• Perry Hewitt, Chief Digital Officer, Harvard (@perryhewitt)
• Gene Begin, Digital Marketing Director, Babson College (@gbegin)
• Tom Baird, Vice Chancellor, University of Michigan Dearborn
• Mike Petroff, Web and Technology Enrollment Manager, Emerson College (also a writer for .eduGuru) (@mikepetroff)

I’ll update this post with the video from the session as soon as it’s available.

Videos from the session have been posted, and below is a quick Storify list of tweets from the event:

(See also Erik Devaney‘s coverage in New England Post: Inside FutureM: Digital Marketing and Higher Education)

McIntyre Medical Building (Photo by un flaneur, cc-by-nc-nd license)

DrupalCamp Montreal was this past weekend, and the videos are already posted! The event venue was McGill University’s McIntyre Science Center, which is equipped with an automated system to capture lectures at specific times.

The system captures the video output being projected as well as video of the lectern where the speaker is standing, and makes the files available on a predetermined url. (I found that the “webcast” view with slides and speaker both visible sometimes failed in Firefox but worked in Chrome – unfortunately it’s silverlight based).

Definitely Worth watching:

• Jen Simmons on HTML 5: webcast | mp4
• Angie Byron (Webchick) on Getting involved in Drupal: webcast | mp4
• Educational Roundtable: webcast | mp4

My own video is embedded below, or you can see the webcast version (includes slides in one window and me talking in another – may not work in some browsers) or download the mp4.

Thanks to the organizers and sponsors for a great camp!

Earlier this month, Comcast launched Fancast XFinity, their branded name for their version of TV Everyehwere. Essentially, XFinity is a distributed authentication system, in which users prove their association to an existing cable subscription, and receive corresponding entitlements to an online video catalog.

Browsing to a video which requires authentication results in this modal dialogue:

Trying to View Premium Content on Fancast Requires Authorization

Comcast Access (and a specific Movie Player from Move Networks) has to be installed to your machine – and running – to be able to view videos behind the paywall. Comcast Access is an Adobe AIR based application and is available for Mac OS X (intel-based Macs running OS X 10.5 or later) and Windows (XP Service Pack 2, Vista, or 7). No love for Linux and Unix users (which won’t make Comcast Access very popular around Optaros), older PowerPC Macs, or Windows users stuck on Windows 2000. (This also means you’ll have to have or accept AIR being installed on the machine as well). Finally, you’ll need administrative rights on the machine(s) you install Access on – which may restrict some work desktops (a popular place one might want access outside the home).

Installer for Comcast Access on Mac OS X

Users can authorize up to three named computers for access – though it isn’t clear to me yet what happens when you reach your fourth machine (can you un-authorize the first and sawp in the second, as in Apple’s FairPlay DRM in iTunes?).

Once you’ve installed Access (and the Move Networks player) you can authorize the machine it is running on:

Setting up Comcast Access

The process was relatively painless (though I did have to chat with a customer service rep to find my “comcast email account,” something I set up when subscribing to cable but have never used) on my MacBook Pro, unless you count the pain of accepting yet-another set of digital restrictions management (DRM) shackles. Specifically, the Comcast Access Terms of Service make it clear that this isn’t really TV Everywhere. (I’m reminded of one of my favorite The Princess Bride quotes: “You keep using that word. I do not think it means what you think it means”).

In addition to the platform restrictions, and the requirement that Comcast Access be running as you watch the videos, the TOS notes:

• “You may only install the Software . . . and use Protected Services on Authorized Devices.” – Comcast defines which devices are authorized – they mention PDAs and portable devices, but if your device isn’t on the list you’re not part of everywhere
• On software upgrades: “Upgrades will either be optional, in which case you will be presented with the choice to install such Upgrade, or mandatory, in which case the Upgrade will install automatically and you will be notified after such Upgrade has been successfully installed. By installing and/or using the Software, you consent to such Upgrades being delivered and implemented in such manner.” At least some upgrades might be optional. ;)
• Whose devices can you authorize? “you will not . . . designate as an Authorized Device any device that is not owned and used solely by people then-resident at the service address for your Comcast Digital Cable subscription.” Does this mean that by authorizing my laptop, which I don’t technically own (Optaros does) I’ve violated the TOS? What does then-resident mean: if I’m travelling on business for a week, am I still resident at my service address? What if your roomate moves out – is it your responsibility to de-authorize her authorized devices?
• You also will not “export, import or re-export the Software in violation of any applicable law, rule or regulation of any jurisdiction.” Does traveling with a laptop on which the software is installed constitute export? What if the installer itself is sitting on the desktop? Is it my responsibility to know about the applicable laws in all jurisdictions?

Much (if not all) of this is fairly standard proprietary software TOS fodder, I suspect. DRM systems have to be able to insist on the ability to force updates in case holes in existing versions are discovered and need to be plugged. Controlling the devices (and system software versions) on which the software can be legally installed also helps prevent folks from, for example, hacking a version to run without enforcing DRM.

I wonder how Comcast Access deals with geographic restrictions – can I access premium content to which I have rights as a Comcast customer even while in, say, the UK or Germany where those rights haven’t (potentially) been negotiated?

Or would Fancast, maybe even before requiring Comcast Access authentication, already geolocate my IP and prevent me from requesting material not available in that geography?

Will TV Everywhere be enough to keep cable subscriptions relevant? Frankly, if faster fiber-optic were available at my home address, I’d drop cable in a heartbeat. For me cable is and has been since the mid-nineties primarily about access to the Internet, and only secondarily a way to see a breadth of content on TV. But I recognize I may be the minority there.

Might folks who are not Comcast Cable Subscribers someday be able to purchase a “Fancast XFinity” subscription independent of whether they current have coaxial cable hooked up to their home address?

What will Fancast XFinity, and Comcast’s purchase of NBC Universal, mean for services like Hulu? Is this the beginning of a “return to paywalls” for professional video online?

I hope not. I hope that it’s a first step in the direction of acknowledging the user desire for control, and a first step toward separating the value of the content from the value of the delivery medium. (Just as newspapers aren’t the only or even the best way to consume/distribute news, coaxial cable via subscription isn’t the only or even the best way to consume/distribute professionally created long-form video content.)

Freeing the content from the channel should enable lots of different monetization models, including some form of Freemium access (let users watch the first five episodes of Entourage free, or all free two weeks after original air date) as well un-bundled access (I never want premium sports channels, but many packages include them).

Will the restrictions imposed by the DRM encourage consumers to keep going to unauthorized channels to get content, or will the ease-of-use (so far it has been quite simple) and the low barrier to entry (for subscribers) make this an iTunes moment for online video? (Perhaps this is only possible if/when the service gets extended beyond current cable subscribers and becomes a way to subscribe to premium content online directly).

Like the original, it’s long (9:21 in this case) and as Kawaja said in presenting it, lends itself to the elegiac mode – he wouldn’t quite say media is dead but it’s hard to write a catchy lyric about the era in which large mainstream media companies faced downward revenue pressure:

Interesting video for the luncheon keynote at a conference on online media, marketing, and advertising – but it hits on much of the industry’s current malaise.

The good news, such as it is, is that John Battelle challenged Kawaja to write an upbeat song on the state of the media – send your suggestions to @tkawaja.

See Also: Wall Street Journal coverage of the song

Her slides are also available, as are other videos from the conference.

• What motivates the contributors in crowdsourced efforts? Specifically, to what extent are monetary incentives a driver as compared to extra-monetary ones?
• What about “crowdsourced” projects which are not creative or knowlege-worker oriented, but outsourced menial labor?
• How can or should “creatives” respond to the rise of crowdsourced alternatives?

Jeff Howe at Berkman Center on Crowdsourcing

It’s long – just over an hour – but really worth your time if you’re interested in the issue of value that crowdsourcing raises. I especially enjoyed the extended Q & A session – which benefits from the collective wisdom and critical thought typical of Berkman attendees.

Howe admits a kind of radical ambivalence about the phenomenon of crowdsourcing and the ways in which it disrupts some existing relationships by changing the value of certain kinds of labor.

His ambivalence comes through in two ways. First, he focuses on the “creative” end of crowdsourcing – examples like Threadless, Innocentive, and iStockPhoto – rather than the “menial” end of crowdsourcing – Mechanical Turk’s “Human Intelligence Tasks” like transcription, solving CAPTCHA’s for spammers, etc. How does the equation for crowdsourcing change when your imagined participant isn’t the “college kid designing t-shirts” but people in developing markets doing work for fractions of pennies?

Howe confesses he essentially ignored Mechanical Turk (and other arguably non-creative examples of leveraging large scale online labor) in the book – in essence because it didn’t fit, in his mind, the picture of motivation he saw in the phenomenon in which he was interested. But are there really two fundamentally different models of crowdsourcing at play here, or is it just two different participating labor pools: one predominantly first world, leisure class, participating for fun and recognition, and another more developing world centered, participating for financial gain?

Second, he’s also deeply sympathetic with those – increasingly including his fellow journalists – who are arguably displaced by the impact of crowdsourcing on the value of what they produce. What about established professionals in the field who see the market value of their work decimated in the process? On the other hand, what about those trying to break into the market, who have always found spec work a valuable mechanism for demonstrating their skills before gaining professional, full time employment?

It’s especially interesting where these two issues come together – crowdsourcing for employement. What if anybody, anywhere, with any standard of living, could do your job and compete with your for your value?

There’s a good, well edited video summary from a panel Howe moderated at SXSW 2009 on this topic, specifically focused on spec work in creative fields, and sites like Crowdspring and 99designs:

I’m reminded of the debate among programmers about offshoring, in which similar arguments still go on. Can the quality of the design produced at a crowdsourced spec site ever compete with that produced by a reputable, professional shop? How can a design that doesn’t come out of an intimate, strategic, and interative process involving lots of face time and discussion with the client ever be truly on target? On the other hand, if the consumer of said work can’t tell the difference, and the price is several orders of magnitude less, does it make sense to continue to argue they should pay the premium?

(See No!Spec for more on the arguments about the dangers of speculative work).

Finally, I also saw Howe give a version of this talk at Media Bistro’s Circus event in New York during Internet Week, a few months after the Berkman Center talk. In his Media Bistro talk, Howe focused much more directly on crowdsourcing in journalism, highlighting as an example the excellent work being done at Spot.us, a kind of crowd-funding mechanism for journalists.

Ironically, to see that video, you’ll need to subscribe to MediaBistro OnDemand, for $19/month or $180/yr. Apparently the downward pressure of crowdsourcing and free video from various sources (Berkman, SXSW) hasn’t yet forced MediaBistro to share videos from their conferences for free.

Does that make his talk at MediaBistro more valuable than the talk at the Berkman center or the panel at SXSW?

A few videos to spark (or reinforce) your interest. First, (via Biella) a two-part series from an event by the Meme Factory, from March 24th of this year, in which they give a ~45 minute overview of internet memes. (Warning: much of the content may be NSFW – remember the Internet is Serious Business).

Part One:

Part Two:

Second, a Berkman Luncheon Series presentation by Tim Hwang (ROFLCon founder) titled “The LOLCat-hedral and the Bizarre: A Memescape Manifesto.”

Although I wasn’t able to make this Berkman luncheon, I did see Tim give a similar talk at SXSW interactive this year, which unfortunately isn’t yet one of the ones they’ve posted audio or video from. During the question and answer period of that talk, an audience member commented on the new circulation of old memes (e.g. 25 things about me no one knows) on Facebook, and noted that some people with less context for the word “Meme” were interpreting it as “me-me” (as in, these things are all about me).

Miro 2.0 is Here, and it's really really awesome

They’re right, Miro is awesome, and it’s an open source project which you can help contribute to, whether you’re a coder or not.

Also in the email:

How can you help the most?

• Send this message to your friends! Since we can’t afford to buy our way into their hearts, we need you to tell them about Miro and why open media is important.
• Translate! Only about 40% of Miro users are in English speaking countries. We need your help to translate Miro, our website, and the Miro Guide. Details are on our Volunteer Page.
• Test and code! Got chops? Join in.
• Help new users– you can answer questions and join the community conversation here: Miro discussion forums.

And don’t forget to download Miro 2.0!

One of the favorite keynotes of any Drupalcon of course is the State of Drupal address. Here’s video of Dries from Szeged:

(I took the one supplied by archive.org and cut out the first 37 minutes, including Drupalcon logistics – 10% female attendance!- and a welcome from the vice-mayor of Szeged, Sandor Nagy, who revealed that Szeged is open source friendly but unfortunately uses Joomla! to manage their web pages).

I love Dries’ approach. Most of the talk is structured around this list of the five things preventing Drupal from achieving world domination:

1. Slow porting of contributed modules
2. Learning curve
3. Restricted access to Drupal talent
4. Drupal.org Experience
5. Lack of Features

He basically walks through each, commenting on what might be going on and how the Drupal community at large can address the issue.

Highlights:

• Seems clear that more features need to move into core. Some (more) aspects of pathauto, CCK, and Views into core, perhaps a WYSIWYG editor (though Dries said he isn’t quite ready to pick one here). Looking at what modules most people install helps determine where core should go.
• Multimedia handling and file handling generally – cleaning up the relationship between files and nodes.
• Usability improvements – here the focus is on Drupal.org as well as Drupal itself. The default install and administer experience is still too confusing. There’s an initial step for first time users that is still too high.
• RDF/Semantic Web – moving beyond the assumption that output = xhtml (This was also a theme at Drupalcon Boston)

When will Drupal 7 be frozen? When it is ready to be frozen. Not likely before January 2009, maybe not even then.

Clay’s long been a favorite speaker of mine – Perl as an act of love and the cognitive surplus being two other videos featured here – and Chris does a great interview here.

My favorite quote, as you might suspect given the tagline of this blog: “Things are going to get wierder before they get saner.” We’re in the midst of a long transformation – we’ve left point A but point B won’t be clear for some time.

Unfortunately I don’t think I will be able to get to this one – and not because I can’t find San Francisco on my map. Unlike many U.S. Americans I believe in building up our future for our children and that our education here should help the Iraq and the Asian countries. ;)

You can also subscribe to their video podcast in Miro, using this as a channel:

http://www.centerforsocialmedia.org/main/podcast/

(If you don’t use Miro, just copy that url into your podcatcher of choice).

They’ve also just published the Code of Best Practices in Fair Use for Online Video, which provides guidance to video creators. The goal of the code is:

to clearly establish what constitutes fair use in online video, and to reach out to creators and copyright holders alike to create a common awareness of what kind of quoting is legal and illegal. This can only be accomplished through participation — by spreading the word to your users, you can help to protect this emerging culture.

It’s well worth reading through whether you’re a video creator or a copyright holder.

In the meanwhile, here’s Chris presenting at a Berkman Luncheon Series event on June 17th, 2008:

The Berkman description:

A discussion of the recently published book, Two Bits, which will focus on the meaning and cultural significance of Free Software, its history and the manner in which it has been “modulated” into domains both close to and far from software and networks. Topics for discussion include anthropological approaches to studying distributed phenomena, the historical analysis of Free Software and the use of Free Software practices in education, science, music and culture generally.

Unfortunately I was out of town – in Chicago for Web Content 2008 – and unable to attend in person. Nice to see Benjamin Mako Hill, danah boyd, and Ethan Zuckerman (and, I’m sure, others who I don’t recognize by sight but would know by name and reputation) in the question and answer segment. That’s the kind of crowd you’ll really only get at a Berkman event.

Here are my rough notes from the talk, which are really more an outline of the topics discussed than what Chris has to say about them – for that you’ll have to watch.

Overview of the book:
I. Ethnographic and Theoretical Introduction: Hackers, Geeks, and Recursive Publics
II. Analytic History of Free Software – Five Practices which make Free Software
III. Modulations of those practices into other domains

Part One:
The important thing is the subtitle – the cultural significance of free software.
What would it mean to do an anthropology of free software?

Ability to participate in building the internet – recursive publics: the thing that draws them together is the thing they are building in common.

Part Two:
Breaking Free software into 5 practices / domains.

1. fermenting a movement
2. sharing source code
3. defining an open infrastructure
4. writing copyleft licenses
5. coordinating collaboration

Part Three: Modulations, carrying “free software” into non-software domains

College Textbooks – Connexions (collaborative textbook creation using creative commons licenses). (At Rice University)

Biology: BiOS, Registry of Standard Biological Parts, patent Lens, open source nanotechnology

Bio Nano: ATCC (Global Bioresource Center)

Difficulty of patents, not just copyright, in some of these other domains.

—

It’s interesting to me how much Chris focuses on the moment in 1998 when “Free Software” and “Open Source” underwent a decisive split, and how the distinction between the two plays out in the “Modulations” section. What difference does it make if the modulations are actually versions of “open source” in other domains rather than “free software” in other domains?

Of course, the book isn’t subtitled “The Cultural Significance of Open Source,” so one assumes the focus is more on the free software version – which focuses more specifically on copyleft, and ensuring (some might say requiring) freedom for downstream users – but when my copy finally arrives I’ll post some further discussion about what impact those differences might have. Would the more traditionally business friendly “open source” approach have made modulation into other domains easier, but perhaps less impactful?

One major place where the conflict between fully generative and contingently generative comes into play is on online video. YouTube‘s terms of service should give any independent video maker pause – both in terms of the license rights they claim and in terms of the susceptibility to take down on the basis of broad criteria[1].

Two things make me hopeful, though, for the future of video on the open web: Miro and Kaltura.

In other words, YouTube may suspend your account at virtually any time and for virtually any reason. Remember, since you’re also not allowed (per the Terms of Use) to download videos from YouTube, if the copy stored at YouTube gets deleted in theory it vanishes entirely, making your web browser connected to YouTube one giant tethered appliance. (“You agree not to access . . . YouTube Content through any technology or means other than the video playback pages of the Website itself, the YouTube Embeddable Player, or other explicitly authorized means YouTube may designate”).

And don’t even get me started on DRM, which aims to replicate the experience of a tethered appliance with content on your own computer.

Last week Dean Jansen from the Participatory Culture Foundation came to visit the Berkman Thursday blog group to talk about Miro.

Miro, which I’ve blogged about many times in the past, is an open source, multi-platform, standards aware video player, as well as a collaboratively edited channel guide. If you spend any significant amount of time watching video on your computer, you should have it. (It’s especially great for longer-form video, high definition video, and disconnected mode – planes, trains, and automobiles).

(Yes, those are actually my subscriptions – click for full size image).

Two things I did not know about Miro that Dean showed us:

1. You can add additional web sites as “Guides” inside the Miro player. If they aren’t formatted as guides they won’t quite work the same way, but this makes it possible to have multiple guides from different sources, ensuring distribution of control of the media.
2. You can create an account on the Miro guide, which tracks your ratings of channels and then can suggest channels you might like, on the basis of those recommendations.

I’ve also been looking at (and talking to the team behind) Kaltura, which bills itself as:

The first open-source platform for video creation, management, interaction, and collaboration.

Kaltura not only enables you to embed video on your site (a la YouTube, Blip.TV, or several dozen others), but lets users collaboratively edit video, providing a complex and full featured editing environment all hosted in the user’s browser.

Kaltura has an interesting partnership with the Wikimedia foundation (see Yochai Benkler’s blog entry about it) and make a video extension for MediaWiki is available now from their downloads page; extensions for Drupal and WordPress are “coming soon.” These extensions let you integrate Kaltura’s SaaS offering inside your hosted application.

The “Community Edition Video Platform,” which will let people provide the full Kaltura functionality from behind a firewall or on their own server, is work in progress, but you can register on their site to be notified when it becomes available.

While it may sometimes seem that free software is not required for generative platforms – an argument Zittrain makes in his presentations above – free and open source solutions do help us to avoid the kind of contingent generativity Zittrain describes, since the worst case scenario is to take the software and run your own, or modify it in order to remove whatever restrictions (intentional or unintentional) the platform imposes. You just can’t do that with most hosted offerings.

[1] From the YouTube Terms of Use:

YouTube reserves the right to decide whether Content or a User Submission is appropriate and complies with these Terms of Service for violations other than copyright infringement, such as, but not limited to, pornography, obscene or defamatory material, or excessive length. YouTube may remove such User Submissions and/or terminate a User’s access for uploading such material in violation of these Terms of Service at any time, without prior notice and at its sole discretion.

Now (via LaughingSquid) you can watch the video. It’s Clay Shirky’s keynote at Web 2.0 Expo in San Francisco last week, on the “cognitive surplus” as a characteristic fueling mass collaboration.

Interestingly, this seems to break my facebook app. No longer resizes the iframe to the right size? Something is trying to call location.toString() and getting denied – my guess is that Blip.tv is trying to track where the video was embedded and facebook doesn’t allow apps inside iframes to access parent location.

You can see all the Web 2.0 Expo videos at Blip.tv or put this rss url into Miro and get a channel: http://web2expo.blip.tv/rss

As you might imagine, Colbert has some difficulty with the “who is paying them?” notion.

Good fun for a Friday afternoon.

The video below is from the “There’s a New Conversation” event in NY on Feb. 13th this year, which was put on by The Conversatin Group. It’s Jake McKee, formerly Global Community Relations Specialist for Lego, talking about how Lego learned to engage with its adult fan community during his time there.

It’s a great case study of how he overcame internal resistance and convinced Lego to connect with and benefit from fan communities rather than trying to control them or shut them down. If it were up to me this would be mandatory viewing for all marketing teams and legal teams at consumer goods companies. Of course much of it applies outside consumer goods too.

If you use Miro (and you should), use this url to add The Conversation Group’s channel: http://tcg.blip.tv/rss

I wonder if the trajectory he describes whereby proprietary data formats are ultimately superceded by open ones will also hold true for all this FLV video being created – as I recall the file format/spec is already well understood, and I know I’ve seen FLV players which were non-Adobe created.

On January 30th, Beth Kolko spoke at the Berkman Center luncheon series on “User, Hacker, Builder, Thief – Creativity and Consumerism in a Digital Age.”

You can see the video (.mov link) or download the audio (mp3) at Media Berkman.

As usual from the Berkman Center (I wish I could go every week to these talks) it opened more questions than it answered. I’m the guy asking a very rambling and not so articulate question about the simultaneous appearance of a popularized DIY ethic (Make magazine et al) and the DMCA with its tighter limits on what you can “hack” in the broadest sense.

My “notes” follow – not really notes but a series of near quotes and interesting bits – hopefully enough to pique your interest to go listen to the MP3 or (better) watch the video.

—

Studying the developing world / emerging markets – and the tech usage patterns

Two key arguments:

1. Thinking about emerging markets as the locus of bottom-up creativity, not just a market to be exploited with older tech

2. Recuperating the term hacker.

Background: Postmodern feminism and Paul Smith – constructed subjectivity but also empowered subject.

We’ve become adept at reading UGC as resistance – rewriting the empire. But in the digital age adoption and adaptation are twin frames not opposites.

Patterns of technology adoption in resource constrained environments have as much or more to teach us than traditional user centered design about what makes technology work for humans.

Use of “outdated” technology – retrofit strategy. Use of what we see as single user computers as multiuser environments – three people, one computer. Internet cafes and games. community businesses, mixture of internet access, LAN games, sometimes movies/ring tones – doesn’t need to be a pure internet cafe.

The local WOW environment – setup their own WOW servers, with their own rules to account for the difference in universe size.

Voice over IP, Internet Phones in cafes, individual landlines converted to pay phones, trade in cell phone cards and minutes.

The whole idea is to study patterns of emerging use as opposed to user-centered design or participatory design.

We need to bring the same recognition of resistance to technical hacks – we have sophisticated readings of cultural resistance but not of hardware hacking.

Non-expert, non-credentialed, not requiring arcane knowledge.

How users hack systems and make them usable and relevant – these activities can be generalized and learned from.

Playing with fera-fluid, power-tool powered drag races, tesla coils, high altitude weather balloons, RFID tags, social implications.

The challenge is that increasingly this work gets categorized as illegal.

The Ford motor company, calendar; cars which you can’t work on because of proprietary software and DCMA issues.

That move from user to hacker is similar to the move from reader to co-author – this is the UGC of the hardware world.

—

Great question (Ethan Zuckerman) – what about motivation and context for the activities – Make readers in silicon valley don’t have the same motivation or context as these emergent markets (necessity versus play)

What about economic motivations – Etsy.

Interesting paradox – we get more attention to DIY and hacker ethic – right at the same time that a whole legal framework gets vitiated.

—

What are the lessons here for design? What about the design of multi-modal and modifiability into consumer devices?

—

Challenges to the DMCA – the successful challenges have been won on the grounds that the invoker of the DMCA is trying to push a copyright claim too far. We still need to keep pushing on the notion that learning and experimentation are necessary and protected by the first amendment but we haven’t gone far there.

Legal Framework still to come.
—

Is there a more commons-based, pre-industrial (post-industrial) approach to this whole framework? Getting away from procuding, consuming resisting. Grazing, or something?

There are problems having 9 networks but it is a hell of a lot better than having none.

The issue with solidarity across american geeks and the emerging world is that the us geeks have no clue what the technology challenges are in Ghana. [Guilty as charged, there.]

—

There some moments of effective cross over. Every now and then it does happen successfully.

I bookmarked it at the time, downloaded a copy to my “to read” folder (a dangerous thing to have) and then ignored it for the last month or so. You should not do the same. This may be your only chance to explain away the hours you wasted watching dramatic chipmonk videos as “work-related.”

The researchers looked at hundreds of user-generated videos, specifically focusing on those which “incorporate copyrighted works into new creations.”

They analyze the videos in terms of the uses to which the copyrighted material is put, and how those uses related to the “fair use” doctrine with respect to copyright. The types of uses they uncover include:

• Parody and satire
• Negative or critical commentary
• Positive commentary
• Quoting to trigger discussion
• Illustration or example
• Incidental use
• Personal reportage or diaries
• Archiving of vulnerable or revealing materials
• Pastiche or collage

It’s not only perfectly relevant analysis, it’s also a really good catalog of the best of user-generated videos.

My current favorite – too recent for inclusion in the report, but otherwise very much in line with the satire and critical commentary approaches is the Obama-supporting Yes We Can video and the corresponding parody of McCain: Like Hope, But Different.

The videos from IxDA are being uploaded and will end up on the Interaction08 site, but for now you can preview them in this Brightcove Channel.

Here’s Alan Cooper’s Keynote video, titled “An Insurgency of Quality,” in which he argues we should focus on Best to Market, not First to market.

He makes a strong argument for the importance of “post-industrial craftsmen” in the software industry. (Though I actually liked my Archos Jukebox for many years, I can see that it wasn’t best-to-market, and it has ended up sitting on the shelf while I use the iPod instead).

I love his pointing out the artificial scarcity of time and money, and the way in which culture conflict is what leads to zero sum negotiation.

See this blog post: “Videos of LeWeb3’07 are up”

Or check out the official channel: http://my.vpod.tv/leweb3

Or, if you use Miro, add this channel: http://studio.vpod.tv/rss/tags:leWeb3

It includes yours truly (0:42 through about 1:20) babbling on about distributed social networking and the DiSo project. (I didn’t really go prepped to give the elevator pitch for DiSo, but I think I covered the concept ok – maybe more social network portability in general than that project in particular).

Now, I took the question very much in the context of “social media” and the topic of conversation that morning, and did not go for solving things like the war in Iraq, global warming, or ending poverty on the planet. But that doesn’t mean I’m shallow, just focused.

(To subscribe to any of these in Miro, you can just use the “Add Channel” command in the Channel Menu and put in the RSS url below. Be sure to look at whether you want to download ALL the videos in that feed or just NEW videos added.

TED Talks

TED (Technology, Entertainment, Design) is an annual conference in Monterey California which “brings together the world’s most fascinating thinkers and doers, who are challenged to give the talk of their lives (in 18 minutes).”

They now make a huge variety of talks from the conference (current and past) available for syndication in video format. (They also encourage users to share talks – including embedding videos as well as enabling download to desktop without any nasty DRM).

The only real challenge with TED Talks (as the videos are called) is where you want to subscribe to them:

• The “official” feed at the TED site: http://www.ted.com/talks/rss
• The Feedburner TEDTalks_video channel: http://feeds.feedburner.com/TEDTalks_video
• The Feedburner Ideas Worth Spreading feed: http://feeds.feedburner.com/ideasworthspreading

Any way that you get them, these are fascinating commute sized snippets of high energy brain food, all directed at challenging preconceived notions of all kinds. Many are deliberately provocative.

Recent favorites include Lawrence Lessig on Copyright Law and Erin McKean on Redefining the Dictionary.

Google Tech Talks and Google engEDU

As you might expect, given their reputation for attracting and retaining top quality, imaginative engineering talent and for supporting diverse approaches to innovation, lots and lots of good speakers come to Google.

Two series in particular I’m fond of are the Google Tech Talks and Google engEDU. Neither of these has a feed of it’s own per se, they are just search results on Google Video for the appropriate tags, served as an RSS feed:

• Google Tech Talks: http://video.google.com/videofeed?type=search&q=Google+%22Google+Tech+Talks%22″>
  +duration=long&so=1&num=30&output=rss
• Google engEDU: http://video.google.com/videofeed?type=search&q=Google+engEDU&so=0&num=20&output=rss

Again there are a TON of interesting videos – don’t set yourself any expectation of watching them all, but cherry pick from the stream passing by.

Pop! Tech Popcasts

This one stretches the definitiion of favorite since it is brand new, but the initial set of videos is compelling. Pop!Tech is a conference on “The Impact of Technology on People.”

This year they also created Pop!Casts, which are also creative commons licensed, and availble in audio or video formats.

• Popcasts Audio Feed: http://www.poptech.org/popcasts/rss/popcasts_audio_rss.xml
• Popcasts Video feed: http://www.poptech.org/popcasts/rss/popcasts_video_rss.xml

Initial videos on their list include Stewart Brand, Bruce Sterling, and Jason Moran – and intriguing mix.

With all this great content available, there’s no excuse for not having an active, ongoing, “continuing education” program of your own. So take the time to feed your brain and your imagination.

Just for fun bonus: Ask a Ninja!: http://feeds.feedburner.com/AskANinja

And my recent favorite, Ninja Poetry:

Check out the announcement on the Miro blog: Miro 1.0 is here.

There’s also:

• Comprehensive Feature Guide to 1.0
• The official Press Release
• Explanation of co-branding potential
• A comparison of Miro and Joost

It’s licensed under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 License, so spread it freely. I didn’t care for the fit of the music to the video in this case, but it communicates equally well without sound.

No embed code, so you’ll have to go there to see it.

To help understand why, watch this video from Nick Reville, the foundation’s executive director, talking about the mission behind Miro.

Click To Play

I’ve left a brief comment there, but wanted to expand on it here. This isn’t just a question of two different approaches to delivering Internet TV – it’s a fundamental difference of passive consumption versus active participation.

The fundamental difference between Joost and Miro is seen in these two quotes.

From the Joost FAQ, section on “Content Related Questions, ” the question is “Can I upload my own videos?“:

Not at the moment. Right now, we’re concentrating on high-quality TV content from well-known TV brands, so that we can provide entertainment to the widest possible audience. Future versions of Joost may allow you to upload your own material, but we have no immediate plans for this.

As opposed to, on the GetMiro site, the entire first-level tab called create, where one reads:

How do I get my Videos on Miro?

Miro converts any media RSS feed into a channel. Don’t worry if you’ve never heard of RSS — it’s an open distribution format that works with Miro, iTunes, and lots of other tools. Many blogs and video sharing services automatically generate an RSS feed. Once you have a feed that works in Miro (please test it first!), you can submit it to the Miro Guide.

With pointers to the Make Internet TV site, where you’ll find:

We have created a detailed set of guides for shooting, editing, publishing, and promoting internet video. We think it’s the best resource anywhere. If you are getting started with creating internet video or if you want to learn more about a specific topic, it’s the best place to start.

To me, this is the clear difference between Internet TV imagined as something brought to you by “well-known TV brands” (turning the internet into TV) versus Internet TV imagined as something inherently participatory (turning TV into the internet).

It shouldn’t be hard to tell which one runs on my machine(s).

Help spread the word: