Thursday, January 23, 2014

BISG: Making Information Pay

BISG is co-locating their Making Information Pay conference at BEA this year.  Be sure to check it out.

Making Information Pay: Join Us at BEA in partnership with IDPF
We're co-locating this year's Making Information Pay Conference with IDPF Digital Book 2014 at Book Expo America.
Making Information Pay is an annual half-day conference for senior executives in operations, sales, business development, and marketing, providing information and insights about the best practices driving the success of today's industry leaders. Previous keynote speakers have included Hilary Mason, Chief Scientist at bitly and a Forbes "40 under 40 Ones to Watch" and Charles Duhigg, the prize-winning New York Times journalist and author of The Power of Habit: Why We Do What We Do in Life and Business.
Making Information Pay will take place in the afternoon on Thursday, May 29th and is included FREE with your IDPF Digital Book 2014 registration badge. Complete access to the BEA Exhibit Hall is also included FREE with your IDPF badge.
IDPF Digital Book 2014 is the flagship digital conference at BEA and the longest-running digital conference in the industry. We're pleased to partner with them. 
Register through BEA to add on an IDPF Digital Book Conference 2014 pass which includes unlimited access to the 2014 BISG's Making Information Pay conference and the BEA Exhibit Hall. Pricing information is available here.
For questions, email info@bisg.org. For sponsorship opportunities, email Jeanette Zwart at jeanette@bisg.org.
We thank our 2014 MIP sponsors, Media Services Group and Bowker.
Hashtag #MIP14

Tuesday, January 21, 2014

An Interview with Tim O'Reilly on Open Data




Tim O'Reilly discusses open data with the McKinsey & Company Insight:
A platform for innovation It seems to me that almost every great advance is a platform advance. When we have common standards, so much more happens. And you think about the standardization of railroad gauges, the standardization of communications, protocols. Think about the standardization of roads, how fundamental those are to our society. And that’s actually kind of a bridge for my work on open government, because I’ve been thinking a lot about the notion of government as a platform. So much thinking in government is around, “Well, we’re going to build a program to solve this particular problem.” But the most successful government programs to me seem to be platform kinds of programs. And I’m not talking about, “Oh, well, the government funded the Internet originally.” I’m talking about things like GPS. The fact is that this is a military program that, through a crucial policy decision, was opened up for civilian use. If this was still just for fighter pilots, we wouldn’t have that Google self-driving car. We wouldn’t have maps on our smartphones. And that’s why I think this idea of a platform and the idea of a market go hand in hand so well. Because when you build a really powerful, effective platform, you do enable a market. 

Monday, January 20, 2014

MediaWeek (Vol 7, No 3): Canadian Copyright, Peer Review Challenge, Open Access Directive, Visual Storytelling + More

In an inevitable but still significant decision, The University of Toronto has declined to renew a controversial licensing deal with Access Copyright (Varsity):
“This is a significant victory that will save students over $1.5 million annually and is the result of a campaign led by students and faculty,” said Agnes So, vice-president, university affairs of the University of Toronto Students’ Union (UTSU). “I am glad that the University of Toronto has listened to our concerns and ended the collection of a fee that many students saw as a cash grab.”
In a press release, the university stated that it was unable to reach an agreement with Access Copyright at a price that was fair for the services the company provided. It cited changes in copyright regulation — including the alterations to the Copyright Act made in 2012, the Supreme Court’s expansive approach to fair dealing, changing technology, and increased availability of open access material — as reasons for why the price of the license was no longer fair. Other universities have decided to end their license with Access Copyright, including the University of British Columbia (UBC), Queen’s University, and York University. Access Copyright sued York in April 2013; the case is being closely watched across the education sector, as it is widely seen as the first real test of two competing interpretations of recent changes to the law.
Peeling back the peer review process: It just wasn't true.  (Guardian)
Suddenly a plethora of positive psychology books began to appear, written by eminent psychologists. There was Flow: The Psychology of Happiness by Mihaly Csizkszentmihalyi, who with Seligman is seen as the co-founder of the modern positive psychology movement; Authentic Happiness: Using the New Positive Psychology to Realise Your Potential for Lasting Fulfilment by Seligman himself. And of course Fredrickson's Positivity, approved by both Seligman and Csizkszentmihalyi. Each of them appeared to quote and promote one another, creating a virtuous circle of recommendation.
And these books were not only marketed like a previous generation of self-help manuals, they often shared the same style of cod-sagacious prose. "Positivity opens your mind naturally, like the water lily that opens with sunlight," writes Fredrickson in Positivity.
Then there was the lucrative lecture circuit. Both Seligman and Fredrickson are hired speakers. One website lists Seligman's booking fee at between $30,000 and $50,000 an engagement. In this new science of happiness, it seemed that all the leading proponents were happy.
But then Nick Brown started to ask questions.
Appropriations bill codifies Obama Administration Open Access directive (SPARC)
Progress toward making taxpayer-funded scientific research freely accessible in a digital environment was reached today with Congressional passage of the FY 2014 Omnibus Appropriations Bill.  The bill requires federal agencies under the Labor, Health and Human Services, and Education portion of the Omnibus bill with research budgets of $100 million or more to provide the public with online access to articles reporting on federally funded research no later than 12 months after publication in a peer-reviewed journal.
“This is an important step toward making federally funded scientific research available for everyone to use online at no cost,” said Heather Joseph, Executive Director of the Scholarly Publishing and Academic Resources Coalition (SPARC).  “We are indebted to the members of Congress who champion open access issues and worked tirelessly to ensure that this language was included in the Omnibus.  Without the strong leadership of the White House, Senator Harkin, Senator Cornyn, and others, this would not have been possible.”
The additional agencies covered would ensure that more than $31 billion of the total $60 billion annual U.S. investment in taxpayer-funded research is now openly accessible.
SPARC strongly supports the language in the Omnibus bill, which affirms the strong precedent set by the landmark NIH Public Access Policy, and more recently by the White House Office of Science and Technology Policy (OSTP) Directive on Public Access.  At the same time, SPARC is pressing for additional provisions to strengthen the language – many of which are contained in the Fair Access to Science and Technology Research (FASTR) Act – including requiring that articles are:
  • Available no later than six months after publication;
  • Available through a central repository similar to the National Institutes for Health’s (NIH) highly successful PubMed Central, a 2008 model that opened the gateway to the Human Genome Project and more recently the Brain Mapping Initiative.  These landmark programs demonstrate quite clearly how opening up access to taxpayer funded research can accelerate the pace of scientific discovery, lead to both innovative new treatments and technologies, and generate new jobs in key sectors of the economy; and
  • Provided in formats and under terms that ensure researchers have the ability to freely apply cutting-edge analysis tools and technologies to the full collection of digital articles resulting from public funding.
Scientific America: Open Access 2013

The Golden Age of Visual Story Telling (Psychology Today):
Considering most people today are too busy to read long articles anymore, do you think infographics could be a more efficient way for them to acquire information?
Infographics take advantage of our visual intelligence. So when they are done well they allow us to make sense of a large amount of information quickly. They can have real advantages over text. But writing is powerful in different ways. They are two different ways of conveying information and telling stories. One is not better than the other.

From Twitter
BBC News - Fridge sends spam emails as attack hits smart gadgets

Academic publishing: No peeking…

Saturday, January 18, 2014

Photo Image: Colorful Wedding.


I am not 100% sure where this was taken but it is either Afghanistan or Pakistan.  I lean to Pakistan and it would date to 1973 or so.  It was Mr and Mrs PND's anniversary this week so appropriate.

Wednesday, January 15, 2014

Miracle on the Hudson + Five Years

Often reminded of the passage of time and today in particular that it is five years since a plane went floating by.


Four days later the Hudson looked like this:


Tuesday, January 14, 2014

MediaWeek (Vol 7, No 1): Maps, Predicting Movie Success, Hotels, Future of CCC?

The beauty of maps from the BBC.  This a 28min video from the British Library.



Speaking of maps - Ooops, from Google.  (Der Spiegel)

The New Statesman's culture editor takes a look forward at the books set to dominate the year.

In the movies, no one knows anything (still).  Also true of trade books.  The Economist
Three decades on, following such big-budget turkeys as “The Lone Ranger” (pictured), the situation in Hollywood is much the same. Only more so. These days the studios assume that to get people into the cinemas, films must be splashier, so production budgets can run in excess of $300m and cost an additional $100m-150m to market. When Disney’s “John Carter”, an adventure flick, bombed last year, the entertainment giant suffered a $160m write-off. Its studio boss, Rich Ross, was told: so long, and let’s do lunch some time.

As the studios spend ever more on lavish prequels, sequels and “franchise” films, supposedly as a way to reduce risk by backing proven formulas, there is a growing danger that these movies will be nixed by jaded punters. Steven Spielberg, no introduction necessary, reckons that the studios could face “meltdown” if several big films flop at once. Studios are increasingly putting out just two types of film: mega-budget ones that can move the needle for the conglomerates that own them, and tiddlers for under $25m that can do nicely when they work. “Hollywood is like America,” says Kevin Misher, a producer. “The middle class has been squeezed.”
I've spent half my life in hotels like these (no exaggeration): A short history of hotels.  The Economist.
Traditionally hotels were glorious illusions. In the 1930s George Orwell worked as a plongeur, or kitchen dogsbody, at Hotel X in Paris. In “Down and Out in Paris and London” he described how French grandeur existed a double-door away from kitchens in which filth ran “like the intestines through a man’s body”. Prolonged exposure to hotels’ artifice could induce madness. The billionaire Howard Hughes lived for years in suites, growing claw-like nails and peeing in jars. But for short-term guests, the theatre was fun.
The uniformity and ubiquity of today’s hotel chains may owe more to “1984”. Employees speak from memorised scripts. Rooms are identical, their windows sealed. The poor are excluded unless they work there. Little wonder that hotels attract rage. There have been 18 big terrorist attacks against them since 2002; from Kabul to Jakarta angry young men have bombed five-star establishments and machine-gunned their guests.
So next time you fix your wake-up call and slip beneath sheets that are folded according to a manual, ask yourself what you are getting into. Are you are a robot in a corporate dystopia? The pampered exploiter of a global underclass? Or, these days, you might be participating in a bold, worldwide social experiment.
Interesting post from Scholarly Kitchen on the role of CCC (SK)
The future for CCC takes them a step further with this philosophy. In a digital age, we see more technology, more ways to atomize content, and more content that may be licensed. The role of an intermediary such as CCC is further cemented in this more complex environment that ironically leads all stakeholders to crave more simplicity in handling licenses. In addition to this, as Roy says, “People will comply with copyright if it is easy to do so, and they are less likely to comply if it is hard.” So, CCC sees its role as enabling the use of copyright. Another view of CCC’s role here is to look at its evolution into developing workflow tools. Dow Jones kicked this off, requesting a product that allowed for external customers to re-use its information content. Essentially this is a workflow tool, which extended into the development of RightsLink as a tool for managing color charges, page charges, and now article processing charges (APCs).

Sunday, January 12, 2014

Digital Book World Conference & Agile Content

DBW is this week in New York and I will be on discussing 'agile content' on a panel on Wednesday. If you are going please stop by and/or say hello in the aisles.  I will be there for the duration.

Here is the panel description:



Agile Content: Developing Responsive Publishing Models
Wednesday, January 15 | 1:45 pm - 2:35 pm (breakout)
Moderated by  Christopher Kenneally, Director Business Development, CCC
Michael Cairns, Chief Operating Officer - Online Division, Publishing Technology
Venetia Davie, VP New Business Development, Parragon Publishing
Amanda D'Acierno, SVP, Publisher, Penguin Random House Audio, Fodor's and Living Language

As digital technology shortens the publishing cycle and offers a number of new ways to monetize content, publishers are finding opportunities outside their historical commercial activity to generate new revenue from existing content. Publishers are able to deliver and license their content for websites and apps; partners and readers are able to mix and match content in new ways; and both traditional book publishers and publishers in other media are suddenly able to repurpose what they have into books in response to news events and other timely triggers.
 

This panel of new and traditional publishers will be moderated by industry veteran Michael Cairns, currently the COO of the Online Division for the systems provider Publishing Technology. They will explore both the tech and business challenges of using old content to develop new businesses, and they will discuss how they are looking outside the traditional publishing model to improve speed-to-market and reuse, repurpose, and reinvigorate their existing content in exciting new ways.

Monday, December 23, 2013

MediaWeek (Vol 6, No 52): Looking forward to 2014. Round-up of predictions.

On UK newspapers, the apocalypse has been averted (Guardian)
It's exactly four years since – at a heavyweight conference in eastern Europe – I heard an expert on the communications apocalypse predict that, only five years hence, printed newspapers would be dead and digitally buried. The trends, he said, were clear. Umm… not exactly. There's an awful lot of perishing left to cram into the next 12 months, and it shows no sign of happening any time soon. Indeed, rather the reverse. Bring on Ken Doctor, a great American guru, offering us five, 10 or more 15 years to choose from. Nemesis indefinitely delayed.
And the most fascinating thing about the ABC-sanctified print circulation results (for November) involve two politically polar opposites on the newsstand: the Telegraph and the Guardian. Both belong to the national quality market. Both, over the years, have cleared out bulk sales and other devices that prop up or confuse their sales figures. Both have solid and growing online statistics to boast about: the Telegraph with 13,855,000 unique visitors and the Guardian with 12,301,000 on the latest UKOM results. They leave everything but the inevitable Mail online far behind. But what does this mean for print, for copies pushed across the newsagent's counter or dropped through a letterbox?
In Hollywood everyone knows the same nothing (Economist)
Since everybody still knows that nobody knows, studios continue to show early cuts of films to focus groups, to determine how to tweak and market them. But even after a film’s release it remains unclear why it boomed or bombed. Why was “Gravity”, starring George Clooney and Sandra Bullock in a tale about stranded astronauts, one of this year’s hits despite the misgivings of its studio, Warner Bros, whereas “The Lone Ranger” was such a flop, despite Disney’s high hopes for a film starring Johnny Depp?
“Hollywood is always in crisis,” jokes an unusually publicity-shy talent agent. Indeed, his office is in Century City, a district full of high-rises in Los Angeles that was once the backlot of 20th Century-Fox until it had to sell up because of the crippling cost of its 1963 epic, “Cleopatra”. Faced with bankruptcy 50 years ago, Fox might have been better off keeping the property and junking the film-making. The industry’s return on capital has been chronically anaemic. The media conglomerates that own the major studios grouse about the lousy economics of the business, particularly since DVD sales peaked in 2004 and then waned, with consumers shifting to lower-cost rentals and subscription services like Netflix. Technology should have helped Hollywood, by lowering the cost of distributing films, but it has also cost the industry dearly, as film-makers doll up their movies with expensive special effects, and negative social-media buzz kills films before they even open.

Will 2014 be the year of the eBook subscription model (Publishing Technology):
It’s quite likely that we’ll look back at 2013 as the year when publishing stopped talking about the ‘Netflix’ or ‘Spotify for Books’ and actually did something about it. eBook subscription services went from being something talked about in op-ed articles and conference platforms to real-life services, some of which launched with tens of thousands of titles and support from major publishers.
Most debate has focused on the fortunes of Oyster, the NYC-based start-up that launched earlier this year and Scribd, a service that has pivoted away from document sharing and publishing towards eBook subscription. Yet these are far from the only eBook subscription services in town. Another US-based service eReatah also launched earlier this year. Amazon has entered the market on its own terms, using eBook lending rather than subscription as a way of boosting membership of the Amazon Prime program. Meanwhile Europe’s fragmented ereading market is at risk of further fragmentation as country-specific subscription services emerge. 24Symbols continued to do well in its Spanish speaking home market and two Dutch publishers WPG Uitgevers B.V. and Lannoo Meulenhoff B.V. have teamed up to create a Netherlands-specific equivalent Riddo. In Denmark Riidr One addresses the relatively small domestic market with its own subscription service and in Germany the recently launched Skoobe boasts a 23,500 strong catalogue.


Ad agency Millward Brown's media predictions for 2014.

Digital BookWorld's list of 10 things to look for in 2014:
It’s been another exciting year for the publishing industry – perhaps the most dynamic in the history of the business. In 2013, all ebooks by publishers became subject to retailer price controls and ebook prices plummeted. At the same time, ebook revenue growth has tapered off even as many of the largest publishers still reported digital gains. A handful of ebook subscription businesses were launched and libraries won some key victories in their fight to bring ebooks from all publishers to their patrons.
From Book Business Magazine the future looks bright for 2014

Friday, December 20, 2013

Image: So goes the Holden

GM announced this week that they were ending Australian production of the Holden.  Off into the dust...



Hard to categorize that color.  Other than very ugly.  Both images from 1973.

Thursday, December 19, 2013

MediaWeek (Vol 6, N 50): Boundless reprieve, Tablet reading, Blackrock, IT Departments, Digital Film.

Boundless an innovative textbook start-up announced yesterday that they have settled a law suit brought against them by several large pubishing companies which accused the company of copyright violations.  (Chronicle)
The publishers’ suit alleged that Boundless had boasted that “they copy the precise selection, structure, organization, and depth of coverage of plaintiffs’ textbooks and then map in substitute text, right down to duplicating plaintiffs’ pagination.” Boundless argued, however, that the publishers were suing over beta-version material that was subsequently withdrawn and replaced by offerings built on open educational resources.
Ariel Diaz, the Boundless founder and chief executive, said in a blog post on Wednesday that the company “now has a clear path for building and marketing its OER-driven textbook alternatives without treading upon the plaintiffs’ rights, and it is confident that it is in compliance and will not have further legal issues with the plaintiff publishers.” The publishing companies, he added, “look forward to Boundless operating its business within the agreed-upon framework,” though he did not say what that was.

Are tablets really good in encouraging children to get immersed in reading? (Atlantic):
Best-selling children’s author Julia Donaldson, whose picture books dominate top 10 lists, explains why she vetoed an e-book version of her most famous title, The Gruffalo, in a 2011 article in the Guardian. “The publishers showed me an e-book ofAlice in Wonderland,” Donaldson said. “They said, ‘Look, you can press buttons and do this and that,’ and they showed me the page where Alice’s neck gets longer,” said Donaldson. “There’s a button the child can press to make the neck stretch, and I thought, well, if the child’s doing that, they are not going to be listening or reading.”

The typical argument for interactive stories goes like this: Soon enough, children will only read on screens, and where readers are going, publishers must follow. Kate Wilson, the founder of children’s publisher Nosy Crow argues that publishers must create reading experiences for touch-screen devices so that children will continue to read. “We shouldn’t go a little way down the digital path or do it half-heartedly and with reluctance,” she writes. “We should, I think, go to where our readers are going, and make sure that they read along the way.”
From The Economist, I found this article on Blackrock very interesting.  What you can do with data on a mega basis:
But “Aladdin”, the risk-management platform that occupies all those computers in the orchards, is not just used to look after BlackRock’s $4 trillion. The firm makes its facilities available in whole or in part to managers looking after $11 trillion more, a tally that has recently been growing by about $1 trillion a year. All told, Aladdin keeps its eyes on almost 7% of the world’s $225 trillion of financial assets. This is unprecedented—and it means flaws in the system could matter to more than just BlackRock, its investors and its customers. If that much money is being managed by people who all think with the same tools, it may be managed by people all predisposed to the same mistakes.
...
The system is based on a large and, its creators say, particularly well quality-controlled trove of historical data. On the basis of that information it uses “Monte Carlo” methods, which produce a large, randomly generated sample of the huge range of possible futures, to build up a statistical picture of what could happen to all sorts of stocks and bonds under a range of future conditions. These risk assessments cover both likely futures that matter day-to-day, and less probable but highly salient ones. A portfolio can, say, be stress-tested by being put through market turmoil modelled on that which followed Lehman Brothers’ collapse, to see what happens. Users can see their portfolio’s predicted response to a “tapering” of the Federal Reserve’s asset-buying programme or to the onset of a global flu pandemic.
The aim is not just to figure out how each stock, bond and derivative in a portfolio would move. It is also to check how correlated those movements are, and how that correlation could amplify a shock. For example: combining shares in an Indonesian bank, a bond issued by a European power company and a basket of mortgages secured on Canadian shopping malls might seem like a sensibly diversified portfolio. But some changes in credit availability might set them all tumbling. That is the sort of thing that Aladdin, having tracked such assets through previous crises, is meant to spot. Armed with insights from these simulations, traders managing large, complex portfolios can tweak their holdings accordingly.

And from the same Economist issue on IT departments and their struggles to keep up.
In theory, this is a fine opportunity for the IT department to place itself right at the centre of corporate strategy. In practice, the rest of the company is not always sure that the IT guys are up to the job—and they are often prepared to buy their own IT from outsiders if need be. Worse, it seems that a lot of IT guys doubt their own ability to keep up with the pace of the digital age. According to Dave Aron of Gartner, a research firm, in a recent survey of chief information officers around the world just over half agreed that both their businesses and their IT organisations were “in real danger” from a “digital tsunami”. “Some feel excited, some feel threatened,” says Mr Aron, “but nobody feels like it’s boring and business as usual.”
One reason for worry is that IT bosses are conservative by habit and with good reason. Above all they must keep essential systems running—and safe. Those systems are under continual attack. If they are breached, the head of IT carries the can. More broadly, IT departments like to know who is up to what. Many of them gave up one battle long ago, by letting staff choose their own smartphones (a trend known as “bring your own device”). When the chief executive insists on an iPhone rather than a fogeyish BlackBerry, it is hard to refuse.
Many years ago in one of my annual predictions, I suggested great things would come from digital distribution of movie films obviating the need to physical film distribution.  We may finally be there.  Economist
This new breed of programming is made possible by the spread of digital technology. Cinemas no longer rely on the delivery of 35mm reels, now that pictures can be delivered over satellite or broadband connections. Cinema-owners can make fuller use of their screens, and audiences see delights they would otherwise miss. “We have a presence in 78 Mexican cities,” says Alejandro Ramirez, the boss of Cinépolis, which runs plush cinemas in the Americas and India. “In the vast majority of these cities, there is no opera,” he notes. So far this year nearly 300,000 people worldwide have gone to see opera and other “alternative programming”, such as “Cirque du Soleil 3D”, a circus performance, at Cinépolis’s theatres.
Cinema-owners want to do more than beam in events. For instance, Tim Richards, the founder of Vue Cinemas, which operates chains in Europe and Taiwan, predicts that theatres will be rented during off-peak hours to video-game players to display contests on the big screen. “We are not trying to displace Hollywood films,” he says. “All we are trying to do is make better use of the assets we have.”

Saturday, December 14, 2013

PND Mansions


PND Mansions sold.  In a few days it will be leveled and a triple sized McMansion will begin to take its' place.  No regrets on our end and a small dividend for all the employees.

Thursday, December 12, 2013

Publishing Platforms Evolve

Interview in Research Information Magazine recently:
When the first big scholarly e-book programmes launched six or seven years ago there was plenty of excitement about putting e-books and e-journals on the same platform so that they could be searched together and this trend has continued.
As Michael Cairns, chief operating officer  online at Publishing Technology, observed: ‘Over the course of the last few years there has been a recognition that there is benefit to integrate not just books and journals but also conference proceedings.’ 
...
Publishing Technology, which also creates and hosts platforms for a range of publishers, has observed similar things. ‘On the journals side we always have issues with format for ingest and always anticipate some back and forth to get things how the customer wants,’ said Cairns. ‘Typically, we specify to publishers that we require XML but there are always exceptions and problems – especially with converting archives.’
And he said that the challenges are greater with e-books. ‘Books haven’t been online as long, so the issues are more basic. Often we will get a full book PDF that we need to break down into chapters – and metadata is often provided at the book level rather than at the chapter level.’
In addition, he noted that many things such as indexing, endnotes and footnotes work well in print book navigation – but in the online world, especially in content ingestion, these are problematic. ‘Even within publishing houses, processes are not consistent,’ he observed.

Monday, December 09, 2013

MediaWeek (Vol 6, No 49): The pdf, French Publishing, Web News Traffic, MOOC Myths, Aftrica Reading

Can Scholarly Publishing Evolve Beyond the PDF? From John Wiley.


French authors can't get a break (BBC):
"I often joke that the only way to get published in Britain if you're French is to pretend you're Spanish. If you've been a best-seller in France, it's a sure-fire recipe for not getting a deal in the UK.  "As for US publishers, they're so convinced that with 350 million potential readers and a big stable of American writers, they've got everything covered - every genre, every style. So why bother?"  The costs and difficulty of literary translation are clearly part of the problem. So too is the fact that the Anglophone book market is thriving - so the demand for foreign works is limited.  Some French authors are critical of Anglo-Saxon "complacency". 
...
"Personally I am fed up with all the stereotypes," says Darieussecq. "We're not intellectual. We're not obsessed with words. We write detective stories. We write suspense. We write romance.
"And it's about time you started noticing."
How does news web traffic work?  The Atlantic goes looking.
About the middle of October, a number of news organization websites started to see huge numbers of visitors flowing from Facebook. Buzzfeed’s Charlie Warzel reported that Buzzfeed and its partner sites had seen traffic from Facebook surge 69 percent between August and October.
The change wasn’t out of nowhere. In August, a Facebook corporate blog post hinted that the algorithm that controlled the site’s News Feed was changing slightly, such that “stories that people did not scroll down far enough to see can reappear near the top […] if the stories are still getting lots of likes and comments.”
It sounds like a little change, but it’s hard to overstate the importance of the News Feed. The feed is what you see when you log into Facebook.com; it’s essentially the homepage of the site, and it changes for every user. What dictates how it looks is the elusive News Feed algorithm, a program that decides not only which statuses, photos, and news stories should display, but how many of each there will be. And a traffic jump of the size Warzel reported could only come with a change in the News Feed algorithm.
...
Enter Upworthy. Simultaneous to this traffic upheaval, an entire vocabulary and syntax for headlines that people click and share—and oh, boy, do they click and share—had presented itself on the social web. For publishers trying to grab more traffic from Facebook, the path became clear. Borrow, adapt, employ the Upworthy style post haste. Assure readers your content was nothing but wondtacular. And so began the wondtacularization.

Confirming the MOOC Myth: IHeD
The research presented on Thursday was perhaps best summarized by research conducted by the University of Pennsylvania Graduate School of Education, which analyzed the study habits of 1 million students across 16 Coursera courses between June of 2012 and 2013.  “Emerging data ... show that massive open online courses (MOOCs) have relatively few active users, that user ‘engagement’ falls off dramatically especially after the first 1-2 weeks of a course, and that few users persist to the course end,” a summary of the study reads.  For anyone who has paid even the slightest bit of attention to the MOOC space over the past year, those conclusions hardly qualify as revelations. Yet some presenters said they felt the first day of the conference served as an opportunity to confirm some of those commonly held beliefs about MOOCs.
BBC looks at the culture for reading in Africa (BBC)
Publishers have long bemoaned Africa's lack of a "book culture" but some hope that the advent of smartphones and the internet could help change this, writes journalist Chris Matthews. The 566% increase in worldwide internet usage since the start of the millennium might appear staggering but not when compared with Africa, where online activity has grown by an astonishing 3,606%.  More than 160 million people are now connected throughout the continent, mostly on mobile phones.  With internet access surging and connectivity increasing, the doors are being thrown open to digital publishing.  All of which suggests a new chapter has been started since Kenyan publisher Henry Chakava's withering attack on Africa's book culture back in 1997.


Wednesday, December 04, 2013

Information Today Post on Trends for 2014

Information Today magazine asked me and some other pundits to think about what we may see in 2014:
There were plenty of newsworthy events in 2013, from acquisitions (Elsevier acquired Knovel, Swets acquired JSTOR ebooks), to ebooks (Ingram added an ebook lending model to MyiLibrary, Apple was tried for ebook price fixing), to MOOCs (institutions such as edX and Coursera offered topics including 21st Century American Foreign Policy, Introduction to Computer Science, and Embedded Systems: Shape the World). Tablet computers and apps gained in popularity, while previously favored devices such as BlackBerry found their customer bases declining.
So what’s likely to make headlines in 2014? Industry professionals John Blossom, Michael Cairns, Roy Kaufman, and Pat Sabosik offer their insights about the cloud, massive open online courses (MOOCs), Big Data, open access (OA), and the Internet of Things:

Here is a sample from my submission:
The evolution of MOOCs will also become entwined with some broader issues of higher education effectiveness, cost, and access. More universities will see MOOCs as a means of managing some or all of these issues at a local level, whether they’re looking to reduce tuition (and/or operating expenses), provide more course offerings, or expand beyond their traditional market or catchment area. Experimentation will also include local testing of MOOCs used in combination with small in-class/in-person structures: This will provide more immediate social interactions and communication with colleagues while, at the same time, capitalizing on the “star professor” and the wide exposure to other student backgrounds that MOOCs can provide. 

Tuesday, December 03, 2013

MediaWeek (Vol 6, No 48): Amazon Drones, Digital Afterlife, PW Person of the Year + More

Lots and hype and hyperbole about Amazon.com this week.   At least Scott Pelley at 60mins went right to the top and managed to keep his hands clean.  As you probably know by now,  Amazon is going to deliver your toys to you with a toy helicopter.
Amazon is the world's largest online retailer, serving 225M customers worldwide. What's next for the company that prides itself on disrupting tradition? Charlie Rose interviews Amazon CEO and founder Jeff Bezos.


Other reporters tried out the drudgery of working in a warehouse to see how they were treated.  Guardian.
For a week, I was an Amazon elf: a temporary worker who got a job through a Swansea employment agency – though it turned out I wasn't the only journalist who happened upon this idea. Last Monday, BBC's Panorama aired a programme that featured secret filming from inside the same warehouse. I wonder for a moment if we have committed the ultimate media absurdity and the show's undercover reporter, Adam Littler, has secretly filmed me while I was secretly interviewing him. He didn't, but it's not a coincidence that the heat is on the world's most successful online business. Because Amazon is the future of shopping; being an Amazon "associate" in an Amazon "fulfilment centre" – take that for doublespeak, Mr Orwell – is the future of work; and Amazon's payment of minimal tax in any jurisdiction is the future of global business. A future in which multinational corporations wield more power than governments.
And The Economist on the same story.

Kevin Roose in NY Mag believes something more sinister(ish):
Instead, I think Bezos is up to something much more practical. By unveiling a huge drone program in progress, he's sending a message to the FAA regulators and Senate committees who are currently considering how unmanned aircraft can be used commercially. And that message is: Don't even think about getting in our way. By floating a teaser about the drone program, and allowing the public to freak out about it, he's showing regulators how popular such a scheme would be, and how much backlash they'd face if they outlawed it.

Also, NYMag will now go to bi-monthly printing rather than weekly.  There's an iPad version.

"New York has evolved dramatically since its founding in 1968, with its intelligence, humor, playfulness, and visual punch remaining constants," editor-in-chief Adam Moss said in a statement. "Readers will continue to find what they love in the magazine, and we're undertaking these new changes to meet their changing media habits on all platforms."  The company did not address any financial reasons for its print publishing cuts in the statement.  Nymag.com will have a new science blog, and more photography and political and cultural coverage, according to New York Media.

Questions about the digital afterlife from the FT:
The elderly who die today still leave behind an attic full of relics for children and grandchildren to rifle through: boxes of love letters and photos documenting the family history. But increasingly, such memorabilia is password-protected and stored online. Many wedding albums exist only on Flickr. The history of courtship and falling in love among today’s young newlyweds is documented on Facebook and in text messages.
“Look how awful people are when they fight over the couch or dad’s graduation ring,” says Josh Slocum, president of the Funeral Consumers Alliance, an advocacy group. “I can only imagine what the fight will look like over dad’s computer files.”
In the US, such questions fall into the messy intersection of state property laws, federal privacy laws and corporate policies of the companies housing online accounts.
A handful of US states have passed laws addressing the treatment of digital remains. In Oklahoma and Idaho, digital data are treated like tangible property. The executor of a will can take control of social networking or email accounts the same as bank accounts and houses, and decide to continue operating them or shut them down. In Indiana, a law allows access to those accounts but not control. In Rhode Island and Connecticut, only access to email accounts is covered.
The Atlantic notes the awarding to Oren Teicher as PW Person of the Year:
This year's selection for PW's Person of the Year represents a wholly different approach to the honor. It is Oren Teicher, CEO of the American Booksellers Association, and the ABA's board of directors, the organization that represents the country's independent book stores. The fact that these traditional brick-and-mortar, mainly locally owned bookstores are being recognized as outstanding contributors to publishing is not merely a sympathetic gesture to old-fashioned commerce in a generally downward trajectory. The accolade is justified by results defying the odds that so heavily favor the Amazon juggernaut and the chain stores, still led by (the struggling) Barnes & Noble.

From Twitter;
Yahoo’s Flickr Resurgence Continues With Handsome Photo Books, But Reliance On Sets Could Stumble
Prompt.ly Raises $1.5M Seed To Become The OpenTable For Time And Services  
Becksistentialism: because man is a goal-seeking animal  

Monday, November 25, 2013

MediaWeek (Vol 6, No 47): Pearson CEO Fallon, Amazon Storage Underground, Rough Trade, Maigret, USB, EdX & MIT + More

John Fallon, CEO of Pearson plc was interviewed in London's Evening Standard last week.
The new buzzword is efficacy: not just selling study programmes to schools or parents who want their children to get ahead but setting targets and measuring how they improve performance and help learners advance their careers, from Pearson’s South African university students to the millions being taught English online.
“It changes what we invest in, what acquisitions we make, how we recruit people and how we incentivise them,” explains Fallon, 51, with close-cropped hair and northern vowels. Where once Pearson hired editors and publishers, the new boss wants more software engineers and data analysts. By 2018, the company aims to report on the performance of its education programmes as reliably as it reports on its finances.
“What makes this much more doable now than it has ever been before is the application of technology has the capacity to transform the productivity of education around the world,” he says.
Fallon’s fast-moving agenda, including wholesale changes to his executive team, has spooked some investors, though Pearson shares are still up 10% this year. The shake-up has been accompanied by weakness in the US college textbooks market, its largest and most profitable division. College enrollments fall when the economy recovers, but it is a setback even the group’s former communications director can’t spin his way out of.
Such is the size and ubiquity of Amazon that even in an article about the Tube adding 24hr service and laying off 700 workers, the company is mentioned as a savior of sorts.  The FT reported that London Underground may be considering a proposal for Amazon to rent space heretofore used by transport staff to place their Amazon Lockers.  No other papers picked up this story.
In a sign of the sweeping changes under way at the world’s oldest metro system, Transport for London also said it was talking to Amazon, the online retailer, about converting its ticket offices – which will be closed in favour of automatic ticket machines – to “drop-off” points for its goods.
London's Rough Trade record store is opening in New York (today) and interesting to note the original store had its genesis in a visit to City Lights bookstore in San Francisco. (Guardian)
Godfroy admits: "It's been a testing process." The shop has been four years in the making and would have been launched much earlier if not for various setbacks, including Hurricane Sandy. Rough Trade NYC, housed in a former film prop warehouse at 64 N 9th Street, is three times bigger than Rough Trade East. Opening on Monday, it contains a café, bar, exhibition space and 250-capacity live performance room as well as a vast array of records and books. (Disclaimer: the Guardian will be curating its own space within the store.)
"We've learned how what is ostensibly a store can be so much more," says Godfroy. "Visiting us is like visiting a cultural hub; it's not simply a place for purchasing. There's a relative lack of places [in New York] that allow people to hang out in an environment that celebrates the art, not the commodity."
The idea of the record shop as cultural hub echoes Rough Trade's modest beginnings in 1976. Two years earlier, founder Geoff Travis abandoned a career in teaching to hitchhike around America and became a regular customer at San Francisco's beatnik hangout City Lights. "I loved the fact it was an environment you could sit in," he says. "You could stay all day as long as you didn't spill coffee on the books. It was so different to anything in London, which was like a Wimpy bar: the lights were too bright and the seats were too uncomfortable."
The New Scientist looks at the history of the fictional French detective Maigret (NS):
Simenon had perhaps enjoyed more than a couple glasses of schnapps and bitters that morning, for his memory is certainly at fault. There was no sudden puff of smoke by the side of a Dutch canal. Rather, Maigret seems to have emerged from the mists of Simenon’s imagination slowly, pensively, ploddingly and over time.
In 1929, Simenon was already a successful author. He had started work at the age of 15 as a junior reporter on his local newspaper, the Gazette de Liège, and in his twenties he had published more than 100 of what he called his romans alimentaires, pulp romantic and adventure novels, which he wrote under various pseudonyms and at incredible speed. (At his peak of pulp productivity, in 1928, he produced no fewer than 44 novels, many of them written in a matter of days.)
In the 1930s, he started writing what he called his romans durs, his literary novels, the most distinguished of which – L’Assassin (1937), L’Homme qui regardait passer les trains (1938), La Veuve Couderc (1942) – were masterpieces of psychological intrigue. The Maigret books bridge the two extremes of his career but have eclipsed all else in reputation and renown. When he died in 1989, France Soir announced on its front page, “Le père de Maigret est mort”.
The Economist looks at a 1000 page history of The Beatles:
After publishing important books about Beatles concerts and recordings in the 1980s, Mr Lewisohn took on the full-time job of Beatles biographer in 2004. But he insists that "All These Years" is not authorised.
"It wasn't an issue," Mr Lewisohn. "The Beatles had done their book, the 'Anthology' [published in 2000], which I helped edit. They weren't going to authorise another."
For "Tune In" he has found old fans in Liverpool, examined ghostly footage and listened to as many pre-EMI recordings as have survived. By piecing together EMI documents and those of Brian Epstein, the band's manager, Mr Lewisohn has proven that George Martin—the producer who was instrumental in shaping almost every Beatles album—was pushed to sign the group before meeting them (owing to corporate pressure after he was found having an affair with his secretary; they got married and are still together today). This "goes against every known account," he says.
Also from The Economist, how the USB could be our ubiquitous power source:
The big change next year will be a new USB PD (Power Delivery) standard, which brings much more flexibility and ten times as much oomph: up to 100 watts. In his London office Simon Daniel, founder of Moixa, a technology company, charges his laptop from a prototype souped-up USB socket. The office lighting, which uses low-voltage LED (light-emitting diode) lamps, runs from the same circuit. So do the monitors, printers and (with some fiddling) desktops. Mains power is only for power-thirsty microwaves, kettles and the like.
That could presage a much bigger shift, reviving the cause of direct current (DC) as the preferred way to power the growing number of low-voltage devices in homes and offices. DC has been something of a poor relation in the electrical world since it lost out to alternating current (AC) in a long-ago battle in which its champion Nikola Tesla (pictured, left) trounced Thomas Edison (right). Tesla won, among other reasons, because it was (in those days) easier to shift AC power between different voltages. It was therefore a better system for transmitting and distributing electricity.
From Inside Higher Ed, MIT is using EdX to re-think their strategy:
That’s where edX comes in. Half of MIT’s undergraduates use edX content in their residential courses, and as more faculty members break their courses into modules, Agarwal said he expects MIT will move away from the traditional four-year on-campus experience.
An education from MIT may soon involve a freshman year spent completing online courses, two years on campus and a fourth “year” of continuous education. While students pursue their careers, they could access a growing library of online courses to refresh their knowledge, Agarwal said.
“As we blend the courses, universities will take the next step,” Agarwal said. “We would be woven into the fabric of universities. And as long as we’re adding value, we have no qualms about that.”
MIT has already taken what Agarwal called “a bold step” toward such a model, even though the institution only describes it as an experiment. In September, the university’s arm of edX, MITx, announced the creation of two “XSeries” -- edX courses bundled into sequences. Partner universities are weeks away from announcing their own XSeries, he said.
From the twitter feed.
Guardian profile: David Tennant, our favourite Doctor … his time has come
Oven chip sales slump: is the end nigh for frozen frites?


Ron Burgundy on wild eagles, hair myths and jazz flute
BBC's loss-making Lonely Planet deal under fire

Friday, November 22, 2013

Photo Paris Eiffel Tower

In Paris this week (for less than 24hrs) but he's a strange view of the Eiffel Tower taken in 1996.  Safe to say, the tower is still there.