Jeff Jarvis said in 2005 (!): "In fact, the act of consumption is now an act of creation. There are so many examples. When I search on Google, I am finding stuff for me but when I click, I am adding to the wisdom of the crowd that makes Google more effective for every searcher who follows me. When I create my iTunes playlist I am also programming my personal iTunes radio station, which I can share; that’s still individual. But when my listening habits join in at LastFM, I’ve now contributed to a collective and that collective pays me back with recommendations (hear Fred on this). When I consume content and want to save it on Del.icio.us or other such services, that’s an individual act. But the tags we create together yield amazing wisdom of the crowd that can be useful in helping people discover content, in organizing the web around topics again, in improving search results, and even in improving ad performance....
BRILLIANT video by comic author Rob Reid, showing how ridiculous the calculation of economic losses due to content 'piracy' is. Absolutely amazing how he strings the facts and hypotheses together - must watch for anyone in the content industry.
Read more here: Comic author and Rhapsody C-Founder Rob Reid unveils Copyright Math (TM), a remarkable new field of study based on actual numbers from entertainment industry lawyers and lobbyists. Rob Reid is a humor author and the founder of the company that created the music subscription service Rhapsody.
Snippets from the transcript:
"The recent debate over copyright laws like SOPA in the United States and the ACTA agreement in Europe has been very emotional. And I think some dispassionate, quantitative reasoning could really bring a great deal to the debate. I'd therefore like to propose that we employ, we enlist, the cutting edge field of copyright math whenever we approach this subject. For instance, just recently the Motion Picture Association revealed that our economy loses 58 billion dollars a year to copyright theft. Now rather than just argue about this number, a copyright mathematician will analyze it and he'll soon discover that this money could stretch from this auditorium all the way across Ocean Boulevard to the Westin, and then to Mars ... (Laughter) ... if we use pennies.
Now this is obviously a powerful, some might say dangerously powerful, insight. But it's also a morally important one. Because this isn't just the hypothetical retail value of some pirated movies that we're talking about, but this is actual economic losses. This is the equivalent to the entire American corn crop failing along with all of our fruit crops, as well as wheat, tobacco, rice, sorghum -- whatever sorghum is -- losing sorghum. But identifying the actual losses to the economy is almost impossible to do unless we use copyright math. Now music revenues are down by about eight billion dollars a yearsince Napster first came on the scene. So that's a chunk of what we're looking for. But total movie revenues across theaters, home video and pay-per-view are up. And TV, satellite and cable revenues are way up. Other content markets like book publishing and radio are also up. So this small missing chunk here is puzzling..."
Gerd Leonhard has been dubbed "one of the leading Media Futurists in the World" by The Wall Street Journal. He is the co-author of the 'The Future of Music Music2.0' and 'The End of Control'. He is the keynote speaker at the Commerce Commission conference The Future with High Speed Broadband: Opportunities for New Zealand. Play (Windows) Play (Other)
Of course I would be very happy if you would consider buying the book for yourself (only $3.90, Kindle-only) but beyond that it would be really great if you could help me spread the word via rating and / or 'liking' the book on the Amazon.com page, tweeting about it or just forwarding this mail to some friends that may be interested.
This review is from: The Future of Content (Kindle Edition)
"I challenge you to expand your brain and read this book. What Gerd Leonhard is always doing is informing the global brain (or the collective brain) in ways that help us all get where we're trying to go. He builds the buildings in front of us.
This collection points toward several compelling answers for content creators. As a writer who is already swimming in the changing currents of "content," I found it intensely informative. Leonhard shores up my courage to continue embracing a digital world without DRM, and ebook prices "for the masses." He makes the all-important concept of curation crystal clear. If you are providing any kind of content in print or on the web, it's relevant. If you want to stay on the front edge of content creation and publishing, it's basic. I'm making this book mandatory reading for my epublishing circles"
ABOUT "THE FUTURE OF CONTENT" Futurist Gerd Leonhard has been writing about the future of content i.e. music, film, TV, books, newspapers, games etc, since 1998. He has published 4 books on this topic, 2 of them on music (The Future of Music, with David Kusek, and Music 2.0). For the past 10 years Leonhard has been deeply involved with many clients in various sectors of the content industry, in something like 17 countries, and it’s been a great experience, he says. “I have learned a lot, I have listened a lot, I have talked even more (most likely:) and I think I have grown to really understand the issues that face the content industries - and the creators, themselves - in the switch from physical to digital media.”
This Kindle book is a highly curated collection of the most important essays and blog posts Leonhard has written on this topic, and even though some of it was written as far back as 2007 - “I believe it still holds water years later. I have tried to only include the pieces that have real teeth. Please note that the original date of each piece is shown here in order to allow for contextual orientation.” Leonhard’s intent to publish this via the amazing Amazon Kindle platform, exclusively, and at a very low price, is to make these ideas and concepts as widely available as possible while still trying to be an example of what digital, paperless distribution can look like, going forward.
The panel discussion afterwards can be viewed here, as well (all in Spanish). Note: even though I am actually presenting in English the overdup is Spanish and very much in the foreground. I will try and get an English version, as well - stay tuned.
El suizo GerlLeonhard, líder futurólogo experto en modelos de comercio electrónico, medios de comunicación e innovación fue el encargado del cierre de la Primera Cumbre Nacional de Contenidos Digitales, Colombia 3.0, realizada por el Ministerio TIC entre el 5 y el 8 de octubre. Después de cuatro días de análisis en los que se reunieron emprendedores, inversionistas, animadores, desarrolladores de aplicación y representantes de la industria de los contenidos digitales del mundo terminó Colombia 3.0. En la cumbre participaron 30 conferencistas nacionales y 50 internacionales, quienes se reunieron en 14 eventos simultáneos.Las distintas actividades y conferencias fueron seguidas en línea en 23 ciudades del país y 15 países. De igual manera se tuvo la participación de Siggraph, una asociación mundial de animación gráfica y técnicas interactivas, espacio en que 19 expertos en animación compartieron sus experiencias exitosas en las firmas más importantes del mundo de esta industria. Bogotá 7 de octubre de 2011.En su intervención GerlLeonhard, realizó un detallado análisis de los cambios que han sufrido los medios tradicionales al migrar a los medios sociales como Facebook, Twitter y otras redes sociales. Además,Leonhard anotó que en la actualidad se vive una cultura de la banda ancha y son los “prosumidores”, consumidores activos, los que producen contenidos digitales.
Mencionó el experto suizo que el mundo digital está regido por la relevancia y no solamente por la distribución, según Leonhard, los contenidos digitales deben ser depurados antes de ser distribuidos a los distintos públicos y subrayó que la nueva economía digital que se está viviendo en la actualidad debe iniciarse desde Internet y especialmente desde los dispositivos móviles. Anotó también Leonhard, que el usuario es quien genera los contenidos digitales en la actualidad através de distintos dispositivos móviles. En su intervención, señaló además que la tendencia actual se desarrolla a través de lo móvil, lo social y lo local. Ademásindicó, en este sentido,que para el 2015se esperaque 7.1 trillones de dispositivos móviles sean usados en el mundo.
I am delighted to be involved with PressPausePlay, a movie about digital creativity, funded and promoted by Ericsson, featuring people such as Hank Shocklee, Seth Godin, ZeFrank, Sean Parker, Larry Lessig and Mike Mesnick. And it's finally out and available! Here is what it's all about:
"The digital revolution of the last decade has unleashed creativity and talent in an unprecedented way, with unlimited opportunities. But does democratized culture mean better art or is true talent instead drowned out? This is the question addressed by PressPausePlay, a documentary film containing interviews with some of the world's most influential creators of the digital era"
From the blog: "we have had so many people ask "Where can we see your film?" and this week we are very happy to say our digital distribution has begun! PressPausePlay is now available online in many countries around the world, with more coming soon. You can now find PressPausePlay on iTunes US, iTunes Canada and iTunes UK. You can also purchase PressPausePlay on Amazon.com, Walmart.com, Vudu.com, CinemaNow.com, Xbox, and Playstation. Or put us on your Netflix cue where we will be coming soon..."
Check out this really cool video by Nina Paley, setting forth the exact same thought that I expressed at TedXNewStreet in London last year (slides / post, video) in my talk on The Future of Copyright and IPR: in a networked society, all (...well, I said, almost all) creative work is derivative in some way or on another.
From Youtube: "Our second "Minute Meme," illustrating how all creative work builds on what came before. Photographed and animated by Nina Paley. Music by Todd Michaelsen ("Sita's String Theory," a Bonus Track on the soon-to-be-released Sita Sings the Blues soundtrack CD!). Photographed at the Metropolitan Museum of Art, New York City. More information. High-res and Ogg versions...."
Update: my new book "The Future of Content" was just released on the Kindle
I want to start 2011 in a renewed spirit of generosity and sharing, so here are the complete PDFs of my last 3 books, for free; provided under a Creative Commons,non-commercial, share-alike, attribution license (see below). If you still want to buy the dead-tree versions of these books (or donate something for the free PDFs - yes, that's an option, too;), you can visit my Lulu Store, or go to Amazon.com, or check out my 'Paying for Gerd' page. You can also return the favor by blogging or tweeting of Facebook-liking my stuff. Thanks, and enjoy, and have a great 2011.
Pay with a tweet: Music 2.0
Pay with a tweet: Friction is Fiction
Update: my free videos (50+ keynotes and presentations) are here, the iTunes podcast feed is here (just subscribe to download all videos to your iPod / iPad / iPhone, or computers), and my free slideshows (90+) are here, on Slideshare :)
I am delighted to be able to share this brand-new translation with all my friends, tweeps and colleagues that speak Portuguese. The essay was kindly translated by Paula Neves, Analista de Marketing Digital at Approach (Brazil); be sure to visit her blog or Linkedin profile.
Gerd Leonhard: Conteúdo 2.0: ‘proteção’ está no modelo de negócio e não na tecnologia (pensamentos sobre o futuro da venda de conteúdo).
Abastecido pelas agitações na indústria da música e, finalmente, com a transformação muito rápida dos livros para o formato digital, há bastante debate em torno do fato das pessoas compartilharem habitualmente isto é, redistribuírem conteúdo digital sem que os usuários paguem por isso. Como se pode monetizar o conteúdo se a cópia é gratuita? Essa pergunta é uma questão chave em todos os sentidos, seja com a música, com livros digitais, noticiários, editoração, TV ou filmes. Há o medo, claro, de que a partir do momento que um item digital foi comprado por uma pessoa, ele pode ser facilmente encaminhado para qualquer um se estiver num formato aberto, assim reduzindo significantemente a possibilidade de que outra pessoa pague dinheiro real por ele também (claro que o mesmo também é verídico para conteúdo digital supostamente trancado ou protegido – só demora um pouco mais). Não ter mais controle sobre a distribuição = não ter mais dinheiro. Certo?
Apesar do simples fato da GDD (Gestão de Direitos Digitais, ou Digital Rights Management em inglês) já ter se mostrado desastrosa no mundo da música digital (e agora já é praticamente o passado), medidas técnicas de proteção ainda vêm sendo investigadas como um método plausível de se garantir o pagamento, especialmente no efervescente setor dos eBooks. Isso me preocupa muito porque medidas técnicas de proteção são caras, atrapalham ou previnem a adoção em massa, encurtam ou matam o compartilhamento social, o que derrota o marketing usuário-usuário, normalmente limitam drasticamente o uso honesto, e são geralmente inúteis no combate aos piratas reais, isto é, os que têm intenções maldosas e criminosas de roubar conteúdo e vendê-lo para outros.
Não somente conteúdo – Contexto! A meu ver, o pensamento de que a distribuição de conteúdo tem de ser controlada para que haja qualquer forma razoável de pagamento é fundamentalmente equivocado por causa dessa percepção não-tão-futurista: numa economia aberta e enredada (nota: estou falando sobre hoje e não amanhã!) editores de conteúdo têm de oferecer seus bens de uma forma que não mais considere a distribuição como o fator central. Não deve-se vender (somente) o conteúdo (ou seja, meros 0s e 1s) e sim também o contexto, os valores agregados, os vários outros itens em torno do conteúdo. Venda o que não pode ser copiado.
A tendência irrefutável é que a janela de oportunidade de se ‘vender cópias’ (isto é, iTunes, música digital, Kindle, etc) está rapidamente fechando, pelo menos na maior parte dos países desenvolvidos. A próxima oportunidade, e já muito presente, está na venda do acesso e serviços de valor agregado, e no fornecimento de experiências ligadas ao conteúdo.
A partir do momento que abarcarmos que os usuários – as pessoas dantes conhecidas como consumidores – não podem ser reduzidas a meros ‘compradores de cópias’, poderemos investigar como eles gostariam de pagar por todo o resto também. Por exemplo, ao comprar um eBook os usuários não deveriam pagar meramente pela autorização da distribuição, ou seja, a cópia legítima das palavras, e sim também poderiam ganhar acesso a comentários altamente especializados, amigos e colegas que possam ler esse livro, avaliações, explicações, apresentações de slides, imagens, links, vídeos, referências cruzadas, conexões diretas com o autor ou o editor e assim por diante. Sim: conectar com fãs + motivos para comprar (como o Mike Masnich do Techdirt já resumiu sucintamente diversas vezes)....
It didn't take long for the TedX NewStreet (London) people to put the videos online at the TedX Youtube channel - great! Unfortunately my own talk got started while the wireless microphone was still on 'mute' so for the first minute or so (while I am doing my introduction) the audio recording was quite bad.
Therefore, I edited the video and scrubbed those 60 seconds; the result is below (using my own GerdTube / Blip.TV channel *you can get the iTunes podcast feed here). The original TedX Youtube version is below, as well, as is the slideshow, from my previous post. I think I really touched on some very important issues here, and I would be delighted to hear your thoughts on them. Fire away via Twitter, or Facebook, or comment below. And spread the word. Thanks.
It was a great pleasure to speak at TedX New Street in London yesterday (tweet flow is here, btw) I was allotted the usual 18 Ted-minutes to speak about the future of intellectual property and copyright - a piece of cake! Here is my presentation, below - let me know how you like it. Hopefully we will have a video on Ted.com pretty soon, as well. If you want a quicky download (rather than the high-res slideshare version, below), you can try this low-res PDF: Future of IP and Copyright Gerd Leonhard Tedx London LOW RES
8 months ago, I was interviewed by the House of Radon people for a movie called PressPausePlay, a really promising film that is presented by Ericsson and is scheduled for release some time later this year. I have embedded the trailer below (yes, it includes my 15 seconds of micro-fame) and really look forward to seeing the whole thing when it's ready.
Kudos to Ericsson for sponsoring a very powerful film about the huge changes in production, distribution and consumption of creative works - this is a crucial topic that is, of course, very close to my own work (see here, here, here and here). Eric Wahlforss (SoundCloud's Founder) is involved, as well, btw.
From the film's web-site: "A new generation of global creators and artists are emerging,
equipped with other points of reference and other tools. The teachers
arenʼt certiﬁed schools anymore - itʼs web sites, discussion forums and a
“learn by doing”-mentality. We see the children of a digital age,
unspoiled or uneducated depending on who you ask. Collaboration over
hierarchy, digital over analog - a change in the way we produce,
distribute and consume creative works. PressPausePlay is the ﬁrst ﬁlm to capture this new ecosystem.
We meet the creatives at the frontier of production, the technical
enablers of collaboration and distribution, the artists, the pop stars,
the film makers, the business men, the visionaries and the ones left
behind. Itʼs a story from the smallest molecule to the largest
corporation. Itʼs a snapshot of today, but at the same time predictions
of a near future.
Weʼre not creating a documentary in the classical sense of
shaky cameras, bad lighting and unbearable sound. Although we have a
small budget, we got big aspirations. The ﬁlm will in itself be a proof
of the evolution story weʼre telling, shot in digital 4K and ﬁnished at
the end of 2010. Ready for both the big (cinema) and the small (mobile)
screen. We will release rough edits and interviews as well as the ﬁnal
ﬁlm free for anyone to use, broadcast and distribute. PressPausePlay will be an observation, a testimony and a
El 29 de junio de 2007, mientras estaba en London Calling, fui invitado a hablar a un pequeño grupo de líderes de sellos independientes en su reunión anual AIM / WIN
en Londres. Aproveché esta oportunidad para dar un vistazo a lo que
debe suceder para que las compañías de música independiente realmente
puedan sacar provecho de la nueva economía de la música que se está
desarrollando en estos momentos. Así que … algunos de mis pensamientos
se comparten a continuación.
Hoy quiero presentar mis opiniones sobre lo que me gusta llamar
“Música 2.0″ – la próxima generación de la industria de la música que
se está creando en estos momentos. Este nuevo modelo es radicalmente
diferente. Muchos de las viejas formas de hacer las cosas, muchas de
las relaciones anteriores y muchas de las viejas tradiciones no pueden
y no van a sobrevivir.
Quiero seducirlos, a ustedes los líderes de la industria de la
música independiente, a recorrer este nuevo camino conmigo, para dar un
salto, para dejar algunas de sus presunciones y sus ‘religiones’ a un
lado, y hacer jugadas audaces – porque esto es lo que se necesita para
darle la vuelta a este barco. Scott Fitzgerald, el famoso novelista, dijo: “La prueba de una
inteligencia de primer orden es la capacidad de tener dos ideas
opuestas en la mente al mismo tiempo, y todavía tener la capacidad de
funcionar”. Este claramente es el desafío de la industria de la música
Las innovaciones técnicas y económicas durante los últimos 10 años
han despojado de muchas tradiciones, jerarquías sociales y económicas y
monopolios a la industria de la música, y si hubiera una cosa que
pudieramos decir con seguridad creo que sería que ahora es tiempo del
show, que finalmente la industria de la música ha llegando a un punto
de inflexión importante: 10 años después de que la primera empresas
.com sacudió la tierra. Le tomó mucho más tiempo de lo que todos
pensamos pero la está golpeando mucho más duro ahora: las ventas de CD
han caído entre un 20 – 40% en lo que va del año, y las ventas
digitales no están haciendo la diferencia en el corto plazo – y la
carrera de un solo caballo que es iTunes claramente está en un callejón
Nos estamos acercando rápidamente a un punto donde nos vemos
obligados a sumergirnos en lo que me gusta llamar “Music2.0″ – un nuevo
ecosistema que no se basa en la música como un producto, sino en la
música como un servicio: primero se vende el acceso, y sólo entonces se
produce la venta de copias. Se trata de un ecosistema basado en la
ubicuidad de la música, no la escasez. Un ecosistema basado en la
confianza mutua, no el miedo.Como dice Don Tapscott, en su gran libro “Wikinomics”, podemos
pensar en Web 1.0 – la “antigua” web – como una especie de periódico
digital, mientras que Web 2.0 es un lienzo que permite que la
información sea presentada, compartida , modificada, y remezclada. Se
trata de la interactividad, las opciones de envío y recepción lo que la
hacen útil y «especial». Y sobre todo en la música, que siempre, desde
el principio, ha sido acerca de interactividad, de compartir, de
participar – no de vender-vender-vender...
The complete title of my piece is: "The price of freedom - reinventing the online economy: Gerd Leonhard explains why ‘free’ content can still pay in the long term" and I really enjoyed writing this for them.
Following my last presentation at the RSA, in April 2009, on 'The Future of Content and Creativity' I have had many good conversations about this topic. The audio track from this event is here, btw; and the video is embedded again, below. Enjoy. And RT;)
You can read the entire thing on the RSA page, so here is just an excerpt:
"Free information, free music, free content and free media have been
the promises of the internet (r)evolution since the humble beginnings
of the World Wide Web and the Netscape IPO on 9 August 1995. What
started out as the cumbersome sharing of simple text, grainy images and
seriously compressed MP3s via online bulletin boards has now spread out
to every single segment of the content industry – and even into
‘meatspace’ (real-life) services such as car rentals. Without a doubt,
‘free’ has become the default expectation of the young web-empowered
digital natives and now the older generations are jumping in, too.
top of the already disruptive force of the good old computer-based
Web1.0, we are witnessing a global shift to mobile internet – a WWW
that is, finally, so easy to use that even my grandmother can do it.
While five years ago, we needed a ‘real’ computer tethered to a bunch
of wires to port ourselves to this other place called ‘online’ and
partake in global content swapping, now we just need a simple smart
phone and a basic data connection. With a single click of a button,
we’re in business – or rather, in freeloading mode.
we love ‘free’; as creators, many of us have come to hate the very
thought. When access is de facto ownership, how can we still sell
copies of our creations? Will we be stuck playing gigs while our music
circles the globe on social networks, or blogging (now: tweeting) our
heart out without even a hint of real money coming our way?
as it may seem, we can no longer stick with the pillars of Content1.0,
such as the so-called fixed mechanical rate that US music publishers
are currently getting ‘per copy’ of a song ($0.091). Nobody knows what
really defines a copy any longer when the web’s equivalent of a copy
(the on-demand play of that song on digital networks) may be occurring
hundreds of millions of times per day. No advertiser, no ISP and not
even Google has this kind of money to pay the composer (or rather, the
publisher), at least not until the advertisers start bringing at least
30–50 per cent of their global US$1 trillion marketing and advertising
budgets to the table.
expectations and pre-internet licensing agreements are exactly what are
holding up YouTube’s deals with the music rights organisations such as
PRS and GEMA: this is what the rights organisations used to get paid
for the music that is being copied, and this is what they want to get
paid now. This impasse is causing significant friction in our media
industries worldwide. Yet, below the top-line issue of money, there
lurks an even more significant paradigm shift: the excruciating switch
from a centralised system of domination and control to a new ecosystem
based on open and collaborative models. This is the shift from
monopolies and cartels to interconnected platforms where partnership
and revenue sharing are standard procedures. In most countries,
copyright law gives creators complete and unfettered control to say yes
or no to the use of their work. Rights-holders have been able to rule
the ecosystem and, accordingly, ‘my way or the highway’ has been the
quintessential operating paradigm of most large content companies for
the past 50 years.
Enter the internet: now the highway has become
the road of choice for 95 per cent of the population, the attitude of
increasing the price by playing hard to get is rendered utterly
fruitless. Like it or not, a refusal to give permission for our content
to be legally used because we just don’t like the terms (or the entity
asking for a licence) will just be treated as ‘damage’ on the digital
networks, and the traffic will simply route around it. The internet and
its millions of clever ‘prosumers’, inventors and armies of
collaborators will find a way to use our creations, anyway. Yes, we can
sue Napster, Kazaa or The PirateBay and we can whack ever more moles as
we go along. We can pay hundreds of millions of dollars to our lawyers
and industry lobbyists – but none of this will help us to monetise what
we create. The solution is not a clever legal move, and it’s not a
technical trick (witness the disastrous use and now total demise of
Digital Rights Management in digital music). The solution is in the
creation of new business models and the adoption of a new economic
logic that works for everyone; a logic that is based on collaboration,
on co-engagement and on, dare we mention it, mutual trust – an
ecosystem not an egosystem. Once we accept this, we can start to
discover the tremendous possibilities that a networked content economy
can bring to us.
Free, feels-like-free and freemium
has been written on the persistent trend towards free content on the
net. It is crucial that we distinguish between the different terms so
that we can develop new revenue models around all of them. ‘Free’ means
nobody gets paid in hard currency – content is given away in return for
other considerations, such as a larger audience, viral marketing
velocity or increased word of mouth (or mouse). I may be receiving
payment in the form of attention, but that isn’t going to be very
useful when it’s time to pay my rent or buy dinner for my kids. Free
is... well, unpaid, in real-life terms.
the other hand, means that real money is being generated for the
creators while their content is being consumed – but the user considers
it free. The payment may be made (ie sponsored or facilitated) by a
third party (such as Google’s recently launched free music offering in
China, Top100.cn); it may be bundled (such as in Nokia’s innovative
‘Comes With Music’ offering, which bundles the music fee into the
actual handsets) or the payment may be part of an existing social,
technological or cultural infrastructure (such as cable TV or European
broadcast licence fees) and therefore absorbed without much further
thought. Feels-like-free could therefore be understood as a smart way
to re-package what people will pay for, so that the pain of parting
with their money is removed or somewhat lessened – everyone pays,
somehow, but the consumption itself feels like a good deal...." Read on. PDF: Download RSA - The price of freedom Gerd Leonhard July 2009