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News / BLOCKCHAIN区块链技术能否挑战YouTube和Netflix?
« Last post by zongguan on Today at 06:30:05 am »
区块链技术的兴起让技术人员猜测它是否可以挑战支配视频行业的YouTube和Netflix。专家们认为音乐产业是区块链技术可以成功应用的领域之一,但这是否会发生呢还有待观察。
YouTube如何工作?                               
YouTube是用户最友好的网站之一。您可以上传各种文件格式的视频,网站将视频转换为Adobe Flash格式。然后,您的视频可以使用YouTube的Flash播放器播放,该播放器可以免费安装在PC或任何智能设备上。
一旦您上传视频,它就会存储在位于世界各地的Google数据中心(约14个)中。这些中心包含众多的服务器和强大的计算机,每天处理许多Google搜索。这些数据中心可以相互通信。当您上传视频时,它将被存储在距离您最近的数据中心,并且当有人想要流式传输视频时,视频将被传输到离该人最近的数据中心以便快速访问。
Netflix如何工作?
Netflix服务有多达700个微服务。每个微服务都执行特定的功能 - 一个存储您观看过的视频,另一个则从您的卡中扣除每月费用,另一个将您购买的内容转换为适合您的屏幕的大小,并确保它不能被复制。世界各地的服务器进行协调,以使最靠近您的服务器以最快的速度和质量存储并向您发送内容。
区块链如何工作
您可能已经听说过区块链技术可以用于音乐行业,但它可以挑战YouTube和Netflix吗?这个问题的答案将取决于多个因素。让我们看看它是如何工作的。与YouTube和Netflix实际上是艺术家和消费者之间的中央调解机构不同,区块链技术是分散的,可以允许艺术家和粉丝之间的直接交易。它所基于的分布式账本可以实现点对点交易和安全结束智能合约。音乐可以发布在区块链数据库中,以便它不能被修改或以其他方式干扰。每个记录都可以表明所有者和任何被许可人,允许每个人都看到和验证。这可以解决影响艺术家收入的音乐盗版问题。
像比特币这样的基于区块链的加密货币允许小额支付,这是传统支付系统由于交易成本而不可能的。因此,您可以选择一个您选择的记录并付款。
区块链分类账可以允许艺术家和消费者之间的直接关系,避免了艺术家支付购买平台和经纪人的费用。这将有助于即将到来的音乐家谁可能不会得到建立录音室的支持。
区块链音乐初创公司PeerTracks估计,使用他们平台的艺术家将获得其音乐价值的90%,而目前只有15%。PledgeMusic还打算开发一个全球区块链音乐平台,您可以访问音乐,并通过智能合约自动收取版权所有者的大部分好处。
正如简单地表明的那样,区块链技术有很多可能性,但也有一些挑战。音乐产业是否会充分利用区块链技术还有待观察。
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Guest post by David Gerard from his book Attack of the 50 Foot Blockchain: Bitcoin, Blockchain, Ethereum & Smart Contracts

An edited excerpt from Attack of the 50 Foot Blockchain: Bitcoin, Blockchain, Ethereum & Smart Contracts by David Gerard, the first critical examination of the entire Bitcoin and blockchain phenomenon, available in paperback and e-book via Amazon. Chapter 12 is a case study of attempts to apply blockchains to the music industry. David Gerard also writes about music at Rocknerd.

 Images (5)The recording industry has suffered nearly two decades of crisis, after the 1990s CD boom petered out and the Internet proceeded to turn the entire world of human communication upside down. The musicians themselves are no happier. In an instructive worked example of Blockchain hype in one industry, both sides have heard the word “blockchain” and wonder if it could be their saviour.

Jeremy Silver of Digital Catapult quotes Mark Meharry, CEO of MusicGlue, as calling “blockchain” the “worst case of smoke and mirrors” that he has seen in an industry which “specialises in self-deception”. Nevertheless, the wants and needs behind music industry blockchain dreams are worth exploring.

Berklee Rethink and blockchain dreams

The blockchain hype went public in July 2015 with “Fair Music: Transparency and Payment Flows in the Music Industry,”1 a report from the Rethink Music initiative at the Berklee College of Music’s Institute for Creative Entrepreneurship.

The problems it outlines are well-known and widely acknowledged:

Who owns what is frequently not traceable at all. “20-50 percent of music payments don’t make it to their rightful owners.” Music collection societies tried to create a Global Repertoire Database in the early 2010s, but scrapped the idea in 2014, as nobody wanted to create a new central octopus.2
Existing industry money flows are an unbelievably complicated mess that’s barely understood by most participants.
Middlemen take money without any reasonable present-day justification.
Record and publishing companies deliberately obscure what they owe and who they owe it to,3 and pay very slowly.
Streaming doesn’t pay nearly as well as CDs used to. (That last problem is not like the others, but keeps being spoken of like it is.)
 Images (6)The report proposes: (a) gather data about as many of these deals as possible, to make the problems clear, (b) revise the contractual arrangements of literally the entire recording industry worldwide, and – in half a page tacked on the end – (c) keep the entire details of every deal the recording industry has ever done and continues to do on a blockchain and (d) administer the deals using smart contracts.

Specifically, it suggests:

Rights ownership and royalty splits that are recorded on the blockchain, money being automatically redirected accordingly, e.g., directly upon an iTunes purchase;
Transactions that occur “nearly instantaneously” (“in less than one second”) and directly, from consumer to artist without intermediaries.
Of course, the word “blockchain” caught all press attention, and not any of the real problems the rest of the paper described.

Why blockchains are a bad fit for music

It’s immediately obvious that blockchains proper – even if euphemised to Distributed Ledger Technology – can’t possibly be the panacea the record industry desperately desires.

No single blockchain can possibly scale to the whole music industry. There were an estimated 35 million songs in iTunes in 2013;4 Spotify played a billion streams a day by mid-2015.5 If you use multiple blockchains, they will need reconciliation.

Apart from the metadata itself being huge, there’s the encoded details of all the hundred-page contracts. Who are the participants in the blockchain who will each be keeping their own copy of all of this data? And who will pay for the computing resources to execute all the smart contracts for each song played?

(Posited solutions include storing contract details off-chain on the BitTorrent-like InterPlanetary File System, so you’d better hope there’s still a node that can seed a full copy of your publishing deal thirty years later! Also, the IPFS doesn’t work yet.)

“Where there’s a hit, there’s a writ.” Data will change – erroneous or fraudulent claims, copyright lawsuits changing ownership information, you litigate your way free of your awful first contract, a musician dies. How is your “immutable” blockchain corrected?

What’s your security threat model? This one never seems to be mentioned, and we’re talking about real-world money here. How is your blockchain kept secure against hostile attackers, e.g., someone who has the money to bring 51% of mining resources to bear against a Proof of Work secured chain? How will you clean up the mess after an attacker uses bugs in your smart contract platform that they knew existed and you didn’t?

Musical blockchain initiatives

All of these have as their business plan to become the new central octopus, or at least one of several.

Imogen Heap’s Mycelia: see previous coverage.

In the wake of its report, Berklee has started its own Open Music Initiative, to do what the Global Repertoire Database tried to, with blockchains thrown in to no obvious utility.6

PeerTracks is one of several companies attempting to set up a system where every artist would sell their own separate cryptocurrency tokens as shares in their future earnings, and streaming royalties would be allocated to the owners of the tokens via smart contracts.7 Apparently the buyers would be the artist’s fans rather than music industry companies. Founder Cédric Cobban subscribes to Austrian economics, which led him to Bitcoin and then this idea.8

Benji Rogers of the dot.blockchain initiative pushes a holistic vision to which the entire industry would need to subscribe, revolving around his “.bc” file format, which he swears up and down is not at all Digital Rights Management, which customers despise – it’s Digital Rights Expression, which plays only on compliant platforms that only let you do permitted things with it and formats that don’t do this shouldn’t be allowed to exist.9 This is literally the approach that crashed and burned hard enough in the early 2000s to make “DRM” a curse to this day. Also, everything should involve Virtual Reality, for some reason. And the InterPlanetary File System, which if it worked would still be a new form of BitTorrent.

Revelator promises a generic buzzword soup of rights management, instant transactions, micropayments and “disruptive technologies”, to demonstrate the actual point of much of this: getting funding from venture capitalists. You’ll be pleased to know they say it’s all about the art.10

The TAO is a smart contracts-based rights administrator selling unregistered securities shares to raise development funds. They explicitly invoke The DAO as their model, which is a boldtack to take after July 2016.11

All these competing systems speak of the artist as their only and eternal concern. But the TAO promoted its share offering with news of a label putting all their artists on the TAO just like that, suggesting that artists in the new world will play a role much like their present one, i.e., a sort of industrially-processed cheese slice.

Are you supposed to sign up with some of these systems? All of them? Why? How are disputes with your blockchain-based rights management organisation handled? Perhaps your contract with them could go on a blockchain.

(So sorry, our smart contract got hacked! All your money is gone. Yes, yours in particular. No, we can’t get it back, smart contract says no. Well, you could sue, I suppose. How much money have you got? Oh, none? What a pity. Never mind.)
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News / Re: Blockchain: Start-Ups To Watch
« Last post by musewhale on Today at 04:15:50 am »
do it!
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News / Re: 2017年国际音乐会+创新与技术大会
« Last post by musewhale on Today at 04:14:40 am »
 8) 8) 8)
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News / Re: Conferencias Fluvial 2017: Música y Tecnología - Fanear
« Last post by musewhale on Today at 04:14:22 am »
cool ! :-X
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News / 2017年国际音乐会+创新与技术大会
« Last post by zongguan on December 13, 2017, 04:37:28 am »

La edición 2017 de Feria Pulsar ha fortalecido su área de innovación. A través de una alianza con MUSTACH y el apoyo del Programa de Apoyo al Entorno para el Emprendimiento y la Innovación (PAEI) de CORFO, la feria ha ampliado su espacio de conferencias y encuentros vinculados al sector más geek de la música.
El viernes 24 de noviembre al mediodía se iniciarán las actividades con la realización del lanzamiento oficial de MUSTACH, Asociación Gremial que reúne a las empresas de tecnología que desarrollan y proveen productos y servicios innovadores para la industria musical. El gremio presentará parte de su plan estratégico, donde destaca la colaboración con otras organizaciones de la música, el sector público y académico, y el plan de internacionalización de startups musicales en el cual se enmarca la convención, entre otras iniciativas. 
Ese mismo día viernes, durante la tarde, se realizará la jornada Hecho en Chile: Innovación en el mercado musical nacional, donde emprendedores de plataformas, medios digitales y fabricantes de hardware compartirán sus experiencias en paneles de conversación.
Posteriormente el Sábado 25 y Domingo 26 se llevabará a cabo la Convención Internacional de Música + Innovación y Tecnología, donde se reunirán experimentados innovadores de la industria musical provenientes de España, Reino Unido, Australia, Canadá, Brasil y México. Destaca la presencia deCedric Cobban (Muse Blockchain / Peertracks), quién expondrá sobre la gran revolución que se viene en la industria musical: el uso de la tecnología blockchain en el mundo de los derechos de autor. Blockchain es una tecnología de bases de datos distribuidas, principio sobre el que operan las criptomonedas como Bitcoin. También destaca el panel Ecosistema iberoamericano de startups musicales, donde distintas organizaciones compartirán puntos de vista para buscar cómo fomentar la colaboración y circulación internacional de innovaciones musicales.

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News / Conferencias Fluvial 2017: Música y Tecnología - Fanear
« Last post by zongguan on December 13, 2017, 03:29:47 am »







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General Discussion / Re: Hello World
« Last post by goblin on December 11, 2017, 08:15:15 am »
How to Choose a Complimentary Blonde Hair Color for Your Eyes and Color Depth
 
As a general rule...
 
If you have light skin and a light eye color > choose light golden blonde.
 
If you have light skin and a medium eye color > choose light golden blonde or medium blonde.
 
If you have light skin and a dark eye color > any depth of blonde (light blonde color, medium blonde, dark blonde) will look great on you.

https://www.rebeccafashion.com
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News / Blockchain: Start-Ups To Watch
« Last post by zongguan on December 11, 2017, 06:26:49 am »
Via Music x Tech x Future

Tickets Cloud founder Katerina Kirillova highlights some of the companies hoping to revolutionise the music business using blockchain technology.



KickCity:

Blockchain has a good shot at … making the whole booking process more transparent



Crypto.Tickets

A high level of centralisation generates profits only for a small group of people, while the majority of others involved in the industry are left struggling.”



Viberate:

Artists control their pricing, distribution, and revenue splits for streaming and sales, with more than 20 times the earning potential of the streaming platforms.



TokenFM

This incentive transforms passive listeners into active promoters that stand to benefit financially when their favorite artists benefit.



PeerTracks

Imagine a trust network providing the basis for attendees to pass through ‘priority lanes’, avoiding bag searches and scans.

Read the interviews with these music innovators and much more at IQ-Net.  https://www.iq-mag.net/2017/11/unlocking-blockchain-5-startups-watch-katerina-kirillova-tickets-cloud/#.Wi4kykqWY-U











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News / Re: Bitcoin Poised to Upend the World Economy
« Last post by musewhale on November 14, 2017, 03:11:25 pm »
PeerTracks
cool 8) 8) 8)
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