Having reached a personal milestone, part 5 of my entrepreneurship diaries, I should mention that it’s very pleasurable and useful for me to write on these topics, and I hope it’s the same for you. In this post, I want to briefly address the issue of uncertainty in early stage technology companies and how that affects management.

As I mentioned before, I was asked to join this company as CEO after consulting them on the commercial applications of this exciting new technology. Joining a year later, we had a good understanding of the strengths and weaknesses of the current organisation. During the consulting stage, I wrote a business plan with a fairly clear time line (to me and our sponsor), but it wasn’t being executed upon as required. One of my the deliverables I set myself was therefore to get development back on track, which not only respects the resource boundaries (financial, human, technological) we face, as well as sends out the signal that we are a serious business.

One thing I keep hearing over and over from entrepreneurs is that you have to be comfortable with ambiguity. And that is absolutely true. We continue to iterate on ideas based on changes in technology, customer and partner feedback, and our own ideas, something that would drive any sane man crazy, but we have to keep it under control. The best way that I find to do that is continuing to develop the vision of where we are going (the strongest motivator I can imagine) and maintain a loose type of project management that gets us to that goal.

I call this project management, as it deals with schedules, milestones, and resource allocation over a period of time. Uncertainty is an important factor to consider in this. In a large company, chances are you’re dealing with a predictable environment, in an early stage startup this is not the case. Getting a tighter schedule in place continues to be a challenge we are working on, however I find that being alert, flexible, and adaptive all the time contrasts with the more stable art of project management. Please correct me if I’m wrong, in which case present a solution also! Of course, there have to be thresholds in place, which to me is very much defined by risk assessment.

Regarding risks, let me start by saying that not all risks can be addressed, which is why being comfortable with ambiguity is so important. And second, there are many different types of risk, technology, financial, market, etc., but one usually outlines the thresholds that you have to respect. In my case, I see this clearly as market risk, as nothing matters if your customers aren’t buying… however, this really is not something to take for granted.

In medicine for instance, which is traditionally patent-based and largely dependant on a complex regulatory process, you have a 15 year window, of which you can spend up to 12 years developing your super-innovative cure. Clearly the technology risks outweigh the market ones (note: this ignores the rise of generic, cheap, knock-off drugs). In the web-industry, on the other hand, it’s perfect for rapid prototyping, it’s hard to protect innovations and easy for competitors to clone them, and it makes much more sense to push out your products asap. That means that there can be plenty of competition and the risk lies in grabbing sufficient market share to make a (sustainable) profit.

In our case, we are not as “high-tech” as medicine and not as “high-market” as web-development, in the sense that we face both market and technology risks. However, I see market risks as more important and try to align both market & technology approaches together. As an example, one of the things we did several months ago, was demo our technology to the general public and to selected partners. After the experience, we interviewed them thoroughly on their experience, as well as their initial expectations. We want to make sure that people don’t expect something different than what we deliver and that our product meets and exceeds their expectations. That gives us a clear view of where we want the product to go.

On a technology level, that presents us with certain thresholds in terms of “the experience” and price-points. And whenever we face a technology change, whatever solution is being developed, it has to fit within that end-picture the customer expects. That also overcomes the problem of black-box development, which is not uncommon in technology development.

So, that’s more or less how we continue to develop the vision for our company and the project management that supports it. We started with a lucid dream of producing great technology. We demoed initial versions and tried to align our vision to the needs of our users. And we end up (hopefully) building what our customers want and pay for. I would love to do this in a web-environment, as that really makes prototyping so much cheaper and quicker, but we do the best we can with our not so intangible technology.

All my entrepreneurship diary posts can be followed under the tag ‘Vincent’s eDiary.’ I don’t write about what we do as a company on purpose, but you can always ask in the comments or via the email address on the right.

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Pomplamoose Pas Encore

Internet IS disintermediation. It removes boundaries between services/product producers and consumers.

Which means that if your business model consists in standing between them, as a gatekeeper, then you have a positioning problem. Record companies have been learning this the hard way during the last decade.

We all know about Myspace and how musicians made their work popular before signing a contract with a record company (think Lily Allen and Arctic Monkeys).

It looks like even this time is over : the music industry business model is now getting a step further towards disintermediation with the smart, cheap and beautiful Pomplamoose. Read more »

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This movie was one I anticipated for some time. I’m a Sci-Fi geek, a movie freak, and a Cameron disciple (ever since Terminator 2). Most important to me today however: seeing whether the world of cinema was about to change forever… or not. My review will *not* be about the story, but about a number of themes it addresses, namely the 3D experience, motion capture, and (some spoilers) it’s environmental message.

First, the 3D experience. I’m afraid I didn’t like it very much from where I was sitting. And that I learned is one of the keys to watching a 3D flick, you have to experience it just right.

A couple of thoughts on the human experience: You have to wear glasses, you have to sit in the right place, and no one can pass the screen to go to the bathroom or else all is destroyed.

• The glasses: there are generally 2 types of glasses used in 3D cinema, active ones with shutter technology, and passive ones, which are just like regular, slightly over-sized sunglasses. I used the latter. Having biked for 30 min. at full speed just to get to the cinema on time (that’s how geeky I am about this), I found that sweat really didn’t agree with these glasses. The cinema provided me with one of those alcohol drenched tissues, but that definitely didn’t last me through the two+ hour movie. For the rest, I found them a little dark and the image without them was a lot clearer, though of course not meant for regular 2D viewing.
• Sitting just right: so I arrived to a packed cinema, meaning that I had to sit bottom-center-right and also that I have to try to see the movie again in a more empty cinema. To me the viewing experience definitely seemed sub-par and I will have to research optimal placement prior to seeing my next 3D movie.
• Other people’s bladders: so a couple of things disrupted the experience: my seating position, the subtitles, and people passing the 3D screen to go to the bathroom. The latter seemed to disrupt the image physically with the light of the entire image actually changing, and my thought is that they must have disrupted the beamer in some way. And while the subtitles seemed to float as much as the rest of the objects (see next paragraphs), they took away from the illusion of staring into a wonderful 3D world at times.

Generally, I think that Avatar should actually be viewed in an IMAX theater, which has a far larger screen and is designed for 3D, and not a regular cinema converted to 3D, which seems to be all the rage these days. And while dubbed movies kind of suck, I think it may be a better choice for people like me residing in a non-English country.

THE BIG QUESTION: So how was the actual 3D? Apart from the qualms I mentioned, actually pretty interesting! A few years ago, I watched Superman Returns at an IMAX, which required me to put and take my 3D glasses on and off as a green or red symbol appeared on screen and that sucked. But for Avatar, I could keep the glasses on all the time.

The 3D itself wasn’t the pop-out kind either, rather it was like you were looking into a window at 3D objects. In one scene, Sam Worthington’s character was exploring the alien jungle and looking at some exquisite flowers and it felt to me like I was standing opposite him looking at the same objects, which was nothing short of amazing!

I liked 3D a lot in slow scenes like this, but fast scenes such as battles were a little harder to follow. Cameron tells one hell of a story though, which drew you into the picture regardless.

Topic 2: Motion capture
The actual revolution that this movie is supposed to herald is the new kind of motion capture used, called performance capture. As far as I understand it, it allows for a few innovations in film making: accurately capturing face movement, having real characters interact realistically with virtual ones, and, for the camera person, seeing in realtime the result of the performance capture through the camera’s viewfinder.

THE BIG QUESTION: did it work? Hell yes!!! You notice it first with the female antagonist, Neytiri played by Zoe Saldaña (I had no idea!), who is completely “performance captured,” and whom you fall in love with within a few minutes. Her face shows an amazing range of emotions, from anger to joy, that demands an emotional response from the viewer. The last time I found myself infatuated with a virtual character was in King Kong, where I felt real sympathy with this fantastical character that Peter Jackson brought to screen.

Topic 3: the environmental message (limited spoilers ahead!)
Yes, one of the strongest themes of this movie was preserving a planet, respecting it’s inhabitants, both plant and creature. It was very powerful, I thought, but some people may consider it as preachy.

The problem with this message is that following it would require us to abandon 99% of our technology and return to a lifestyle more connected with nature and I’m very sceptical that this could ever happen, certainly not in time for this century’s crisis.

What Avatar manages to show is that the human race, through it’s relentless need for progress and profit, will always end up destroying that which exists in order to create something new. Avatar condemns our race to a “dying planet” and it can’t send a sadder message than that.

In Conclusion:
Above all, Avatar is an Action and Sci-Fi flick, and a good one at that, but it also makes you think, which many of Cameron’s movie seem to do. Definitely a re-watch for me, both on the silver and the small screen.

Rating: 7/10

Vincent
(p.s. minus the added formatting and picture just now, this post was written on an iPod Touch, forever dispelling my notion that typing on a touch screen is impossible. It did lead to some typos & grammar errors, mostly caused by it’s 95% useful predictive spelling engine.)

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I’m always fascinated by business models, i.e. at how entrepreneurs and companies put together services in order to make money from them. I’d call it the source code of business if I hadn’t seen the other source code in Luxembourg —legal and accounting—but arguably that’s more like binary code, i.e. 99% unintelligible.

Sarah Lacy writes about SMSONE, a ultra-local news provider in India similar to Outside.IN, a Union Square Ventures funded US-only company that provides news updates via the web. SMSONE does it, as the name suggests, via SMS. And it spreads through a franchising model, working with local entrepreneurs that pay a franchise fee and also collect a share of the advertising revenue from locally focussed businesses. It is able to do this because of something that apparently doesn’t exist in the US (but does in Europe): receiving an SMS in India doesn’t cost the recipient anything.

When reading about this, I was immediately reminded of a similar business model employed by a Dutch entrepreneur in Russia, Ms. Annemarie van Gaal, founder of Independent Media, a company that distributed Russian versions of magazines like Cosmopolitan, Marie Claire en Good Housekeeping (source). When she spoke at the Star entrepreneurial seminar in Rotterdam a year ago, she told us about how she differentiated herself from the competition (paraphrased as I haven’t got my notes with me):

The trouble with getting your magazines distributed in Russia was that you had to pay quite a lot of money (some would call it bribes) to companies that would then take care of it… badly. Instead van Gaal decided to do it differently. She would hire street kids to distribute her magazines, similar to the gold days of newspapers: the newspaper boy.

If you read Sarah Lacy’s account on Techcrunch, you’ll see that SMSONE does it similarly, hiring local kids, often without much education, to take care of distribution. Doing it via official channels is likely a nightmare over there, and centralising distribution kind of defeats the purpose of micro-news.

It’s a different way of thinking, which many of us westerners don’t have. I mean, would you entrust your products to a beggar on the street or to a street musician? Not only is it probably against the law (except if the government does it), we pride ourselves on our super-organised infrastructure, where anything from temp-workers to interns are there to provide companies with a flexible workforce, and anything from printing presses to mobile internet exists to produce and distribute your stuff.

Of course, I wouldn’t just leave you with these two examples. In the beginning of 2008, Boston Consulting Group published a study of “local dynamos”— domestically focussed companies, which use creative business models to capture value from emerging markets that are filled with challenges, like lacking infrastructure and low-income consumers. The map below shows how widespread these companies are.

Some very interesting examples are mentioned, like:

• Shanda, a Chinese gaming-company, that, in order to combat software-piracy, focusses on providing interactive services through gaming, services that are impossible to pirate. And to overcome a lack of a financial infrastructure to pay for online services, they work with pre-paid cards.
• Indian CavinKare, which sells cheap sachets of shampoo through small local retailers, while using educational marketing to teach customers how to use their products.
• Goodbaby, which targets the many 1-child families in China, who are both willing to spend more on their child than multi-child families would, but are also in need of education.
• Amul, an Indian food-and-beverage-marketing-organisation, which collects and pays for milk locally, while tracking all operations via satellite and uses ERP solutions to make analysis based on the data and gauge whether future supply needs to be increased or decreased.
• Wimm-Bill-Dann Foods (Russia), which works extensively with local partners, and has devised leasing schemes for expensive machinery to boost their production and is able to serve 280 million consumers nation-wide.

The BCG, of course, takes the stance of its customers, Western companies, and the study is mainly aimed at how multinational companies (MNCs) can replicate 6 of these dynamo’s advantages, in order to compete with them. They are:

1. Customising to local needs – which involves first understanding these needs, and then meeting them.
2. Devising innovative business models that overcome local challenges – a logical follow-up to the last point, how to make money from the info you gained.
3. Leveraging the latest technologies – meaning that these emerging economies are less burdened with traditional infrastructure and quicker on the uptake of more affordable, newer, and easier-to-spread technology, e.g. mobiles.
4. Benefiting from low-cost labor and overcoming shortages of skilled labor – there’s two ways to look at this; a local workforce will be better equipped to interact on a local level, a highly-trained workforce will be better equipped to run a business. Tough call.
5. Scaling up fast – Russia, India, China, Brazil, etc. are all giants with the promise of huge rewards when you capture them. Many of these dynamos grow quickly through both through acquisitions and building up their network of suppliers and distributors.
6. Sustaining long-term hypergrowth without imploding – this kind of follows on to the last point

Some of the Western companies mentioned, which have managed to compete on a local level, include:

• General Motors, which has adapted its luxury-liners to meet the demands of its Chinese customers, who are usually sitting in the back;
• LG, in China, which has learned that the audio-quality of its televisions is more valued by its customers, who often reside in noisy environments;
• Carrefour, which has started to work with local municipal governments in China, as these don’t meddle in their operations like local dept. stores would, and are able to provide access to prime locations;
• Perfetti Van Melle, in India, a candle/chewing-gum manufacturer, which has found local means to advertise, interacts frequently with local partners, and has adapted its products to local tastes;
• and Yum! Brands, which owns Pizza Hut and KFC, and has adapted its menus to meet local Chinese tastes, started a new food-chain aimed specifically at the market, and uses its international expertise to integrate IT, lean supply chains, and a higher level of food standards into their offering.

It shows the value of out of the box thinking in terms of reaching people, and I believe that traditional “Western” thinking should long ago have been thrown out the door anyway, particularly in light of the troubles that media-, automotive, and financial industries are going through. We are in the flux of disruptive innovation and only those quickest to grasp new technologies and ways of thinking are able to survive another day.

No shortage of lessons on that from entrepreneurs in emerging economies…

Vincent out

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Hi, Vincent here. I have neither the intent, nor the talent to develop this application, but it was a thought/pain I experienced at a museum today and an iTunes search didn’t reveal an app like it.

A brief background. I’m pretty a-cultural, but I find audio-tours in museums generally a must, which means I usually spend the 5 or 10 euros extra to get one of those players to walk around the exhibition with headphones on. A little anti-social, but it helped me discover the lives of some amazing artists, like Vincent van Gogh, Rembrandt, Toulouse-Lautrec, etc. And my favourite nation of artists: Japan!

Yesterday, I was an an exhibition of “That Scream Guy” Edvard Munch. I was there with my sister and it seemed a little wasteful (it was only 3 rooms of lithographies), not to mention anti-social, to get an audio-guide. Still, it helps tremendously to get just a little background on a picture, really adding to the experience.

Here’s the iPhone app I would like to see.

1. Point the phone at a painting (an immediate weakness there),
2. image recognition happens (how?),
3. it hooks into a source of info about it (preferably in an audio-format) such as Wikipedia,
4. and you get to hear or see a description of the painting you are seeing.

It’s nothing genius and apart from perhaps the image recognition part, it seems fairly cheap/easy to produce.

The one weakness: cameras in museums aren’t always allowed. I would guess this means that you have to work together with museums to get things going (which sucks!).

Well, this is just something I want to throw out there, a la the much underused twitter hashtag #freeideasiwanttoseehappen

So if someone is looking for a creative challenge, you have your first customer right here!

/Vincent

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I’m no lawyer, my only exposure extends to our company law activities at my workplace and past legal battles regarding farming ground and such—did you know that as a farmer you can let you cows graze on someone else’s lawn and if he doesn’t object, you can argue that you are the owner? At least in the Netherlands, this happened to my family once.

I think there is a certain danger here, if Apple doesn’t fight it, which it does, while Palm Pre continues to try and gain access anyway. It seems very shady on Palm’s side, but doe sit have a case here? I will discuss the strategic implications, as far as I can identify them.

Apple, as we all know, is a very interesting company. It is very vertically integrated, building hardware, software, and has a large influence on the connection between them (e.g. mobile internet), as well as the content provided on them (e.g. music, movies, the app store). Some would call this a monopolistic situation and it seems strange that it gets away with this, while Microsoft, with something that is, for now, as trivial as a browser, does not (in the EU at least).

iTunes is a powerhouse for media and mobile software, but this can be segmented into different areas and different phases. The iPod was released at the beginning of this decade (phase 0), shortly after iTunes, which then built up a power-position for music (phase 1). As the iPods became mobile computing devices, more content was being shipped via iTunes, such as video and those little games (phase 2). Finally, 2 years ago, the iPhone was released, with about a year later, the App Store (phase 3).

Music, phase 1 of ITunes’ power play, is the area which the Palm Pre (to my understanding) is impeding upon. You could easily see Video being the next thing to sync, though I’m not sure if this is possible now. Unless the iPhone takes a step back towards a more web-app-based approach, I don’t see the Palm Pre being a threat to Apple on the App Store front.

Apart from a phase-based perspective, there is also the matter of the lowest common denominator (LCD). Why do people buy mobile Apple products? I would argue that nearly everyone buys an iPod, because of playing music (and not so much video), while a growing niche segment buys the iPod Touch and iPhone for applications and games, as well as media. The LCD is music and it continues to be of strategic relevance to Apple, even with the hyping of their App Store, where Apple will continue to stay entrenched indefinitely.

So, from a strategic perspective, Palm Pre does not stand a chance. Apple will continue to make iTunes incompatible with each future version. Legally, on the other hand, I am not nearly qualified enough to make that assessment, though I think the “cow argument” may apply. If Palm Pre keeps trying hard enough, and continues to get a user-base that desires this link, there may be a legal argument towards loosening Apple’s grip on mobile media.

Since iTunes isn’t very profitable for Apple, I’m not sure what the implications will be for it, but I expect them to fight ’till the last breath.

Vincent
(Picture has no relation to this topic, but is of a cool movie nevertheless)

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From the European FT this weekend:

“Blackberry owners will soon be able to download music wireless tracks to an application that will help the smartphone compete with those made by Apple and Nokia. … Most tracks will not have copy protection software, which restricts how many devices the music can be moved to.”

It’s the word “most,” which has triggered today’s rant on PR, technology, media, and more. First of, what kind of statement is that most tracks will not have copy protection? Why not all, why not none?

Looking at the past, we all know that copy protection, aka DRM, has plenty of negative associations attached to it. And, as with most negatively perceived technologies, it has been hacked so often that the word “protected” has just become a PR term. Copy protection is not a feature, it’s a handicap, but clearly most songs on the Blackberry platform will not be handicapped, which is… a feature??

We all know that optimally, no producer (or organisation associated with music production) would allow music to be released DRM-free. But the very fact that protection means Zilch, means that actually there is no point to implementing any kind of DRM-system, except on the request of the owner(s) of particular songs (which probably happened here). So, instead of all or none, we get “most,” which is just BS. I already predict that this new initiative is going to fail, by the sheer indecisiveness of the PR message alone, which is a reflection of how little thought-out the business strategy must be.

My point in all of this, infused by a single expression of vagueness, is that somehow technology has spun out of control. There is a system of checks and balances in place, there is a self-correcting mechanism at play, but no one has the complete overview of how it works and when it will work. In the case of the recession, for example, things will balance themselves out again. And hopefully we will get a system in place, the more open the better, that will regulate what is happening. But there will very likely be many casualties of war.

In the case of media and profiting from it, it looks bad, very bad. The word “most” perfectly reflects the uncertainty of where it is all heading, but anyone can see that with production and distribution becoming cheaper and more decentralised, there is hardly any need for centralised music companies, except to build systems that track what is out there and rate it (e.g. CBS/Last.fm, Hypemachine) or to fund the more expensive part of the formula: getting on TV/radio (which will also disappear at some point) or setting up a concert (which will hopefully never disappear, but is hopefully self-sufficient).

Sadly, the only solution I see to saving “the industry” is to silo everything off, which is arguable already happening when you look at the behaviour of businesses like Pandora, CBS/Last.fm, and Hulu) and sue the crap out of anyone infringing. That would make everything nice and predictable again, but only if you could make it impossible to go from one side to the other. Star wars.

Some systems where this is the case, more or less, would be gaming consoles, and you would need the same for audio and video content. But because the light and the dark side (traditional media vs. new media vs. piracy) are not separated, you will continue to see a shift towards freeing everything until the only thing predictable will be that there is no money to be made from media, just from the products (e.g. merchandising) and services (e.g. concerts) around it.

Yes, I continue to be very down on traditional media. Feel free to lift my spirits in this area.

Vincent

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I’ve long been an anti-fanboy of online video, for some reasons that I already mentioned. As such, I did not expect a strong response on my recent request for collaborative video recording ideas. Similarly, other efforts at discussing online video production, a topic that I personally find interesting, on Friendfeed and with friends, have been met with little enthusiasm.

So, I have come to the personal conclusion that online video is something that people simply don’t care about (very much). Here are a few reasons why:

1. No success-story on the web: Youtube was acquired by Google, which does not prove its business-model; Loic LeMeur (yes, that LeWeb ‘08 guy) abandoned his video-idea, pretty much; The promising Stage6 by the DivX people was abandoned due to, I believe, excessive illegal content being posted on it, etc. etc. OK, the French Dailymotion is no. 1 on Techcrunch’s new Ranking of European hot startups, but even that service isn’t what I would call the perfect implementation of a video service. As a matter of fact, the only thing that seems to work out is television, Hulu (basically television and US only), and Piracy.
2. Bandwidth: even though bandwidth is clearly increasing, it is still, for any business that wants to set up its own video service, a dramatic weight to carry, at least compared to other content on the web. And what if you want to upload your own video? Prepare to have to wait for a while.
3. Does not speak our language: as I mentioned in my previous “hate-post”, the web is largely text-based and the often non-indexability of video means that it does not interoperate with the most-used web-application: Search.
4. Unforgivingly immersive: I listen to audio-podcasts and music all the time, because it’s compatible with the rest of my lifestyle, e.g. travelling/communiting or doing exercise. You have to give all your attention to video, which I consider a barrier to entry for our A.D.D.-infested society.
5. Expensive to produce video (?): a question-mark there because obviously hardware-costs are falling. But still expensive, as it’s complicated and requires both expensive (in terms of time and money) training, patience (a time-cost) while editing, and the ability to work with specialised (and often expensive) video-editing software.
6. Unforgivingly intrusive: It took me a long time to adopt a webcam, until it was basically built into my laptop. I still don’t like to have to dress (up) and make up my hair just to have a conversation, and all that, even though now I will rarely Skype without it. But I am a, tongue in cheek, modern man, which I can’t say for many of my peers.

These and more reasons is why I suspect that Online Video is not a hot topic and might perhaps never be. If you’re in the midst of an online video startup, I don’t know what to tell you, except I hope it radically improves on what has come before.

Vincent
(Picture courtesy of The Guardian)

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I don’t know if anyone of you caught the CNN+Facebook stunt two days ago, where the, I guess burial (?) of Micheal Jackson was shown live on CNN.com, next to a stream of Facebook status updates on the same screen. If I say “Micheal, we LOVE you,” I think you get the general idea of how that went. The CNN-part was beautiful, don’t get me wrong, Stevie Wonder was singing and he rocked. But somehow those two, Social Media with Old Media, didn’t seem to mix at all.

In the Netherlands, when I grew up, we had a TV-station, called The Box (later bought up by MTV, which now has a Music-TV-monopoly in the Netherlands), which allowed people to sms in and request songs. That later evolved to a system, that still exists, I think, of sending messages via sms to the channel, which would play while a song was playing. If I say “Dutch boy or girl, I LOVE you,” I think you get the general idea of how that went.

I can see the attraction. It must be incredibly addictive to try and get your message on the air, to get your 140 characters of fame. And it felt exactly the same with the Facebook+CNN thing, where it seemed more like Facebookers were competing for air-time with themselves and with the unforgiving flow of the live-video station.

As a TV-sceptic—I’ve stopped owning a TV as an adult, and switched to the more geeky (I know…) XBMCs and the internet—I would be more than happy to see this medium go, but I also understand that this 79 year old tradition of sitting absolutely still with a TV-dinner will not go without a fight. The Micheal Jackson + TMZ scoop aside, Big Media still has a higher budget to be quicker and (maybe!) more relevant than small & new Media alternatives are.

Is the Internet the direction to take, however? I think I just made a case that the, still addictive quality of a few seconds of fame (Twitter is the perfect example that we haven’t evolved passed that yet), makes for a somewhat effective marketing strategy for Big Media.

I think that TV is also relentless and monotonous. It does not allow you to switch contexts, it’s a non-stop flow of information, and it doesn’t care about making you waste 15 min. of each hour with senseless advertising. In that sense, it is the complete anti-thesis of the Internet, which has already delivered on the promise of complete user-control (compared to the Old status quo, at least). TV doesn’t care about you, except for your continued presence in front of the tube, and while Internet companies really want the same, we at least have found ways to get around that.

In that sense, I think that anyone with some sense of wanting to keep control over their own life, will continue to turn away from TV. I like watching it, don’t get me wrong, but on my own time and without commercials. The future of Television will either to stay unchanged, reserved for the traditional folk too tired to want to think / interact, or it will be a mash-up of video (e.g. I have 3 min. to waste, I want Stevie Wonder only, without the MJ burial thanks, and on my watch television.)

End musing.
Vincent (can’t stop signing my name, sorry, (my) blogging feels more like writing a letter than anything else.)

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I’ll spell it American… happy, blogosphere? Here’s a few interesting examples of how the battle is being waged in terms of virtualisation of software:

• I can’t run Windows Live Writer—simply the best blogging software on both the Mac and Windows—through Crossover, because it was built in .Net. And .Net apps don’t work in Crossover.
• You can use the free Virtualbox from Sun to run your virtual OSs (a great development environment!), but if you want to launch Windows apps from your Mac, you need to pay for either Parallels, Fusion, Crossover, or any other commercial variants for this purpose. Basically, a software like Parallels allows you to place a shortcut to a Windows app onto the Dock or the Desktop, which will launch Windows + the app, when you click it.
• The best Windows user-experience on the Mac is through Boot Camp. It would be a million times quicker to boot if you were able to hibernate on the Windows side and safe sleep on the Mac side. If you don’t want to risk losing your unsaved data however (why would it be unsaved?), you’re probably better off booting the traditional way (3-5 min. out the window right there). Well actually, it used to be an official feature, now it isn’t.
• Sharing your OS X documents with your Windows ones (in other words, using the same folder for both OSs) is very possible when you use Parallels. When you use boot camp however, it all of a sudden gives you a convenient error.

Georgia, in response to my post about the OS War being over, wrote that she thought that this whole discussion is about standards. I think that the edges are getting very blurry and I eventually see hardware, on the PC-side at least, becoming pretty irrelevant. In the meantime, however, you get these little annoyances, beyond stuff like Office for Mac being inferior to Office for Windows, which make me wonder if they are here by design or because they haven’t gotten around to fixing it yet. I’m betting on the first.

Standards, for now at least, are still causing wars.

Vincent

(Picture is of course of the game Virtua Tennis 3, and has absolutely zero to do with this post)

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I’m a little sick with the flu, hence a few days off blogging, but I just wanted to share this with you (the video from vbs.tv does not seem to show up in the rss-feed).

It’s the story of Carlos Amorales, a Mexican visual artist, who does some pretty interesting things, including: graphic design, installations, performance art, and co-founding a record-label. If you don’t have time to watch the whole thing (it’s only 14 min.!), worth checking out is:

• 01:15, when he shows how me makes his illustrations by keeping a digital database of images in different shapes. All in black, though he occasionally uses red. If you think these simplistic, then look at some of his installations (next point), and you see that these are just the beginning, really.
• 04:40, when he shows some of his installations and talks about how they give the audience the ability to enter the work. It made me think about how creative developers/artist can use the new technology of “augmented reality” to create layers above art-installations that take you more into the experience. Any museum I go to these days, I always get the audio-tour as  it adds to my understanding of what I’m seeing. The same could apply to pointing your mobile camera at it and seeing a visual augmentation. Of course, this is where those infernal copyright laws come in; I think this is something that should be done first with certain avant garde / independent artist, to show-case the potential…
• 09:20, when he talks about his record label, Nuevos Ricos (turn down your speakers before clicking this link), for which they created a manifesto, which included giving all the music away for free. Instead the focus was on performance, on entertainment. I mean, well it’s completely ridiculous and you can see that it’s more of an experiment to understand youth culture. At the same time, it is something that many anti-copyright people (including me) have argued for, that music should be about the performance, not about making money from a shiny disc / digital file. But in the end, maybe music/art should be about self-expression and we all express ourselves in different ways. Some, like the clowns in the video, who have very little musical talent, will prefer showcasing themselves. Others will prefer to just make music and make a living from that. We live in a very nuanced world, after all…

End thoughts, hope to be back this Monday.

Vincent

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I have hardly any time today, catching up on the week, which is terrible for the creative spirit. So, as a 15 min. therapy, where do good ideas come from? Here are 4 areas that I can think of:

Exploration / Rest: Spending 3 days in Paris and 2 days celebrating the national day of Luxembourg was great for thinking about life, discussing various topics and plans, and brainstorming ideas. It is in a way the anti-thesis of working life, which is focussed on making you into a machine, constantly moving, constantly following a routine, and not breaking out into new creative patterns. Ease of Implementation: Ideas are often abstract and need a lot of work to make them useful.

Iteration: This the primary way that companies innovate, by constantly developing routines, slightly adapting them over a long period of time, until version 2, 2.1, 2.2, 2.infinity, etc. It is why (consumer) products are the way they are. Ease of Implementation: when you actually have new ideas they face the challenge of breaking existing patterns that are cemented into operating companies and more difficult to change. Still, new ideas are often based on practical data and should thus be more easy to implement.

Deconstruction: This is what I call the Sherlock Holmes way or the “where have you last seen it?” way. You are faced with a problem, e.g. finding something you lost or figuring out how an electronic device works. The best way to do it is to break it down into small steps or pieces (deconstructing) and then reconstructing the reality again. In technology, you might also call this reverse engineering. Ease of Implementation: much like iteration, it is based on realities that already exist. Ideas are often better than what came before, because you’re an outsider, taking something apart and throwing away the junk. Ever lost a piece of text you wrote due to your computer/software crashing? I guarantee that your version 2 will be shorter, more to the point, and better.

Conflict: I was discussing this with Jeremy this weekend, regarding the building of teams that can challenge each other. It’s a destructive and constructive process all at once and I think the benefits usually outweigh the risks. Ease of Implementation: It’s difficult to find that kind of talent and the right mix, so I would say that implementation is not easy. It should however be at the top of the agenda of any organisation who wants to be an innovator in its field.

Other ways to come up with fresh ideas? The floor is yours!

Vincent

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It’s funny how our thoughts evolve from one day to the next. Which reminds me that we need to adapt our About page to reflect that a little more, as it’s about 2 years old. My thinking about Always-On Devices comes from a simple pain that I feel when I miss “a moment.” Sometimes I wish that I could… well Andy Warhol in Miraclemen phrases it much better than me.

In Alan Moore’s & Neil Gaiman’s graphic novel, Warhol’s existence is not painted in a very colourful light (pun intended). He has been resurrected as a machine into a society where money no longer plays a role and is very depressed. So his ability to record everything is really not very meaningful to him. Having only read this part of the comic last night, already my sentiments about Always-On are changing towards… and what would it accomplish?

I recently visited an Art Exhibition of independent artists in Maastricht and tested out a little what an Always-On Device would look like to me. I used my camera, a Canon 870 IS, as a recording device, which I held in front of me while walking through the crowd.

I managed to capture the people experiencing an exhibition, a piano player who was adding atmosphere to a room full of art, just hypnotically playing a few notes over and over. What actually intrigued me the most, I captured maybe two dozen miniature sets for the Maastricht Opera house. It was very surreal, the sets which were made out of cardboard and wood mostly, were 3-dimensional, and I was floating with my camera device around it and through it even, capturing it all at angles never deemed possible to me before. As if I was my own film-director.

Of course, apart from the disappointing battery-life on my camera, clearly not designed for video-recording, and the occasionally funny looks that I got, the real challenge is to make that data actionable—a big priority in everything I do. It is a matter of transforming the raw footage into a tight package that can be consumed by others, and the question is really, should this be the responsibility of the creator or of the consumer…?

With us having reached and surpassed the age of the mashup, it makes less and less sense to continue to try and re-invent the wheel, rather delegating that task across far more… interested people (in the area of video-editing at least), of which there is no shortage, as long as the tools and the specific community exists. Clearly, that kind of methodology requires a lax attitude about copyright.

To recap, so that it doesn’t seem like I’m entirely floating in thoughts, an Always-On Device would need:

1. A willing human recorder
2. A recording device designed for capturing experiences
3. A way to process that information into “usable bits”
4. A favourable legal environment
5. And a willing consumer

I’ll leave the question of “do we even want it?” for smarter people than me to decide. In the mean time, I will continue my search for point 2 and 3 on that list (more on this blog, if successful).

Until after Paris,
Vincent

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Background: This is an advice that I am giving to someone, who is a traditional artist. She paints and tries to sell her paintings. By writing this down for you, the public, I don’t think I am revealing critical information, in that it is a common sense approach to building a sustainable business. It does not address two critical factors: the intellectual property (which is the art) and the marketing (which comes in part from quality and in other part from choosing the right sales channels).

Here is the situation: I like (her) paintings, but they are very work-intensive. Each painting can take anything from 2 weeks or more to produce and the end-price reflects this as well. In today’s economy, in any economy, this means that there is a segment of the population that will not be able to afford it it. Museums, who display art worth millions, have overcome this problem quite elegantly, by selling posters and postcards of these art-pieces. Countless other art-industries are based on turning a singular piece of art into mass-produced widgets. Similarly, I think it is much more efficient, for more reasons than the work alone, to do something similar for the independent painter. Again, I don’t think this is a trade-secret or anything; the quality of the art and the sales channels are most critical aspects.

In any business, there are two types of cost. These are fixed and variable. Fixed costs are often significant costs and difficult to remove. A workplace is a fixed cost, so is some of the material used to produce a painting. Variable costs are smaller, often more flexible costs, incurred regularly. Paint would be such a cost and you can affect the cost of producing a painting by using different paint. It’s not quite as easy to change the workshop you work in from painting to painting.

Following is the action-plan:

1. Find out what the total fixed and variable costs are for producing a painting and x amount of reproductions (e.g. 100 posters). In other words, list all the costs in a nice Excel-sheet or piece of paper and add them up.
2. Divide the total costs by the number of posters you want to sell. Those are the costs per product.
3. Decide how much you want to charge per poster. If you or the market decides that this price is below your cost, then there is something wrong with your formula and you are making a loss. If, on the other hand, your price is above your costs, you are doing well.
4. Now… find out how you plan to sell the amount of posters you decided on…

Some … pause in that last point because how can a business man or woman really know that these are the sales they will make? My advice is therefore to keep costs as minimal as possible at the start, focussing a lot on developing the actual sales process.

That’s it really! And it reflects how hard it really is to go from having an idea (and preferably also the skill) to a profitable business. From a right-brained creative approach, you have to do some left-brained accounting, and from a product-focussed, perhaps introversive approach, you now have to become outgoing, market-focussed, and sell. Not easy!

As with all big projects, from writing a thesis to climbing a mountain, it’s my opinion and what I have learned so far, that it is always better to break it down into simple steps, see the relationships between different processes, and understand how the whole project is put together.

I always welcome discussion, so if there is an error in my logic somewhere, please, please contribute through a comment!
Vincent

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My sentiments about online media aside (I think it’s despicable the way media-companies treat consumers, particularly outside of the US), it has always bothered me to use Last.fm for a number of reasons. Here they are:

1. Last.fm, apart from being happy to pull my listening data into their site, does not integrate with my listening habits Whats.O.Ever. My method for managing music, perhaps determined by owning an iPod, is entirely dominated by iTunes and the usage of the device itself.




2. Last.fm does not play on the road (let’s ignore the iPhone radio app and that eventually all devices will be connected to the internet)




3. Last.fm does not acknowledge that I give different stars (= degrees of love) to songs (instead I have to “love” a song manually).




4. Discovering new music through Last.fm’s radio does not easily lead me to purchase the actual song




5. One cherry on top is that Last.fm now wants to charge me for using the radio, even though I add to it by playing my songs.




6. A second cherry on top is that Last.fm is now, indirectly through CBS, giving information about what we listen to and who we are, to the RIAA, a US organisation that probably also shares that information with other international organisations.




7. The only use Last.fm seems to have is vanity, in the sense that you can see what songs I loved (when I love them) and I can make pretty graphics of my listening habits (makes for an interesting poster).

So, as of this week, I am deleting my Last.fm account.

That doesn’t change that I am a fervent listener of music and it also doesn’t change that I believe deeply in the concept of sharing music. I like finding nice tracks to play at parties and equally I like finding tracks for some of my friends that I can only connect to online. There is no legal service that allows me to do this. As a matter of fact, in the Netherlands, I should even be paying a licensing fee if I play music in public or for too many people at once!!!

In comes Drop.io, a file-sharing service that recently added Facebook Connect as a way to share stuff only with your friends. Drop.io fills the void that Last.fm leaves in the following ways:

1. It has an integrated player that is very elegant and can also be accessed and added to via many different devices.




2. I can restrict access to my files to my Facebook friends only (evil internet lawyers can get lost).




3. It’s free for using 100 MB storage and charges a very fair $10 per gigabyte per year.




4. Any loss in statistical “vanity” data can be compensated by using iTunes and starring / sorting your files accordingly.

That’s it. Of course I will not be sharing songs that are copyright protected (and, of course, if we’re not Facebook connected, you will never know for sure )

Vincent

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