- My xoxo Talk (Bryce Roberts) — about indie.vc and the experience of trying something good in the investment world. You won’t believe what happened next …
- 10 More Robotics Companies Acquired (Robohub) — companies of all types and sizes are finding strategic reasons to acquire robotic ventures to add to their arsenal of products and services because they don’t want to be left behind.
- The Past, Present, and Future of the Music Biz — you might not agree with the conclusions, but the numbers are horrifying^W edifying. The U.S. concert industry has nearly tripled since 1999 (when recorded music sales peaked). Yet, what’s typically overlooked by this narrative is that the vast majority of this growth – 83% to be exact – has gone to non-Top 100 touring artists. In 2000, the Top 100 tours (which included ‘NSYNC, Metallica and Snoop Dogg & Dr. Dre) collected nearly 90% of annual concert revenues. Today, that share has fallen to only 44%.
- U.S. Web Design Standards — U.S. Digital Service and 18F put together a reusable component library and style guide for U.S. Government apps.
Andrew Sorensen's cyberphysical music-making demonstrated programming real-time systems in real time.
Music and programming share deep mathematical roots, but have very different senses of “performance”. At OSCON, Andrew Sorensen reunited those two branches to give a live “concert” performance as a keynote. Sorensen brought his decade of “live coding musical concerts in front of an audience” to a real-time demonstration of Extempore, “a systems programming language designed to support the programming of real-time systems in real time”:
“Extempore is designed to support a style of programming dubbed ‘cyberphysical’ programming. Cyberphysical programming supports the notion of a human programmer operating as an active agent in a real-time distributed network of environmentally aware systems.”
BF Maker, Wikiseat, Decentralising Software, and Streaming Economics
- BF Skinner’s Baby Make Project (BoingBoing) — I got to read some of Skinner’s original writing on the Air-Crib recently and couple of things stuck out to me. First, it cracked me up. The article, published in 1959 in Cumulative Record, is written in the kind of extra-enthusiastic voice you’re used to hearing Makers use to describe particularly exciting DIY projects.
- Wikiseat — awesome Maker education project. (via Claire Amos)
- Redecentralize — project highlighting developers and software that disintermediates the ad-serving parasites preying on our human communication.
- The Internet Will Suck All Creative Content Out of the World (David Byrne) — persuasively argued that labels are making all the money from streaming services like Spotify, et al. Musicians are increasingly suspicious of the money and equity changing hands between these services and record labels – both money and equity has been exchanged based on content and assets that artists produced but seem to have no say over. Spotify gave $500m in advances to major labels in the US for the right to license their catalogues.
Amen Break, MySQL Scale, Spooky Source, and Graph Analytics Engine
- The Amen Break (YouTube) — fascinating 20m history of the amen break, a handful of bars of drum solo from a forgotten 1969 song which became the origin of a huge amount of popular music from rap to jungle and commercials, and the contested materials at the heart of sample-based music. Remix it and weep. (via Beta Knowledge)
- The MySQL Ecosystem at Scale (PDF) — nice summary of how MySQL is used on massive users, and where the sweet spots have been found.
- Lab41 (Github) — open sourced code from a spook hacklab in Silicon Valley.
- Fanulus — open sourced Hadoop-based graph analytics engine for analyzing graphs represented across a multi-machine compute cluster. A breadth-first version of the graph traversal language Gremlin operates on graphs stored in the distributed graph database Titan, in any Rexster-fronted graph database, or in HDFS via various text and binary formats.
Location Data, Online Science, Mythbusting for Education, and Cheap Music For All
- Reading Runes in Animal Movement (YouTube) — accessible TEDxRiverTawe 2013 talk by Professor Rory Wilson, on his work tracking movements of animals in time and space. The value comes from high-resolution time series data: many samples/second, very granular.
- Best Science Writing Online 2012 (Amazon) — edited collection of the best blog posts on science from 2012. Some very good science writing happening online.
- Designing Effective Multimedia for Physics Education (PDF) — Derek Muller’s PhD thesis, summarised as “mythbusting beats lectures, hands down”. See also his TED@Sydney talk.
- Melomics — royalty-free computer-generated music, all genres, for sale (genius business model). Academic spinoff from Dr. Francisco J. Vico’s work at UMA in Spain.
Where is classical music publishing headed now that the great works are available for free online?
The job of a publisher is to identify and cultivate talent, underwrite the writing process, and distribute the result. The publishing industry has been wringing its hands about the future of the print book for some time, but that model is sound (in the abstract) regardless of whether a book is printed on paper or transmitted over the Internet to a paying reader.
But what if you’re a publisher of works that have been in the public domain for a long time? The talent has already been identified and the writing has already been done, so the only value to be added is in editing, printing and distributing. That pretty much describes the business of publishing classical music scores, and the amount of value that publishers add varies greatly — between Dover, which mostly produces cheaply-bound facsimiles of out-of-copyright editions, and the German publishers Barenreiter and Henle, which produce beautifully printed scholarly editions.
Regardless of quality, all of these publishers face disruption in the form of the International Music Score Library Project, which makes 67,927 works of public-domain classical music available, for free, as scanned scores from academic music libraries. Traditional publishers rely on sales of warhorses like Beethoven’s piano sonatas to fund their operations, and that’s precisely what’s most readily available at IMSLP. It’s as though Knopf needed to sell Great Expectations to supply Robert Caro’s typewriter ribbon.