Tuning Mobile Music Taste with our application BluetunA, disruptive technology, ISP-free, opensource, developers needed, cross-platform, socializing in firstlife, related to last.fm
Crabiz learning services - company profile and referencescrabiz
ย
Our company provides professional services and has experience completing various projects. We have a proven track record of successfully delivering services and references available upon request from past clients who can speak to the quality of our work.
Lecturer Adam Heatherington discussed how cultural factors affect ICT use, focusing on changes in the music industry brought about by the internet. Key points included:
1) The internet has changed how people listen to and access music, allowing them to download individual tracks instead of full albums and listen on mobile devices.
2) While legal downloading has grown popular, illegal file sharing remains a major problem, costing the music industry billions. Law enforcement has targeted some large pirate sites.
3) The music industry has struggled with falling CD prices and a shift to downloads, though physical media remains popular. Downloads offer advantages like unlimited selection and immediate access to listen on portable devices.
After the heroism, collaboration: Organizational learning and the mobile spacePeter Samis
ย
A presentation given with my colleague and co-author Stephanie Pau on April 16, 2009 at Museums & the Web in Indianapolis. It starts out with a report of inter-departmental collaboration around interpretation planning for exhibitions at SFMOMA and then focuses on mobile technologies, including the results of two evaluations indicating visitor preferences. Finally, we outline future directions for mobile multimedia development at SFMOMA.
The document discusses how the internet is changing media consumption habits. It notes that social media and user-generated content are driving new trends like "water cooler culture" where news spreads through casual online discussions. The internet is also fragmenting traditional media like books, music and films by emphasizing immediacy over original thought. Looking ahead, the document predicts that the internet will further blur lines between media like integrating television and computers, allowing live TV and radio on mobile devices, and enabling new forms of interactive entertainment.
The document discusses the challenges facing the music industry as it transitions to the digital era. It describes three ages of digital music defined by the rise of file sharing, paid music services, and the current multi-tiered marketplace. Key strategic objectives like offsetting declining CD sales and competing with piracy have not been met. The future music industry will be smaller and more complex. Content should break free of rigid album formats and leverage live, multimedia, and interactive content across multiple release windows and business models.
This document summarizes a proposal for a new music creation and collaboration platform called Midinote. The platform aims to [1] make music creation more accessible by developing a web-based digital audio workstation (DAW) that allows users to create, upload, download and share music online; [2] facilitate a social music community where artists can share their work directly with fans through personalized online stores; and [3] enhance the streaming experience by supporting interactivity with music. The proposal outlines plans to develop Midinote using the JUCE framework for cross-platform compatibility, and pitches it as an all-in-one music platform that integrates cloud-based collaboration, customization and innovation to set it apart from
The document discusses Spotify's "freemium" business model. It summarizes that Spotify aggregates music content from rights holders and distributes it to consumers for free with ads or through a subscription without ads. Spotify's model has generated billions in revenue and disrupted the traditional music industry model. It provides value to both music listeners and advertisers through its multi-sided platform approach.
Crabiz learning services - company profile and referencescrabiz
ย
Our company provides professional services and has experience completing various projects. We have a proven track record of successfully delivering services and references available upon request from past clients who can speak to the quality of our work.
Lecturer Adam Heatherington discussed how cultural factors affect ICT use, focusing on changes in the music industry brought about by the internet. Key points included:
1) The internet has changed how people listen to and access music, allowing them to download individual tracks instead of full albums and listen on mobile devices.
2) While legal downloading has grown popular, illegal file sharing remains a major problem, costing the music industry billions. Law enforcement has targeted some large pirate sites.
3) The music industry has struggled with falling CD prices and a shift to downloads, though physical media remains popular. Downloads offer advantages like unlimited selection and immediate access to listen on portable devices.
After the heroism, collaboration: Organizational learning and the mobile spacePeter Samis
ย
A presentation given with my colleague and co-author Stephanie Pau on April 16, 2009 at Museums & the Web in Indianapolis. It starts out with a report of inter-departmental collaboration around interpretation planning for exhibitions at SFMOMA and then focuses on mobile technologies, including the results of two evaluations indicating visitor preferences. Finally, we outline future directions for mobile multimedia development at SFMOMA.
The document discusses how the internet is changing media consumption habits. It notes that social media and user-generated content are driving new trends like "water cooler culture" where news spreads through casual online discussions. The internet is also fragmenting traditional media like books, music and films by emphasizing immediacy over original thought. Looking ahead, the document predicts that the internet will further blur lines between media like integrating television and computers, allowing live TV and radio on mobile devices, and enabling new forms of interactive entertainment.
The document discusses the challenges facing the music industry as it transitions to the digital era. It describes three ages of digital music defined by the rise of file sharing, paid music services, and the current multi-tiered marketplace. Key strategic objectives like offsetting declining CD sales and competing with piracy have not been met. The future music industry will be smaller and more complex. Content should break free of rigid album formats and leverage live, multimedia, and interactive content across multiple release windows and business models.
This document summarizes a proposal for a new music creation and collaboration platform called Midinote. The platform aims to [1] make music creation more accessible by developing a web-based digital audio workstation (DAW) that allows users to create, upload, download and share music online; [2] facilitate a social music community where artists can share their work directly with fans through personalized online stores; and [3] enhance the streaming experience by supporting interactivity with music. The proposal outlines plans to develop Midinote using the JUCE framework for cross-platform compatibility, and pitches it as an all-in-one music platform that integrates cloud-based collaboration, customization and innovation to set it apart from
The document discusses Spotify's "freemium" business model. It summarizes that Spotify aggregates music content from rights holders and distributes it to consumers for free with ads or through a subscription without ads. Spotify's model has generated billions in revenue and disrupted the traditional music industry model. It provides value to both music listeners and advertisers through its multi-sided platform approach.
The document discusses the history and technology of peer-to-peer (P2P) file sharing using BitTorrent and issues around copyright infringement. It describes how BitTorrent works by allowing users to simultaneously download different pieces of a file from multiple computers. While P2P technologies enable widespread sharing, copyright holders see it as a threat and have responded with lawsuits against users. The document suggests monetizing online content through advertising or optional paid access as a better solution than legal action against individuals.
The current revolution in the music industry represents great opportunities and challenges for music recommendation systems. Recommendation systems are now central to music streaming platforms, which are rapidly increasing in listenership and becoming the top source of revenue for the music industry. It is increasingly more common for a music listener to simply access music than to purchase and own it in a personal collection. In this scenario, recommendation calls no longer for a one-shot recommendation for the purpose of a track or album purchase, but for a recommendation of a listening experience, comprising a very wide range of challenges, such as sequential recommendation, or conversational and contextual recommendations. Recommendation technologies now impact all actors in the rich and complex music industry ecosystem (listeners, labels, music makers and producers, concert halls, advertisers, etc.).
This document provides an overview of music recommendation research challenges in 2018. It discusses how the music industry is transitioning from a "discover and own" model to an "access" model with the rise of streaming services. It also discusses various data sources and algorithms used for music recommendation, including collaborative filtering, content-based approaches using audio features, and incorporating additional information like text, images, and user context. Finally, it outlines new challenges for music information retrieval research in further improving music discovery and recommendation.
Poster SPOT THE ODD SONG OUT: an online game for collecting music similarity ...Daniel Wolff
ย
We presented this poster on DMRN+7.
Similarity estimation is a key topic in Music Information Retrieval with many applications. In scenarios such as music recommendation, user expectations depend on music similarity. Perceived similarity is specific to the individual user and influenced by a number of factors such as cultural background, age and education.
Our goal is to adapt similarity models to similarity data from users, taking into account cultural groups of users sharing common attributes (cultural indicators). At this point, there are few similarity datasets openly available, and none contains information on user background.
The document describes SoundLoad Music, a platform that helps bridge the physical and digital music worlds. It offers customized music cards that consumers can redeem for digital downloads, counting as official sales. This allows independent artists to level the playing field. When redeemed, the cards collect consumer data and drive traffic to the artist's website while offering a convenient format for fans.
Free and freemium in the music business session outlinepmslides
ย
This document discusses the benefits of freemium business models for digital goods like music. It argues that with digital goods, the marginal cost of additional users is zero, so the maximum reach can be achieved by offering the goods for free. It also notes that information wants to be free on the internet, so free copies will exist regardless, and companies need to focus on converting free users to paying customers. The document provides examples of how musicians can use different tiers of both free and paid content and services to build their brands and fan bases while still generating revenue.
Developments and business models in the music industry @ Noorderslag 2012ottilienieuwenhuis
ย
Digitization has disrupted the music industry's traditional business models and led to an overall decline in revenues. However, it has also lowered costs and increased access to music. Record companies and retailers have suffered while new intermediaries like streaming services have emerged. Artists now have more opportunities to produce and distribute music independently, but their revenues may depend more on live performances. The future of the industry could see greater dependence on new aggregators working with record labels and social media platforms.
This document discusses the emerging trends in social media and how it is transforming marketing. It provides examples of how an individual named RightClick used social media like MySpace to build an online brand and music review blog. RightClick engaged fans on these platforms, driving traffic to share and discuss music. This participation established RightClick as an influencer and opened opportunities to become commercially involved in projects like Sydus.com while also launching a personal music concierge service.
The eyes want to have it: Multimedia Handhelds in the Museum (an evolving story)Peter Samis
ย
A variant of this presentation, titled "Knowledge on Demand, Knowledge in Hand: Visitor-centered mobile multimedia," was delivered on 3 October 2008 at the conference "Knowledge in Demand '08" in Bern, Switzerland.
After the heroism, collaboration: Organizational learning & the mobile spaceStephanie Pau
ย
The document discusses a museum's process of developing interpretive goals for exhibitions and their findings from evaluation studies that showed visitors preferred using multimedia guides provided by the museum rather than their own devices. It proposes developing a new "Mobile Multimedia Guide" for the permanent collection that incorporates touch screens, artist voices, videos and layers of content to improve the visitor experience based on lessons learned.
Spotify was founded in 2006 by Daniel Ek and Martin Lorentzon with the goal of providing online music streaming that was better than piracy. It launched a private beta in 2007 and publicly in 2008 with about 40 employees and 10 million songs. By focusing on improving the user experience of accessing music across devices rather than fighting piracy, Spotify grew to over 10 million users across 7 markets and about 220 employees by 2009.
Internet radio provides new opportunities for niche audiences and customized playlists but also new challenges for radio networks and record companies. It reduces the power of radio networks as gatekeepers and enables low-cost, tailored streaming for very small music tastes. However, record companies want to maintain control and royalty streams and limit streaming functionality to mimic traditional radio. New forms of interaction between listeners, artists and stations are also emerging using tools like Twitter.
Here are some recommendations for gathering market research to address the Sudkurier management team's questions:
1. Conduct a media usage survey of Sudkurier readers and non-readers to understand which other newspapers, magazines, radio stations, websites etc. they consume on a regular basis. This will identify the Sudkurier's main competitors.
2. Design and distribute a reader survey to collect demographic data on readers and understand which sections they find most/least interesting. Include questions about time spent reading different sections. Consider focus groups to get qualitative feedback.
3. Pilot test updated layout designs with readers and get feedback via surveys or focus groups. Assess comprehension, appeal and usability of different designs.
DiSTANTunes is a social music streaming service that allows users to access their home music library from any Internet-connected device. It runs a small server on the user's desktop to scan and stream their music collection through a web-based player without uploading files. Users can promote the service by sharing playlists, doing "Tune-roulette" random song exchanges, and tweeting about songs. The service aims to solve issues with uploading music to clouds and regional restrictions by keeping music on the user's PC and providing worldwide access.
Jamendo at the CC Tech Summit - June 18 2008Pierre Gerard
ย
Jamendo is an online music community that allows users to discover, listen to, and download thousands of albums from over 5,000 artists under Creative Commons licenses for free or for a fee. Artists can upload their music to Jamendo to share advertising revenue and receive donations. Jamendo also partners with companies to allow commercial use of the music in exchange for payments to artists. The site has over 350,000 members, 150,000 tracks from 60 countries, and is adding 300 new albums per week.
The document discusses the impact of digital piracy on the music industry. It defines various forms of piracy like pre-release piracy, downloading, and P2P file sharing. Major record labels like Sony have faced issues with pre-release piracy where whole albums are leaked online before release. Sony has taken steps to combat piracy through partnerships with streaming services and using 360-degree artist deals. The continuing development of digital media technology has significant impacts for both major labels and independent labels in terms of distribution and promotion, though piracy presents challenges, especially for independent labels. Audiences also benefit from more access and choice of music through digital formats and services.
The document discusses the impact of digital piracy on the music industry and how major labels are trying to combat it. It defines various terms related to piracy like streaming, downloading, and P2P file sharing. It provides examples of pre-release piracy damaging artists' sales. Sony has faced issues like Leona Lewis' album being hacked and leaked online pre-release. Sony is taking steps like 360-degree deals with artists and using sites like YouTube and Spotify to stream music legally.
Podcasting is a relatively new form of digital media that allows users to listen to audio files on demand via the internet. It has grown in popularity since 2005 and represents a convergence of traditional radio and new technologies. Podcasting challenges traditional radio by allowing users to choose what they listen to, when they listen, and in what order.
Music in the 3rd Dimension: From 'product' to 'experience'hutchison
ย
Social virtual worlds like Second Life are multi-user virtual environments (MUVEs) that allow participants represented by avatars to interact in real time. MUVEs can enable powerful real-time collaboration and communication between geographically distributed users through object-rich environments, spatial relationships, and shared tools. They are being used by organizations like universities, corporations, and military for applications like presentations, conferences, training, and simulations.
Presented in the panel, "Jewish Music Online: Analog Repositories, Digital Fieldwork, and the Web of Collaborative Tools," at the 42nd Annual Conference of the Association for Jewish Studies, Boston (Mass.), December 20, 2010.
๐๐ง๐ฏ๐๐ข๐ฅ ๐ญ๐ก๐ ๐ ๐ฎ๐ญ๐ฎ๐ซ๐ ๐จ๐ ๐๐ง๐๐ซ๐ ๐ฒ ๐๐๐๐ข๐๐ข๐๐ง๐๐ฒ ๐ฐ๐ข๐ญ๐ก ๐๐๐๐๐๐๐๐โ๐ฌ ๐๐๐ญ๐๐ฌ๐ญ ๐๐๐๐๐ซ๐ข๐ง๐ ๐ฌ
Explore the details in our newly released product manual, which showcases NEWNTIDE's advanced heat pump technologies. Delve into our energy-efficient and eco-friendly solutions tailored for diverse global markets.
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BriansClub.cm, a famous platform on the dark web, has become one of the most infamous carding marketplaces, specializing in the sale of stolen credit card data.
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The document discusses the history and technology of peer-to-peer (P2P) file sharing using BitTorrent and issues around copyright infringement. It describes how BitTorrent works by allowing users to simultaneously download different pieces of a file from multiple computers. While P2P technologies enable widespread sharing, copyright holders see it as a threat and have responded with lawsuits against users. The document suggests monetizing online content through advertising or optional paid access as a better solution than legal action against individuals.
The current revolution in the music industry represents great opportunities and challenges for music recommendation systems. Recommendation systems are now central to music streaming platforms, which are rapidly increasing in listenership and becoming the top source of revenue for the music industry. It is increasingly more common for a music listener to simply access music than to purchase and own it in a personal collection. In this scenario, recommendation calls no longer for a one-shot recommendation for the purpose of a track or album purchase, but for a recommendation of a listening experience, comprising a very wide range of challenges, such as sequential recommendation, or conversational and contextual recommendations. Recommendation technologies now impact all actors in the rich and complex music industry ecosystem (listeners, labels, music makers and producers, concert halls, advertisers, etc.).
This document provides an overview of music recommendation research challenges in 2018. It discusses how the music industry is transitioning from a "discover and own" model to an "access" model with the rise of streaming services. It also discusses various data sources and algorithms used for music recommendation, including collaborative filtering, content-based approaches using audio features, and incorporating additional information like text, images, and user context. Finally, it outlines new challenges for music information retrieval research in further improving music discovery and recommendation.
Poster SPOT THE ODD SONG OUT: an online game for collecting music similarity ...Daniel Wolff
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Similarity estimation is a key topic in Music Information Retrieval with many applications. In scenarios such as music recommendation, user expectations depend on music similarity. Perceived similarity is specific to the individual user and influenced by a number of factors such as cultural background, age and education.
Our goal is to adapt similarity models to similarity data from users, taking into account cultural groups of users sharing common attributes (cultural indicators). At this point, there are few similarity datasets openly available, and none contains information on user background.
The document describes SoundLoad Music, a platform that helps bridge the physical and digital music worlds. It offers customized music cards that consumers can redeem for digital downloads, counting as official sales. This allows independent artists to level the playing field. When redeemed, the cards collect consumer data and drive traffic to the artist's website while offering a convenient format for fans.
Free and freemium in the music business session outlinepmslides
ย
This document discusses the benefits of freemium business models for digital goods like music. It argues that with digital goods, the marginal cost of additional users is zero, so the maximum reach can be achieved by offering the goods for free. It also notes that information wants to be free on the internet, so free copies will exist regardless, and companies need to focus on converting free users to paying customers. The document provides examples of how musicians can use different tiers of both free and paid content and services to build their brands and fan bases while still generating revenue.
Developments and business models in the music industry @ Noorderslag 2012ottilienieuwenhuis
ย
Digitization has disrupted the music industry's traditional business models and led to an overall decline in revenues. However, it has also lowered costs and increased access to music. Record companies and retailers have suffered while new intermediaries like streaming services have emerged. Artists now have more opportunities to produce and distribute music independently, but their revenues may depend more on live performances. The future of the industry could see greater dependence on new aggregators working with record labels and social media platforms.
This document discusses the emerging trends in social media and how it is transforming marketing. It provides examples of how an individual named RightClick used social media like MySpace to build an online brand and music review blog. RightClick engaged fans on these platforms, driving traffic to share and discuss music. This participation established RightClick as an influencer and opened opportunities to become commercially involved in projects like Sydus.com while also launching a personal music concierge service.
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A variant of this presentation, titled "Knowledge on Demand, Knowledge in Hand: Visitor-centered mobile multimedia," was delivered on 3 October 2008 at the conference "Knowledge in Demand '08" in Bern, Switzerland.
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ย
The document discusses a museum's process of developing interpretive goals for exhibitions and their findings from evaluation studies that showed visitors preferred using multimedia guides provided by the museum rather than their own devices. It proposes developing a new "Mobile Multimedia Guide" for the permanent collection that incorporates touch screens, artist voices, videos and layers of content to improve the visitor experience based on lessons learned.
Spotify was founded in 2006 by Daniel Ek and Martin Lorentzon with the goal of providing online music streaming that was better than piracy. It launched a private beta in 2007 and publicly in 2008 with about 40 employees and 10 million songs. By focusing on improving the user experience of accessing music across devices rather than fighting piracy, Spotify grew to over 10 million users across 7 markets and about 220 employees by 2009.
Internet radio provides new opportunities for niche audiences and customized playlists but also new challenges for radio networks and record companies. It reduces the power of radio networks as gatekeepers and enables low-cost, tailored streaming for very small music tastes. However, record companies want to maintain control and royalty streams and limit streaming functionality to mimic traditional radio. New forms of interaction between listeners, artists and stations are also emerging using tools like Twitter.
Here are some recommendations for gathering market research to address the Sudkurier management team's questions:
1. Conduct a media usage survey of Sudkurier readers and non-readers to understand which other newspapers, magazines, radio stations, websites etc. they consume on a regular basis. This will identify the Sudkurier's main competitors.
2. Design and distribute a reader survey to collect demographic data on readers and understand which sections they find most/least interesting. Include questions about time spent reading different sections. Consider focus groups to get qualitative feedback.
3. Pilot test updated layout designs with readers and get feedback via surveys or focus groups. Assess comprehension, appeal and usability of different designs.
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BluetunA - Sharing Mobile Music Taste, The Good, The Bad and the Ugly
1. BluetunA
(The Good, The Bad and The Ugly)
Stephan Baumann, Arianna Bassoli,
Bjรถrn Jung, Martin Wisniowski
Competence Center Computational Culture - DFKI, Germany
London School of Economics and Political Science, UK
Academy of Media Arts (KHM), Germany
2. Coffee
Events
Concerts
CDs
Merchandising
Fandom
People
Waiting
Being in transition
8. NO business model:
- Sharing of profiles of music taste
(property of the music listeners)
Free, opensource application
Free, spam-free matching service
Free bandwidth = bluetooth
Mass penetration = mobile phones
9. Side remark: Why is it free?
No funding, no sponsors involved,
interdisciplinary team effort!
coding: Bjรถrnโs diploma thesis
social studies: Arianna
community building: Flo (Martin)
concept & evangelizing: Stephan
10. Support of cultural patterns:
Meet like-minded people in firstlife
Talk about music
Share music (CC, private copies?)
= Culture!
11. The target audience has limited budget!
Money
Time
Slots of attention
(Games, Web2.0, ...)
12. (1) Download application
(2) Set up profile
by ID3tags (automatic)
by last.fm (connect)
by offer&seek
(3) Search for people nearby
match of profiles
(4) Limits :(
server OR client mode
8 connections in parallel
BluetunA-on-the-go
17. (1) Download application
(2) Set up profile
by ID3tags (automatic)
by last.fm (background)
by offer&seek
(3) Search for people
in a hotspot zone
match of profiles
buddylists
bookmarks
download
(4) Benefit :)
server AND client mode
unlimited(?) connections
BluetunA-hotspot
22. CO-CREATION model
1 Coffeeshop buys a server (hardware)
2 We give them BluetunA hotspot software
3 They offer free BluetunA experience
4 They attract more customers
5 We attract more BluetunA users
...and at least some fame!
23. CO-CREATION model
>>> More coffee
>>> More talks about music
>>> Re-shaping social interaction patterns
(not proven yet!!!)
>>> ... increasing sales of
concert tickets, CDs, merchandising