Day: 14 juin 2017

The Core Flaw of Blockchain+pdf

The truth about blockchain is that at its core, it requires its regime to be enforced on rights owners in order to scale–and that is its essential flaw. Call me a blockchain skeptic. I agree with many of the conclusions reached by Alan Graham in his MusicTechPolicy interview , but I also think that at its core, blockchain as currently contemplated fails as an industry-wide rights registry. Since I understand that its essential purpose is to be a reliable rights registry, it seems obvious to me that blockchain has limited application at best . I spent a good deal of time helping some very smart people build an independent rights registry around 2005 and have thought about these issues for a long time. (All the major labels and many indies participated in that registry.) Based on that experience, I believe that the core value proposition of a rights registry is that it be easy to use; that the information in it be objectively verified and only changed with a proper showing of authority; that it be capable of making or directing the making of royalty payments (which means holding necessary tax information); and that it can be easily and […]


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Primephonic launches hi-res classical-music streaming service

The latest company to launch a streaming service for classical music is Primephonic, building on the growth of its existing downloads store.
Primephonic’s streaming service launches today in the UK and US, with a catalogue of more than 100k tracks, and licensing deals with Warner Classics and Sony Classical that will swell that total in the coming months.
Classical labels Naxos, Harmonia Mundi, Chandos, Bis, and 2L also have music on the service, which will stream CD-quality audio – 16-bit FLAC files to be specific.
The post Primephonic launches hi-res classical-music streaming service appeared first on Music Ally.

Lire la suite http://musically.com/2017/06/14/primephonic-classical-music-streaming/

14/06/2017 Chatbots, un marché estimé à 994 M$ en 2024 “infographie”

Selon Conversationnel, une agence lyonnaise de conseil en communication digitale, les chatbots représenteront 40% des interactions mobiles d’ici à 2020. Avec une hausse de 37% au cours des 4 prochaines années, ce marché atteindra 994,4 millions de dollars en 2024.

« Taxation des GAFA : l’Italie donne l’exemple »

« Taxation des GAFA : l’Italie donne l’exemple »En obtenant de Google la reconnaissance d’un « établissement stable » dans la Péninsule, Rome a pu prélever l’impôt sur son activité dans ses frontières, note dans une tribune au « Monde » Franck Cazenave, l’auteur de « Stop Google ». Il plaide pour que les autres pays européens fassent de même face aux géants du numérique que sont les GAFA (Google, Apple, Facebook et Amazon). LUCY NICHOLSON / REUTERS La France a ratifié des conventions fiscales avec de nombreux pays en faisant référence à la notion « d’établissement stable », telle que définie par l’Organisation de coopération et de développement économiques (OCDE). Cette notion est essentielle pour apprécier si des activités industrielles ou commerciales exercées dans un Etat ou territoire autre que celui de la résidence de la personne morale concernée sont imposables au lieu de la résidence ou, au contraire, au lieu d’exercice de ces activités. En ce qui concerne le géant de Mountain View, Google Ireland est la filiale qui facture les services de Google aux annonceurs établis en Europe. Elle emploie quelque 3 000 personnes en Irlande et détient des filiales dans différents Etats, comme Google France, qui emploie plus de 500 personnes. L’activité d’une […]

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Major content firms pact for anti-piracy coalition

Major content firms pact for anti-piracy coalitionThe Hollywood studios, leading SVOD services and key networks around the world have formed a global anti-piracy coalition. In total, 30 companies have come together to create the Alliance for Creativity and Entertainment (ACE) in a bid to combat illegal video and content downloads. The firms include Amazon, BBC Worldwide, CBS Corp., NBCUniversal, Paramount Pictures, Sony Pictures Television, Twentieth Century Fox, The Walt Disney Company and Warner Bros. Entertainment (full list below). ACE estimates there was 5.4 billion downloads of pirated feature films, primetime series and VOD shows through peer-to-peer sites in 2016, and around 21.6 billion visits to streaming piracy sites. The alliance claimed there are now “more than 480 online services worldwide available for consumers to watch films and television programmes legally on demand”. ACE will drawn upon existing anti-piracy resources for the Motion Picture Association of America to expand cooperative efforts to reduce the prevalence of illegal downloading. Research will be commissioned into the subject as ACE works closely with law enforcement agencies to combat pirates. ACE will also file civil litigation, forge relationships with existing national protection bodies, and pursue voluntary agreements with responsible parties. “In this golden age of content it’s more important than […]

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14/06/2017 :European Audiovisual ObservatoryTransparency through information

European Audiovisual ObservatoryTransparency through information14/06/2017 : Press release – UK TV programmes make up the lion’s share of EU TV content available on Netflix and iTunes, followed by France and Germany European Audiovisual Observatory publishes new VoD study! A.TV content in the catalogues of Netflix and Apple’s iTunes The main European countries of origin for EU 28 TV content in Netflix’s catalogues are the United Kingdom with 160 titles (or 44% of the total EU28 TV titles available in the 8 Netflix catalogues studied), France with 72 titles (20%) and Germany with 52 titles (14%). Together, these three countries produce 78% of EU 28 TV titles in the 8 catalogues studied. For iTunes, these 3 countries produce 91.5% of all EU titles in the 3 iTunes catalogues studied, with UK produced TV titles representing 52% (884 titles), German produced titles representing 22% (365 titles) and French titles 17% (297 titles). Netflix and iTunes pan-European catalogue – Share of EU 28 TV content The differences in the catalogues are more visible when national content is taken into account: iTunes offers a much higher share of national TV content than Netflix. The use of the iTunes platform for national broadcasters and right holders to monetize […]

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VF: http://www.obs.coe.int/-/pr-new-vod-study?redirect=http%3A%2F%2Fwww.obs.coe.int%2Fhome%3Bjsessionid%3D6A504A3D7931D122857625478BE07EE5%3Fp_p_id%3D101_INSTANCE_Wm5VszjBBjEf%26p_p_lifecycle%3D0%26p_p_state%3Dnormal%26p_p_mode%3Dview%26p_p_col_id%3Dcolumn-10%26p_p_col_count%3D2#p_101_INSTANCE_Wm5VszjBBjEf

It Was Inevitable, Really: Netflix Is Turning Into HBO

It Was Inevitable, Really: Netflix Is Turning Into HBOSense8 Murray Close/Netflix For a while there, Netflix was on a roll. Over the course of about four years, from House of Cards to Stranger Things , it produced one hot new show after another. The platform gave its series healthy budgets, their stewards complete creative control; renewal for multiple seasons was seemingly a fait accompli . Then, in the early summer of 2017, the honeymoon ended. Netflix announced it was canceling two programs, The Get Down and Sense8 . The cancellations weren’t about critical response or award nominations, they were about ROI—or the lack thereof. Speaking at a conference last weekend, Netflix chief content officer Ted Sarandos said that the network had to ask itself if enough people were watching the shows relative to the amount of money they cost. Considering that both The Get Down and Sense8 were reportedly very expensive , the answer wasn’t difficult to come by. “A big expensive show for a huge audience is great,” Sarandos said . “A big, expensive show for a tiny audience is hard even in our model to make that work very long.” For a company so opaque—Netflix has traditionally refused to give viewership numbers—Sarandos’ word choice is […]

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YouTube, ASCAP Reach U. S. Performance Rights Deal

YouTube, ASCAP Reach U. S. Performance Rights DealAscap-new logo The new agreement between ASCAP and YouTube is all about better data. With no official central database of songs and songwriters, YouTube, Spotify and other streamers have repeatedly come under fire for failing to properly identify and compensate some songwriters. This new deal will leverage YouTube’s extensive data analytics and ASCAP’s database of musical works to address the ongoing industry problem of identifying songwriter, composer and publisher works on YouTube. The collaboration should lead to new levels of monetization and transparency for ASCAP members. “This agreement achieves two important ASCAP goals – it will yield substantially higher overall compensation for our members from YouTube and will continue to propel ASCAP’s ongoing transformation strategy to lead the industry toward more accurate and reliable data,” ASCAP CEO Elizabeth Matthews said in a statement. “The ultimate goal is to ensure that more money goes to the songwriters, composers and publishers whose creative works fuel the digital music economy.” “YouTube is dedicated to ensuring artists, publishers and songwriters are fairly compensated,” said Lyor Cohen, Global Head of Music at YouTube. “As YouTube delivers more revenue to the music industry through a combination of subscription and advertising revenue, it’s great to see […]

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important arrêt sur le blocage de The Pirate Bay+”PDF”

Pirate Bay Facilitates Piracy and Can be Blocked, Top EU Court RulesLa fourniture et la gestion d’une plateforme de partage en ligne d’œuvres protégées
telle que « The Pirate Bay » peut constituer une violation du droit d’auteur
Même si les œuvres concernées sont mises en ligne par les utilisateurs de la plateforme de
partage, ses administrateurs jouent un rôle incontournable dans la mise à disposition de ces
œuvres
Ziggo et XS4ALL sont des fournisseurs d’accès à Internet. Une partie importante de leurs abonnés
utilise la plateforme de partage en ligne « The Pirate Bay ». Cette plateforme permet aux
utilisateurs de partager et de télécharger, par fragments (« torrents »), des œuvres qui se trouvent
sur leurs propres ordinateurs
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Top US pay-TV providers shed nearly half a million subs in Q1

Top US pay-TV providers shed nearly half a million subs in Q1The largest pay-TV providers in the US – representing about 95% of the market – lost around 410,000 net video subscribers in Q1 2017, compared to a gain of approximately 10,000 subscribers in Q1 2016. According to Leichtman Research Group (LRG), these operators account for 93.3 million subscribers. The top six cable companies (Comcast, Charter, Altice, Mediacom, Suddenlink and one unnamed private company) have more than 48.6 million video subscribers, and lost about 115,000 of them in Q1 2017 – compared with a gain of about 50,000 subscribers a year earlier. The DirecTV and DISH satellite TV services claim about 33.2 million subscribers. They lost 320,000 in Q1 2017, compared with a gain of 175,000 one year previous. DirecTV had no net adds (compared to a gain of 328,000 in Q1 2016). Verizon, AT&T and Frontier, the top telephone companies, together account for 9.8 million IPTV subscribers. They lost 325,000 video subscribers in Qa 2017 – compared with a loss of 350,000 subscribers in Q1 2016. On the digital front, SlingTV and DirecTV Now have about 1.7 million subscribers. They added about 350,000 subscribers in Q1 2017, compared to 130,000 net adds in Q1 2016 “The pay-TV market lost […]

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