Chrome on OSX
After discussing the idea with John from The Golden Grouse the other week, I've been thinking a little more on how a cloud based type library might work. Such a library, accessible via subscription, not only makes sense for web designers looking to expand their web type palate, but also for any designer requiring access to a large number of typefaces on a regular basis.
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It's great to finally see that type on the web is starting to come of age. Although I've become quite adapt at working with a limited font pallet over the last 10 years, having the option to work outside this restriction is a welcome development.
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Spiekermann talks about the difference between using software and owning it, and how in the world of type, this was the norm up until desktop publishing.
Although not a new concept, I think it works well in this situation, and I would be interested to see how this could be applied to the printing industry as well as the web.
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Most innovative are the plans to offer unlimited downloads for a flat fee. British internet providers are keen to offer such a service, the cost of which would be rolled into the monthly bill.
Napster, the first main file sharing service to make an impact on the record industry, was released 10 years ago in June. At the time it was shut down, I remember polls and articles asking why a service such as Napster couldn't work as a paid service. Not on a per song basis such as iTunes, but as an 'all you can eat' service, supported by a flat monthly fee. It was a great idea that a lot of consumers were interested in.
So why didn't it go ahead? The primary reason was that in able to be a competitive service, the libraries of music had to be as good, if not better, than what the pirates could offer, which required complete co-operation from all of the major labels. Unsurprisingly, this didn't happen.
So it's quite ironic that 10 years later, after the major labels have taken a massive finacial beating, partly at the hands of piracy, does this great idea finally get dug up an marked as 'innovative' ...
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Spotify is a great example of online music distribution done right. Sure, you can't download the tracks, but it's there to use for free, allowing you to 'try before you buy' from somewhere else, which is what I mainly used bit torrent trackers such as The Pirate Bay for. The question is, would there even be a Spotify if it wasn't sites like The Pirate Bay?
Back in April, when The Pirate Bay founders were jailed sentenced to a year in prison for their operation the site, the BBC published an interview with Mark Mulligan from Forrester Research. Mr Mulligan went on to say how Spotify was "one real example we've got of how the music industry is building a new (legal) business around new ways of distributing music". The thing is, Mulligan fails to mention why the music industry is building this new business, or, more to the point, how they have actually been playing catch up to a digital distribution model that has been in full swing for almost 10 years. Piracy.
Matt Mason, author of The Pirate’s Dilemma, says that "piracy is the sharp end of innovation". In a recent article for the BBC, he wrote about how pirates are "highlighting a better way for us to do things; they find gaps outside the market, and better ways for society to operate".
Site like The Pirate Bay have shown people that music, movies and all sorts of digital content can be easily distributed online (much to the dismay of the companies controlling and monetising that content). But without people taking these risks and, in this case, developing new methods of distribution, the chances are that services like Spotify would never have been considered, let alone be the working, productive business model it is today.
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A little while ago (about a year) I published a little article on my take of the future of digital publishing. Since then there has been a number of advancements in digital paper and eReaders. While not a huge step forward, The Kindle from Amazon is one such product that shows us the direction the publishing world is headed. I wouldn't go as far to say its the iPod of eReaders, but for a company such as Amazon to invest in such a product definitely shows that this is an area in the future of publishing that warrants serious attention.


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With the help of the Internet, the last 10 years has seen a massive increase in the publishing of digital publications and zines. There are now sites such as pdf-mags.com that cater specifically for independently published digital publications, and more recently, the iTunes store has seen the inclusion of PDF magazines as part of their podcast subscription service. Magazines such as The Fader have already started making the transition and are now letting readers download a digital copy of the magazine for free.
As we have already seen, copyright and illegal distribution of digital files over the internet has become quite a thorn in the side of the music and film industries, with the RIAA and MPAA going as far as to sue individuals for downloading copyright material. Recently television networks in Australia have started blowing the “piracy” trumpet, claiming that the illegal distribution of television shows over the internet are hurting the ratings and are responsible for a loss in advertising revenue.
So what then for the publishing industry? Will the AAP and MPA be the next to cry thief and start taking the public to court? Or will a smarter approach be taken, one that doesn’t involve making criminals out of ones customers. Sooner rather than later we will see the emergence of an iTunes like application for storing, arranging and viewing digital and PDF magazines, which will only help to propel the digital publishing arena forward, and will most certainly do for publishing what pod casting had done for radio. This is where the magazine and book publishers need to be looking. It won’t be long before storage and reading devices using digital paper arrive to integrate with these applications, at which point the digital publishing revolution will truly begin.
1000 magazines in your pocket anyone?
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