Comment la musique se diffuse sur les réseaux mobiles et les smartphones ?
Retour sur le succès de l'iphone et des sonneries pour iphone avec le téléchargement gratuit proposé sur Internet et les principaux moteurs de recherche de musique.
Comment sont organisés les droits d'auteur dans l'industrie musicale et comment tout cela est géré avec les possibilités offertes par le média Internet.
2. www.mediafuturist.com
This has been the music industry’s response
to almost all new innovations and changes:
...usually with detrimental consequences for the Artists and Writers
2Wednesday, July 2, 2008
6. www.mediafuturist.com
The Abject Failure of Music Protection & Control
Trying to control digital distribution via technical protection
measures (DRM / TPM) has failed miserably, and trying to
control digital distribution via the Networks will fail, too.
6Wednesday, July 2, 2008
7. www.mediafuturist.com
A message to IFPI BPI RIAA CRIA:
Say Goodbye to the World of Scarcity
Source: The LongTail (Chris Anderson)
7Wednesday, July 2, 2008
9. www.mediafuturist.com
DISRUPTION
Disruption is good.
Disruption is inevitable.
Disruption is where we must to put our money.
Disruption in the Music Industry = the Creators
and the Users are taking back Control.
What do Amazon Google Nokia Sirius/XM Wordpress Linux
Skype Wikipedia Craigslist Apple Facebook Last.fm Tivo
Netflix Easyjet .... have in common?
9Wednesday, July 2, 2008
14. www.mediafuturist.com
Without sharing, the music business is dead
"In the past you were what you owned. Now you are what you share."
Charles Leadbeater – We Think
14Wednesday, July 2, 2008
16. www.mediafuturist.com
Instead of Control, Trust is the key to success in a Networked World
http://www.guardian.co.uk/media/2008/apr/21/netmusic
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20. www.mediafuturist.com
Wanting to disconnect people because they
download music is wrong.
Criminalizing 90% of the population because of
a lack of a new model to serve them is wrong.
Exploiting market weaknesses to withhold music
licenses is wrong, and so is ruthlessly
capitalizing on one’s market position
Using copyright as an excuse to extort the users
and the organizations that serve them is wrong
Let’s face it: this is wrong
20Wednesday, July 2, 2008
22. www.mediafuturist.com
T h e P e o p l e
f o r m e r l y
k n o w n a s
C o n s u m e r s
Welcome to
22Wednesday, July 2, 2008
23. www.mediafuturist.com
So what would a web-native model look like?
Respect for the Creators and the Users, first and foremost
Based on providing Access first - and then sell a Copy
Based on Usage Rights, not (just) Copyright
Based on dozens of revenue streams, not solely ‘selling copies’
Driven by fully legalized, open Sharing
Driven by Syndication (i.e. the Users marketing what they like)
Decentralized and networked
Powered partly by Advertising 2.0
Multi-platform access but mostly mobile
Bundled in other services, but basic access ‘feels like free’
Open and transparent business practices
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33. www.mediafuturist.com
The Future of Content *Inspired by Kevin Kelly
Copies of digital content will
Feel Like Free
But:
Context is not
The Experience is not
Packaging [Alt Out] is not
Curation is not
33Wednesday, July 2, 2008
34. www.mediafuturist.com
Kevin Kelly: The key is to offer valuable
intangibles that can not be reproduced at zero
cost, and will thus be paid for:
1. Immediacy - priority access, immediate delivery
2. Personalization - tailored just for you
3. Interpretation - support and guidance
4. Authenticity - be sure it is the real thing?
5. Accessibility - wherever, whenever
6. Embodiment & Experience
7. Patronage - "paying simply because it feels good"
8. Findability & Curation
Read: http://www.kk.org/thetechnium/archives/2008/01/better_than_fre.php
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39. www.mediafuturist.com
"When The winds of change are
blowing, some people are building
shelters, and others are building
windmills." Chinese Proverb
39Wednesday, July 2, 2008