Federico 's Bookmarks

He wants the record industry to become a service industry, selling banking, marketing and A and R services to artists rather than controlling their careers.

The question arises,
though: does the fact that music will be released with little
or no chance of monetary gain drive away
musicians who might wish to make their living on their art?

“Not so far, though I’ve only been doing it for
8 months or so,” said Adrian of Sydney, Australia’s
4-4-2 Music. “But I don’t imagine the well will dry
up too quickly when you take into consideration the fact that
the
globe is opened up to connect with. I have noticed that it’s
electronic-based producers who seem more willing to release music
for free though, probably due to low production costs while maintaining
high production standards.”

While it is true that the bulk
of the music offered through netlabels is from electronic musicians,
the bedroom producer nature of
the genre has allowed a wide range of experimental music to
be offered to a vast audience. The ready availability of this
music
to anyone with an Internet connection gives curious listeners
the chance to explore music they may have never heard otherwise.

There are now more than 100 million web sites on the Internet, which gained 3.5 million sites last month to continue the dynamic growth seen throughout 2006. In the November 2006 survey we received responses from 101,435,253 sites, up from 97.9 million sites last month.

The 100 million site milestone caps an extraordinary year in which the Internet has already added 27.4 million sites, easily topping the previous full-year growth record of 17 million from 2005. The Internet has doubled in size since May 2004, when the survey hit 50 million.

Big Champagne reports that in September the average number of people logged onto p2p networks worldwide was 9,284,558. In September 2003 the figure was 4,319,182. Moreover the increase in the number of users since the 2004 figure of 6,784,574 suggest that there is no slowing in the rate of growth.

Ma, forse, il web 2.0 non è altro che la presa di coscienza di massa della realtà del web, il web sociale: tutto questo si può vedere come un modo di accedere al dialogo, inteso come mezzo per la trasmissione dell'informazione (che nella storia è stato tutto: tribù, bassorilievo, incunabolo, libro, radio, parola susurata al vento), nella sua accezione più alta, o forse solo più attuale, di mezzo di comunicazione interattiva omni direzionale, pervasivo, assoluto e infinito. Web come istanza del mondo reale, semplice evoluzione del dialogo e quindi dell'uomo, della società, il web è il suo contenuto e il contenuto del web è il dialogo, l'essenza dell'uomo, il primo mattone della società.

Il punto d'arrivo di una lenta evoluzione della stessa pulsione, tensione verso la diffusione dell'informazione, del dialogo, della conoscenza:l'unica evoluzione del web è sociale, attraversa la nostra consapevolezza in ogni giorno della nostra vita, pulsa nella società, pervade ogni istante della nostra vita. E' la rottura dell'establishement, più forte delle rivoluzioni, più veloce dei movimenti di massa, perché ha abbattuto le barriere, i vincoli dell'unità di tempo e spazio (pensate al mal di testa di Aristotele oggi...), portando l'uomo al primo stadio di evoluzione non più legato alla crescita biologica, ma alla consapevolezza della differenza sociale. Forse non esitste più il Sapiens Sapiens, ma qualcosa di nuovo.

And no record company schedules to conform to! If this was a major label release, they would have already talked me out of releasing it so close to Christmas when I’d be competing for column inches with Mariah Carey and Coldplay. That would have put the tour in question. As it goes, I can make the DVD available as a special treat for fans at the gigs and from my web site, and hold off on any ‘physical’ distribution until early 2007.

I even have great photos ready to go, shot by friends who came to the gigs with a decent camera. For a small and welcome fee I am sure they will allow me use of the pics on my DVD. I can’t tell you how much better I like this seat-of-the-pants way of working, compared to the ‘proper’ Music Industry way, with the meetings and budgets and egos and huge bills to recoup!

but it is worth considering for a moment what drives this explosion of networked conversations and participation. The reality is that humans are a "WE SPECIES." That means that humans have an innate and fundamental need to connect and communicate.

Here are 8 key points to consider as a commercial broadcaster

1). Attraction = Pull to engage. We are deeply social

2). Co-creation / participation / peer production / collaboration /

persistent conversations

3). Transparency and authenticity are key components of any engagement

initiative.

4). Flowability of content across all media platforms

5). Valuable and contextual content

6). Idea driven

7). Deliver a memorable experience

8). Editorial can link to commercial revenue streams

Quando si guardano le note legali di un CD, si trova copyright 1976 Atlantic Records o copyright 1996 RCA Records. Quando si guarda un libro, invece, ci sarà qualcosa come copyright 1999 Susan Faludi, o David Foster Wallace. Gli autori possiedono i loro libri e li danno in licenza agli editori. Quando il contratto finisce, gli scrittori hanno indietro i loro libri. Ma le case discografiche possiedono i nostri diritti d'autore per sempre.

Il sistema è realizzato in maniera che quasi nessuno viene pagato.