation n'est pas un joli mot. Non. La redocumentarisation est l'un des piliers de la théorie du document défendue par le collectif Roger T. Il existe une définition longue de la redocumentarisation : "Documentariser, c'est traiter un document comme le font traditionnellement les professionnels de la documentation (bibliothécaires, archivistes, documentalistes) : le cataloguer, l'indexer, le résumer, le découper, éventuellement le renforcer, etc. Il existe une définition courte de la redocumentarisation : Il flotte dans l'air comme un parfum de redocumentarisation. La science de l'information a, au fil du temps, construit ses lois. Ce billet se propose de présenter les lois possibles de la redocumentarisation. ***Le postulat de Broudoux. ***La loi d'Ertzscheid :-) ***Le principe d'Enikao ***L'axiome de Cardon. ***Loi de Senett
Not Free: Revenue Innovation For The Music Industry Saul J. Berman's "Not For Free: Revenue Strategies for a New World" offers a solid approach to understanding revenue innovation in a constantly shifting digital landscape. Berman discusses revenue innovation with numerous examples from media companies which he considers canaries in coalmines. Though his examples focus on larger enterprises, the message which should resonate with anyone promoting and selling music or almost anything else, is to examine one's assets and abilities and act flexibly to develop new revenue streams, often from assets already at one's disposal. Berman does take an academic approach but he grounds his perspective with real world examples. Not for Free: Revenue Strategies for a New World by Saul J. Berman shares an IBM segmentation model that is based on media consumption and use of technology. Berman maintains that such segmentation should be the basis for targeting new revenue models. Though Berman's emphasis in "Not for Free
Facets of Web3.0 « Music News Online 10th Anniversary Of Interpol's 'Turn On The Bright Lights' Diehard fans of Interpol know that the 10th anniversary of the American band's first album has come and gone, as "Turn on the Bright Lights" officially celebrated its first decade... The Huffington Post Black Keys Settle Infringement Lawsuits Against Pizza Hut, Home Depot Music News Rolling Stone No details on settlements revealed in court filings... rollingstone.com Adele's '21' Reaches 10 Million in Sales Music News Rolling Stone Album was third-fastest to have achieved the milestone... Is Perfect Pitch In Your Genes? Perfect pitch is one of those traits we often associate with music greats or child prodigies. Norton Records, a National Treasure, Needs Your Help After Hurricane Sandy The undisputed passion for the obscure and glorious music of the past will never change, but sadly Norton's warehouse stock really took a pounding from the tidal flood waters of... Kendrick Lamar Concert Shut Down
TuneCore CEO Says Apple Just Monetized Pirated Music, Reset Music Industry Apple’s new free iCloud and $24.99 a year iTunes Match, "marries the two disparate ideas of consumer convenience and the monetization of pirated music, providing what could be the 'missing links' between consumers, artists, labels, music publishers and the emerging digital music industry," according to Tunecore CEO Jeff Price. "With its launch, the odometer on the music industry is about to reset itself (again)..And the results, I believe, will be stunning." Apple's iCloud differs significantly fom Amazon and Google music storage lockers into which users have to upload all their songs. But the most radical part of iTunes Match, according to Price, is that now rightsholders can "make money off of music not bought the first time around". Bought on iTunesRipped from a CDDownloaded via p2pRipped from a friendDownloaded free and legally from a bandGrabbed from an mp3 blogBought on AmazonMP3 or any other download storeEtc, etc, etc....
MTV Tries Music Discovery: New Tune Or Catch-up? Thirty years ago, MTV gave teenagers access to a world of new music through its musical programming 24/7/365. But over the last decade, the network has gotten further and further away from music, picking up love-to-hate yet hugely popular shows like Jersey Shore, 16 and Pregnant, I Used to be Fat, Skins and My Life as Liz. The yearning for a time when the “M” in MTV stood for “music” has been rehashed and recounted over and over again - and it seemed that there was no going back for the network - until recently. Over the last few months, MTV announced 3 new projects which demonstrate the network’s attempt at returning to its role as a major player in music culture: the MTV Music Meter, MTV Hive, and the O Music Awards. Launched in December and developed in collaboration with The Echo Nest, the Music Meter uses an algorithm that searches through blogs, social media, and video sites, as well as radio play and sales to determine which artists are leading the way in terms of internet buzz.
New Online Listening Rooms Reintroduce The Shared Music Experience This guest post comes from Eliot Van Buskirk, a longtime technology writer for Evolver.fm, CNET, Wired and other publications, two-time book author, and frequent guest on NPR and other media outlet who believes that apps are the future of music. reintroduce Before the advent of recording, music, by necessity, brought groups of people together to listen with the exception of the odd lonely troubadour or lovestruck serenade. Once we could bottle the vibrating air otherwise known as sound, music became something we could summon up for private, on-demand listening - a phenomenon that grew more pronounced as MP3 players and then smartphones became capable of spinning private aural cocoons around us. To torture this metaphor a bit further, those cocoons are now opening up, releasing music fans to flit about together like so many butterflies in a sunlit meadow. Wahwah.fm's iPhone app, which we saw at SXSW, is set to debut in June, bringing group listening to the smartphone.
Ils ont (méta)donné leur avis Article mis à jour le mardi 2 août 2011 Article créé le lundi 4 avril 2011 Version imprimable Interviews Vincent Castaignet Cofondateur/CEO de Musicovery, une smart radio permettant d’écouter la musique par l’ambiance, et responsable Groupe Musique de Cap Digital. Les métadonnées sont-elles un moyen de (re)valoriser la musique ? Elles jouent un rôle clé dans la rencontre entre les artistes, leurs productions et le public. Que faut-il améliorer dans les métadonnées (en terme de qualité ou de quantité) pour répondre à la demande du public ? L’ensemble de ces données, il ne s’agit donc pas seulement de ce que l’on appelle les métadonnées au sens strict (identifiants, genre…), sont aujourd’hui très sous et mal exploitées que ce soit sur le plan de l’identification, la mise en relation entre elles (entre celles du contenu et celles des utilisateurs), et l’accès à ces données/contenus. François-Xavier Nuttall Les métadonnées sont-elles un moyen de (re)valoriser la musique ? Michel Allain Non.
Mark Mulligan: Squaring the Consumption Circle – Why and How the Model Needs Fixing | MIDEMBlog June 29, 2011 Cloud music services are not helping enough. Here's how they could, says independent music industry analyst and MIDEMBlog regular Mulligan By Mark Mulligan I started off 2011 by declaring that the digital music market was facing an impasse. Consumer spending is not growing quickly enough due to a lack of compelling new servicesThe 99 cent download model remains unproven outside of the iTunes ecosystemSmall margins are discouraging investment and new services, driving market consolidationThe economics of free don’t yet add up We Are Not Ready For The Consumption EraAnyone who hasn’t been on Mars this last decade and a half knows that the music industry is undergoing a transformation of seismic proportions. Digital Music Doesn’t Do Enough for Either Side of the Value ChainThat tension between rights holder income and service provider margins is creating fault lines right across the digital music value chain. 1. 2.
The Echo Nest Makes Pandora Look Like a Transistor Radio You music lovers out there probably think we're living in a Golden Age. iTunes, Pandora, Rhapsody, music distribution and discovery couldn't get any better, right? With the proliferation of music sites and apps, we must be at some sort of saturation point, after all, the telos of digital music technology. But spend a bit of time talking to Brian Whitman, cofounder of The Echo Nest, and you realize that we're really in a digital music Stone Age. Sure, we've come a long way, but there's still plenty we can't do--our recommendation engines are limited, as is our ability to sift information automatically from songs (to tell the sex of a singer just from his or her voice, for instance). Let's begin with music recommendation. The Echo Nest crawls the web in search of music and writing about music; it also partners with major labels like Universal and aggregators like 7Digital. What are the uses of data on 30 million songs? Read More: Most Innovative Companies: Pandora
Listening Room Battles The New Antisocial Music Experience Update: Listening Room shut down on December 2, 2011. Read more here. Blame it on headphones, computers, or the solo commute, but it’s undeniable that music listening has become a more solitary experience. Technology may have caused this problem — to be fair, as a side effect of other advances — but perhaps it offers the antidote, too. Listening Room lets anyone create, well, a listening room that friends can join, and anyone in the chatroom can add an MP3 to the virtual room’s virtual record player for all to hear. The site launched in raw form about a month ago and has since stabilized, for the most part, although we encountered one skip in a few hours of listening, and the site froze at one point. All you need to know in order to join a room is its name, and if no room exists by the name you enter, a new room with that name gets automatically created — a smart solution that avoids the need for passwords and complicated invitation processes.
Is The New Digital Ecology More In Harmony With Music Than The Industrial Model Ever Was? In ‘Chaos We Can Stand: Attitudes Toward Technology and Their Impact on the New Digital Ecology’, a recent post on Music Think Tank, Kyle Bylin discusses the collapse of the record industry, with reference to Clay Shirky’s ideas about a new digital ecology and “cognitive surplus”. Fundamentally, this is a transition from a situation of controlled scarcity of creative ‘product’ from a few major players to a flood of creative material as the previous barriers to entry have been demolished. As internet use replaces television watching, and freely available online tools enable learning, creativity, sharing and collaboration, people are shifting from being passive consumers to active participants and creators. Suddenly there is a surplus of ideas, an abundance of creative content. Scene and not herd Prior to the digital revolution, the established record companies - in conjunction with associated broadcast media - effectively prevented anyone but their own artists from gaining exposure.
Rexly Splices Facebook to iTunes for Word-of-Mouth Music Discovery Music fans have plenty of options for discovering music these days: blogs, magazines, newspapers, podcasts, internet radio, YouTube, the Hype Machine, Hitlantis, Discovr, and other too many other apps to mention here. We appreciate these tools, but the tried-and-true method of just asking your friends what they’re listening to still works as well as it ever did, which is the angle taken by a new Facebook music app called Rexly. Bringing music discovery back to its social roots in the real world, Rexly founder and CEO Joel Resnicow and his San Francisco-based team launched Rexly at last week’s TechCrunch Disrupt conference. Currently in public beta, the program provides users with an accurate sample of the songs, albums, and artists their friends are listening to in iTunes, and soon, in other programs too. “I find music the way that other people find music,” says Resnicow. Like most upcoming social media ventures, the biggest problem facing Rexly right now comes down to numbers.
Du contenu roi aux données reines Souvenez-vous… il y a quelques années, le contenu était considéré comme la matière première du web : Celui qui maîtrisait le contenu maitrisait le web (les portails qui agrégeaient de très nombreuses sources de contenu concentraient également l’audience). Puis il y a eu MySpace, les Skyblogs, Facebook, Twitter, FourSquare… et maintenant il parait que c’est la communauté qui est reine. Certes, les plateformes sociales sont indéniablement en haut des tableaux d’audience, mais je reste convaincu que sans contenus une communauté n’est pas viable. Comprenez par là que ce sont les contenus qui alimentent les conversations et font tourner les communautés. De ce point de vue là, les plateformes sociales ne sont qu’un intermédiaire entre le contenu et les internautes. Un intermédiaire à valeur ajoutée, mais qui présente tout de même une certaine fragilité dans sa pérennisation (cf. Les données à la base du… journalisme de données Après les portails de contenus, les portails de données