Digital-Lifestyles

Content

Content in its shift to become digital

  • Content becomes More Popular than Communications

    The Online Publishers Association (OPA) has announced that for the first time ever, this September, Content surpassed Communications to become the leading online activity as measured by share of time spent online.

    Content was also the only category to register an increase in share of time spent online over August 2004, while Commerce, Communications and Search registered month-over-month declines of 5.8%, 4.0% and 3.1%, respectively. It was tight, but Content (41%) only just pipped Communications (39.8%) to the post rather than outrun it by lengths.

    For OPA purposes, Content means Web sites and Internet applications that are designed primarily to provide news, information and entertainment like CNN.com, ESPN.com, Windows Media Player and MapQuest. Communications covers Web sites and Internet applications that are designed to facilitate the exchange of thoughts, messages, or information directly between individuals or groups of individuals like Yahoo! Mail, AOL Instant Messenger and MSN Groups.

    The Internet Activity Index is based on the proprietary clickstream database that underlies Nielsen//NetRatings’ NetView service, and calculations are made for each segment – Communications, Commerce, Content, and Search.

    As mentioned, Content’s share of time grew substantially from 34.6% in September 2003 to 41.0% in September 2004. While Commerce and Search remained relatively flat over that same time period, Communications registered a sharp decline, from a 46.0% share to a 39.8% share.

    Michael Zimbalist, president of the Online Publishers Association explained the increase in share of time spent on Web Content – the string of hurricanes, the start of the pro football season and the baseball playoffs, the presidential debates, and the new Autumn line-ups of the television networks.

    If these are the reasons for the historic first, well then the figures are just temporarily skewed and will, one presumes, return to second place in October. But what about September 2003? All the sporting and television line-ups were there a year ago.

    What really pushed Content ahead of Communications? Was it the hurricanes, the presidential election debates or both? Or, as Michael Zimbalist says, “a shift in how consumers are using the Web as broadband households continue to grow. Clearly, it is much more than a tool; it is a primary source of information, entertainment and fun.” Online Publishers Organisation/iai

  • MailMender: Putting 1,000+ Vi@gra spams straight

    While spam may no longer be on the menu of any self-respecting restaurant, it is taking a free ride on the coat tails of millions of legitimate emails every day.

    One of the main groups of offenders is the purveyor of that substance that straightens you right out – not fine coffee but that other drug, Viagra. Now spam filter companies are constantly touting their wares from the rooftops, but it seems that lots of them can do one or two things really successfully, but not one of them can do everything successfully.

    MailMender – a new spam filter on the block from Savannah Software, has just received the top award from WhichSpamFilter.com, a spam filter review site. MailMender introduces a clever new technology that automatically finds all variations of words commonly used by spammers, like our friend Viagra, and foils all attempts by spammers to get past it.

    The problem is, over the years, spammers have been aware that their messages were being killed by these content filters and began resorting to ever more desperate tricks to try to fool the content filters using spellings like “Vi@gra”, “Mort.gage”, or “L|0|a|n|$”. In fact, a lot of spam messages now are virtually illegible because of their attempts to fool content-based filters, but MailMender can not only see through these methods, but detect that they are being employed in the first place.

    WhichSpamFilter.com tested MailMender and found that it fended off 1,009 variations of the word that most frequents our in box, “Viagra”. It was sent every possible permutation and strange combination ranging from “V1@gra” to “V|l|a|q|r@” in an attempt to get it past the filter, but was blocked on each occasion.

    MailMender is a content-based filter that works as a proxy, meaning that it filters your e-mail behind the scenes before it reaches your inbox. Its “intelligent search” functionality detects and beats the spammer’s attempts at “obfuscating” words and can automatically perform challenge/response filtering on subject e-mails, requiring that the user confirm any suspect messages.

    MailMender
    WhichSpamFilter

  • Sony Eyes P2P Venture

    A new partnership of opposites may be in the offing, one that will allow you to download pay-for and free songs from the Internet. The partnership called Mashboxxx, first reported in Friday’s Los Angeles Times, will happen between Sony BMG Music Entertainment and online peer-to-peer software distributor Grokster. This is quite an historical venture really, being the first earnest public partnership between a major recording company and an established file-sharing outfit. There have been many rumours (whispered behind the hand) of these schemes already being run.

    Yes, Sony BMG has broken ranks with the rest of the entertainment industry by embarking on this venture with Grokster, that combines free music sampling with paid downloads. The free downloads will be promotional versions of songs by Sony BMG acts, and / or you can buy licensed, higher quality versions. Punters already use Grokster to search, download and distribute a wide variety of music files, but most of these are only copies of CD-quality recordings.

    To many, this looks like a case of joining the enemy when you can’t beat them – a tactic that has worked well in many instances throughout history. As it happens, Grokster only recently settled a copyright infringement lawsuit filed against them by recording companies, over a Spanish Web site that was selling music downloads without permission.

    But why go down the expensive and lengthy road of litigation when, like Sony BMG and Grokster, you can settle on a legitimate business model that allows you to work together, using each other’s expertise in a mutually beneficial way?

    Well finally the music industry is starting to acknowledge that Peer-to-peer (P2P) networks are very efficient at distributing files. Not only that, but they get to save money by not paying all of the bandwidth charges for distributing the files, as the consumer bandwidth is used to share the files around.

    Mashboxxx is expected to employ some kind of digital fingerprinting technology that will be able to filter out unauthorized song copies from file-sharing networks, and a version of this type of filtering technology has been developed by San Francisco-based Snocap Inc.

  • Broadband BBC – Ashley Highfield

    Ashley Highfield, BBC Director of New Media and Technology, outlined the BBC’s plans to harness broadband technology to reduce the digital divide in Britain in a speech to the Broadband Britain Summit in London.

    Alluding to Harold Wilson’s prophetic comments over forty years ago where he described a ‘new’ Britain forged from ‘the white heat of technology’, Highfield asks, “Can we move this ‘linear’ digital content leadership into the broadband ‘on demand’ world? Or will the white-heat prove to be nothing but hot air?”

    Highfield describes “a new world of media consumption only made possible by a faster always-on connection.” He outlined the corporation’s vision for a broadband Britain, and urged the cooperation of Government and industry to avoid a digital underclass.

    It is obviously hoped that the BBC’s interactive media player, iMP, which has just undergone a technical trial, will be a leading protagonist in the unfolding broadband drama. “iMP enables people to download television and radio programmes, choose to record whole series such as EastEnders, catch up on programmes they have missed and watch or listen to them on any device they want – all through peer-to-peer (P2P) sharing on a broadband connection”, explained Highfield.

    “iMP is just one of a suite of products in development that makes up our BBC On Demand strategy”, says Highfield, “including the Creative Archive, the Radio Player, and the Broadband Console, with the express aim of finding the right content and services to put the British media industry at the forefront of this technology tidal wave and narrow the digital divide.”

    The creation of “Underclasses” are not a healthy development in any environment, including the digital one, and Highfield outlined some proposals that should help to avoid this – the BBC’s planned scheme ‘Music for All’ and a ‘Get Britain Connected’ week.

    The ‘Music for All’, will be firmly rooted in broadband. It aims to “transform music education giving children the opportunity to hear live performances, experience master classes in all music genres, create and perform their own pieces and work alongside leading musicians who can help them to develop their musical passions.”

    Highfield also floated the idea of FreeBand (in the mode of the BBC’s FreeView and FreeSat). The BBC would supply broadband ready material, “compelling content” in his words, that would be delivered via services providers to UK citizens. Sadly he didn’t go in to any more detail, so it’s not clear how this would differ from services they currently freely deliver, or have spoken about publicly previously. It is perhaps just a new catchy way to label it.

    In his speech, Highfield also proposed a ‘Get Britain Connected’ week to happen later next year. He envisaged this as being “a joint initiative with Government, players in the broadband supply chain (both commercial and public sector) and the BBC with its airwaves and cross-promotional opportunities to target those members of society who might find themselves on the wrong side of the digital divide.”

    Harold Wilson was the first British Prime Minister to successfully use television as a political tool. Hopefully the ‘white heat’ Wilson referred to forty years ago will indeed prove to be more than hot air.

    Text of Ashley Highfields speech

  • UK Gov Opens Door to Open Source

    Gerald M. Weinberg, author of The Psychology of Computer Programming, came to an interesting conclusion back in 1971 – “If builders built houses the way programmers built programs, the first woodpecker to come along would destroy civilisation.” So who do government departments trust when it comes to creating software? The proprietary software giants or the open source software alternative?
    The UK government’s central procurement agency, the Office of Government Commerce (OGC), recently field-tested open-source software in the public sector with results that will please Tux lovers everywhere. The open-source pilots were run at various government agencies using software from IBM and Sun Microsystems Inc. The subsequent report cites progress in desktop products, such as OpenOffice and Sun Microsystems Inc.’s StarOffice, for routine, low level work, but not for “knowledge” or “power users” who require more advanced capabilities.

    The softening in attitude towards open source comes not only from an acceptance of its maturing functionality on the desktop – it’s been around a while now, it also comes down to cost. Open-source software requires less memory and a slower processor speed for the same functionality offered by the proprietary applications that are always demanding hardware upgrades to work to their full potential. So, if open source were taken on board soon it would delay expensive hardware replacement.

    The report comes just as the OGC is finalising a three-year extension to its memorandum of understanding (MOU) with Microsoft Corp., which has basked in the warmth of a long and cosy partnership with the UK government. Now that cash strapped government departments all over the world start taking a closer look at open-source alternatives, companies like Microsoft have to be a little worried.

    Could OGC have just been hoping that Microsoft would cut its licensing costs? Hardly, you wouldn’t conduct a major study just for that. Although Microsoft did recently launch a major advertising campaign, ‘Get the Facts’, to repudiate the idea that open source has a lower TCO (total cost of ownership) than proprietary software.

  • SBC’s $20 DSL Red Herring

    Baby Bell phone company SBC Communications has launched a promotion that breaks a barrier of sorts. It’s offering DSL for $19.95 (£11) a month. It only comes in a bundle though. You must also subscribe for one year to SBC’s unlimited calling plan at $48 (£26) a month.

    The DSL service promises download speeds of between 384kbps and 1.5mbps, and an upload speed of up to 384kbps. It also includes increased e-mail account storage, safety and security features and a parental control package.

    SBC Communications, who markets DSL high-speed services in partnership with Yahoo, say the $19.95 (£11) a month plan, effective from 1st November, is available to new broadband subscribers or for customers who want to change from cable to DSL.

    It’s a regular tussle between the phone companies and the cable companies. Approximately 60% of US homes with broadband access, use cable modems, but broadband penetration nationwide has not yet hit 50%. By the end of 2004 roughly 30 million of the 110 million US households will have broadband access – still only 30%.

    At the end of the second quarter (2004) UBS said cable firms had 16.7 million Internet customers, while phone companies had 11.3 million DSL customers – still a considerable gap.

    Looking ahead, Local Bells plan to replace ageing copper wiring in affluent urban areas with fibre-optic wiring that will also handle video, hoping obviously to stop wireless and cable service providers at the pass. Indeed, only last week SBC granted Alcatel a $1.7 billion contract to install fibre-optic lines in its network infrastructure, so that it can eventually handle video, while Motorola will supply equipment to Verizon for their video service.

    But cable companies like Comcast and Time Warner Cable remain the market leaders for household broadband customers. While phone companies like SBC, Verizon Communications, BellSouth and Qwest Communications are upgrading their networks to handle higher bandwidth applications such as video.

    While SBC added 402,000 DSL customers in the third quarter and Verizon added 309,000 DSL customers, cable firm Comcast signed up 549,000 broadband customers in the same period. Comcast did target college students though with a $19.95 (£11), six-month promotion, which may go some way towards explaining their third quarter success.

  • BBC Creative Archive: Pilot to Start in 2005

    More details of the BBC’s Creative Archive were revealed at an Royal Television Society, London Centre meeting last night when Paula Le Dieu gave a presentation on the project’s background and recent developments. Following this, an hour-long discussion, chaired by Digital Lifestyles’s own Simon Perry, explored further details [MP3 recording ~14Mb].

    Paula is co-director of the Creative Archive (CA), a project to make BBC archived audio and video media available to the UK public so that they can download it and make creative works based upon it.

    The BBC is taking this extraordinary step as they believe it will help them give more value to the licence fee payers – one of their core values.

    Paula told us that one of the inspirations for the move was the BBC Micro. Released in 1982, the BBC Micro was an open hardware and software platform that ignited public interest and in no small way contributed to the UK’s hugely popular computing and games scenes. Indeed, by encouraging owners to use the BBC Micro platform in whatever way they wished, it helped many people take their first steps into the digital age and helped shape the industry as it stands today. A game of Elite, anyone?

    Since then, we’ve seen the rapid growth of the Internet, and this has encouraged users to share content around the world – and the more material that people share, the more there is for them to draw inspiration from.

    The BBC, slow on the uptake, came to the realisation that opening up their archive would allow them to present significant value to their public – enabling them to listen, watch, download, share and use materials in any way they wish, under an non-restrictive licence.

    The remit of the Creative Archive has changed since the BBC’s previous Director General, Greg Dyke, left – Mark Thompson, the new DG, is completely behind the project and wants to include full programmes from the BBC’s huge media library. Give that some of the material that may be released has not seen the light of day since broadcast, it’s an exciting opportunity to give new life to content that has been sitting on shelves gathering dust for years. The BBC’s archive contains some 1.5 million items of television, equating to 600,000 hours of television – or put another way, 68 years of consecutive viewing. In addition to this is 500,000 audio recordings.

    Obviously, that’s a lot of bandwidth – and the more popular the Creative Archive becomes, the more expensive it will be to distribute it. Consequently, the BBC is looking at peer-to-peer (P2P) methods of distribution, so that the public become not just their creative partners, but distribution partners also. The Corporation is also looking to the public for help in metatagging the content, after all people need to find what they need and know what they are looking for. Users of the content will be invited to tag content, and communities of interest will be sought out for their expertise on particular subjects. Paula gave an example of the Archaeological Society, who have already, of their own volition,  tagged and catalogued all of the BBC’s archaeological output before the Creative Archive was even announced. Layers of metadata will be encouraged, so that content will be searchable in many different ways – for example, actors present, type of canned laughter – even types of shoes worn in a scene, and each layer will be open to peer review.

    We feel this layering of metadata is of huge importance, an idea we have been putting to media owners for a long time. We feel the addition of descriptive metadata will be added to time-coded media with or without the owner blessing – it enables the viewing public to add their knowledge and experience, without limit of depth. It’s very encouraging to find that the BBC is to include this in CA.

    New ways of using and accessing material require new licences. The Creative Archive team have looked at a number of alternative licences, and intent to distribute the content under terms based on the well-established Creative Commons (CC) Licence. Key requirements of content users will be that they properly credit the source and creators of the original materials, and that the new work they have produced inherits the same CC licence. All derivative works have to be non-commercial in nature – but of course a new licence can be sought for commercial use if required.

    One aspect of the licence that needs work is a requirement that content is not distributed out of the UK. It is far from clear as to how this would be enforceable – web sites can be accessed from around the world, and one file downloaded from a P2P network may be assembled in blocks from a dozen countries. Any clip of interest to anyone will certainly be distributed worldwide within seconds of it becoming available. The provision has been built in because the UK licence fee is paying for the project, but it shows that the BBC is trying to tackle the new distribution problems that the digital age brings.

    Because of content licensing within the BBC and the source of much of the materials in the archive, the Creative Archive’s material will be started off with natural history content – music clearance and artist’s rights will have to be tackled later before the rest of the archive is put online.

    Andrew Chowns of the Producers Rights Agency raised the question of derogatory  treatment of works from the CA. Depending on the content within the CA this could become a problem. Nothing spreads faster than a Friday afternoon joke video clip, and the Creative Archive will no doubt contain many items that regulars to b3ta and similar sites might find too tempting not to load into Premier and misuse. Again, this is an aspect that they will need to work on.

    To enable the public to use the content, it will not be distributed with a digital rights management scheme and will be available in a number of formats, probably two proprietary and one open. Le Dieu described DRM as an envelope with a transparent window that only allowed you to see part of the content, without getting access to it.

    She also stressed that the Creative Archive is not just about the BBC – they want other content providers and broadcasters to get involved, and want to share what they have learned, and have still to learn, with them. The whole project is very much a learning exercise for the Corporation – scary and exciting in equal measures.

    The Creative Archive know that they have a lot of areas that need to be explored and developed and are looking for ways to involve the public in the project. Although there is no fixed start date, a 18-month to two year pilot will begin in 2005. It will not be restricted in the number of people who can access it, only in the amount of material that will be available.

    The CA will not be producing a software platform or editing tools as they feel there are already plenty of free and cheap solutions out there. They may however produce an environment for the public to showcase works they have produced using CA content, much like those around Video Nation and One Minute Movies.

    The Creative Archive is certainly an exciting project – an experiment in alternative licensing, another legal application for P2P networks and a chance for the UK public to get their hands on some fascinating and important archive materials. As a vehicle for learning about content distribution and consumption in the digital age, we can’t think of a better example.

    MP3 recording of the Creative Archive Q&A ~14Mb
    BBC Creative Archive
    Royal Television Society – London Centre
    Producers Rights Agency UPDATE: James Governor’s write up

  • Report: Euro Music Download Market $5.7 Billion by 2009

    A new report by research and analysis firm Generator, predicts that the digital song download market in Europe will reach $5.7 billion (€4.5 billion) by 2009. If this figure pans out, it will mean that the download market will account for about 40% of the total recorded music market.

    The report also predicts that the mobile channel will figure largely in this market growth, up to $777 million (€610 million), 13.5% of the total by 2009 – and that’s not including huge ringtone market. But Europe first needs to change its usage-based mobile data tariffs and adopt flat-rate 3G tariffs like DoCoMo in Japan to encourage the successful use of the mobile channel, says the report’s author, Andrew Sheehy.

    Operators will also need to develop their WAP portal strategies, so consumers can directly access existing Internet music resources, such as artist Web sites and digital music stores.

    The Generator report, ‘Digital Music Meets Mobile Music’, differs considerably from last months Jupiter Research report, ‘European Digital Music: Identifying Opportunity’, which predicts that digital music revenue will reach €836 million, or 8% of the total market, by 2009. With a difference of 32% between Generator and Jupiter, one perhaps slightly conservative and one perhaps slightly ambitious, it might be safest to pitch the predicted figure somewhere between the two.

    Only one year into the legal digital music industry, but in real terms more than a few years in, it has permeated the world of commercial music consumption far quicker than happened with the CD.

    While both Generator and Jupiter agree that sales of downloaded digital music in Europe will continue to grow steadily for the forseeable future, Jupiter says the trend but will not replace the CD anytime soon, while Generator says it will be largely replaced within ten years.

    Don’t throw anything away yet!

  • Court Orders New Protections for People Targeted by RIAA

    A district court in Pennsylvania has forced the Recording Industry Association of America (RIAA) to rethink the privacy and due process rights of people it has accused of copyright infringement. The impasse arose after the music industry filed a flood of lawsuits against anonymous individuals who they claimed were sharing copyrighted music, but because the industry did not know the identities of the file sharers, it served subpoenas to the individuals’ ISPs seeking their names. The court held that before the ISPs turn over these names, they must first send notices to each file sharer advising them of their rights.

    The judge ruled that the RIAA cannot sue alleged file sharers simultaneously, since they had grouped 203 of them, called “John Doe” because their identities are not yet known – into one lawsuit last month. The RIAA must now identify alleged file swappers by their Internet Protocol addresses.

    On Friday a subpoena was authorised in the case of John Doe No. 1, but the RIAA will have to make separate requests to seek the identity of each of the remaining 202 alleged file sharers, and must pay court fees of $150 for each lawsuit filed.

    “Piracy, both online and on the street, continues to hit the music community hard, and thousands have lost their jobs because of it”, said Mitch Bainwol, Chairman and CEO of the RIAA in a recent press statement. The RIAA and its partners in the music community have continued a variety of public education efforts. These include joining with the FBI to unveil a new anti-piracy warning and seal; expanding the acclaimed “I Download…Legally” media campaign; and working with the university community to develop new programs to educate students about intellectual property laws, discourage illegal peer-to-peer use, and offer legitimate online music alternatives.

    Notwithstanding, the RIAA, for the first time ever, included digital downloads in its semi-annual shipment report. For the first half of 2004, there were 58 million single tracks downloaded or burned from licensed online music services.

    www.riaa.com
    www.eff.com

  • Half UK Mobile Customers can Access the Web via their Mobile

    The MDA was established in 1994 to increase awareness of mobile data amongst users and their advisers. The MDA acts as a focal point for its members, (vendors and users) and outside parties interested in knowing more about the industry.

    MDA findings show that half of UK mobile customers can access the Web via their mobile. With a total active, mobile touting customer base of over 52 million, that means about 26 million are surfing the Web on the tiny screen, with GPRS active devices topping 24 million – a 46% penetration rate for GPRS devices for the total UK market. MMS active capable devices, on the other hand, reached 15 million as at 30th June 2004, with a penetration rate of 29% for the total UK market, showing an increase on the previous quarter of 36%.

    Announced today, the figures as of 30th June 2004 from UK GSM network operators O2, Orange, T-Mobile and Vodafone show a rapid increase for both GPRS and MMS devices on the previous quarter.

    GPRS technology provides “always on” capabilities and faster speeds for e-mail and Web browsing on the move, while MMS capable devices are defined as those with integrated camera phone, attached camera or “MMS capable” of sending / receiving without camera option.

    The GPRS/MMS trend is expected to continue, while GPRS services have illustrated an increase in popularity in the last 12 months in both the consumer and corporate markets.

    Popular applications predictably include, access to rail/air timetables, mobile chat, location services, mobile images and innovative music services as GPRS and MMS providers strive to suit every customer need.

    The MDA announces the total number of chargeable person-to-person text messages and WAP page impression figures sent on behalf of the UK GSM Network operators on a monthly basis and figures are announced in the third week of the following month. You can keep yourself informed by accessing their Web site.

    www.mda-mobiledata.org
    www.text.it