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Thursday, January 16, 2014
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bittorrent moby

BitTorrent just published a blog post recapping its past year, particular the success it has seen with BitTorrent Bundles.


Those Bundles are basically promotional packages of content that creators or content companies share. For example, to promote the iTunes release of the director’s cut of the Oscar-nominated documentary The Act of Killing, its makers released a BitTorrent Bundle last month that included videos, essays, and photos tied to the movie.


BitTorrent says The Act of Killing Bundle was downloaded 2.3 million times, and that its Bundles (a program that only launched in May) were downloaded 60 million times. The most popular Bundle was the one for Moby’s latest album innocents, which was downloaded 8.9 million times. Of those who downloaded it, 419,000 signed up for Moby’s email list and 130,000 went from the Bundle to the album on iTunes. Other popular Bundles include one for the show Epic Meal Time (8.6 million downloads) and another for the DJ Kaskade (4.1 million downloads).


How does that compare to pirated downloads? Well, TorrentFreak recently said that The Hobbit: An Unexpected Journey was the most pirated film of 2013, with 8.4 million downloads — though those numbers don’t include online streaming and cyberlocker downloads, so “the total piracy numbers will therefore be significantly higher.” (By the way, this year also saw BitTorrent trying to distance itself in the public’s perception with piracy.)


In the blog post, Vice President of Marketing Matt Mason argues that these numbers show a broader shift towards “viral content”:



This creative shift is massive. And so are the implications. Because viral content works differently from static content. Viral content is by definition content in motion. It has to travel. If your storefront, ad model and social strategy isn’t embedded into your file, you’re missing a revenue opportunity.


And viral content is by definition experiential. As The New Inquiry’s Rob Horning notes in a recent essay, the point of virality is participation in the emotion of the story, and participation in its popularity. This requires a different kind of creative good. What you make has to be a call to action: kinetic, visual, detachable.



As for what 2014 holds, Mason says that we’ll see Bundles with “pay gates, social gates, artist analytics tools, and more.”







11:09 AM

BitTorrent just published a blog post recapping its past year, particular the success it has seen with BitTorrent Bundles. Those Bundles ar...

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Last week, China's military took its new "ultra-high speed missile vehicle" -- or "hypersonic glide vehicle," if you prefer -- for its first test drive, raising eyebrows among U.S. defense officials. The hypersonic aircraft, capable of maneuvering at a mindboggling 10 times the speed of sound -- that's more than 7,500 miles per hour -- is designed to deliver warheads through U.S. missile defenses, according to the Pentagon. Call it a great leap forward in China's military capacity.


9:54 AM

Last week, China's military took its new "ultra-high speed missile vehicle" -- or "hypersonic glide vehicle," if y...

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IRS 1040 Tax Form Being Filled Out

Huzzah for convenience! Americans can now download their tax returns directly from the IRS. Previously, citizens had to slog through a questionnaire and wait 5-10 business days for a physical form through snail mail. I tried out their new service today and, after spending about two minutes answering security questions, I was able to download three years worth of tax information.


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“I am very excited to announce that the IRS has just launched, this week, the ‘get transcript’ application which will give taxpayers the ability to view, print, and download tax transcripts,” said Katherine Sydor of the Office of Consumer Policy of the Treasury. Sydor made her announcement at the White House’s education “Datapalooza,” a gathering of hackers and policy leaders to jam on how open government data can help solve the nation’s education ills (Video link, ~1:37:00)


As is becoming tradition at the White House, the newly launched website has some bugs. I had to re-register after I couldn’t log in a second time. The IRS asked me for a “user name,” which it never told me; when I tried retrieving it with the “forgot user ID” function, the website encountered an error. A minor bug, but it’s not helping the White House shake its tarnished reputation.


One would think that downloading tax returns would not be novel in 2014. But, the software tax industry has spent millions lobbying the government not to design its own interface. Intuit, the makers of TurboTax, reap heavy rewards from being one of the only web apps for filing and retrieving tax information.


Still, despite the lobbying, it seems the IRS can still make some progress in open government. Check out the Get Transcript web app here.


[H/T: @Digiphile]


[Image Credit: Flickr User Kenteegardin]







8:54 AM

Huzzah for convenience! Americans can now download their tax returns directly from the IRS. Previously, citizens had to slog through a ques...

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banjo-app

Social discovery app Banjo has evolved into something quite different from where it started, and that’s a very good thing. The mobile app used to essentially just surface relevant social connections and activities nearby, but it has since harnessed all the data it was gathering to become an event and breaking news detection engine so powerful that many new organizations now use it. It’s putting a little of that magic back into the consumer app today with version 4.0.


Banjo powers a surprising amount of live social content seen on major television networks like NBC, FOX and the BBC, and founder and CEO Damien Patton explained to me in an interview that it can actually predict events and breaking news before they hit Google or anywhere else – public social signals collected in real-time through Twitter and other networks start to ramp up quickly whenever anything important goes down, and Banjo’s tech is excellent at spotting and surfacing that stuff early.


“We look at all these social signals in real time, so what we’ve built is the largest collection of social signals in the world,” he said. “It’s organized by three things: Time, location and context. So now we’re able to curate and index (and that’s the important thing, indexing) breaking news and events faster than anyone else.”


The release of Banjo 4.0 today reimagines the consumer-facing version of the company’s product with that in mind. Patton says this release focuses on “The Live Internet,” and redesigns the interface to help make it easier for users to search for events by keyword and find both live events, as well as archived ones, which can then be viewed as if they’re unfolding right now.


Patton says this is the best way for customers to recapture and relive important past experiences they shared with the rest of the world, in addition to being a great tool that journalists and other organizations can use to curate and distribute real-time information about a big story. Others like Toronto’s ScribbleMedia are doing a similar sort of thing with curated content pages with dynamically updated content, but Banjo’s focus is geared more towards televised and traditional news media organizations.


The consumer app launching today doesn’t expose the full power of Banjo’s event identification and discovery engine, as Patton says that kind of firehose would be unnecessarily overwhelming for the average user. But eventually, the aim is to democratize access to the kind of breaking news coverage Banjo is providing to big media organizations.


“The big vision is giving everybody an all-access pass,” he said. “We want to give people a taste of when in the future they can go to any event they want to live.” As currently implemented, Banjoy presents a curated collection of events from around the world for users to check out, and it’s also a pretty great way to step back through time and relive the tense moments when major headline-grabbing happenings went down.


The new version of Banjo is live now on both iOS and Android, and is a free download for both platforms.







8:54 AM

Social discovery app Banjo has evolved into something quite different from where it started, and that’s a very good thing. The mobile app u...

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Screen Shot 2014-01-15 at 11.15.20 PM

The way we communicate is increasingly visual. The devices that we carry with us are uniquely suited to both capturing and displaying stories primarily comprised of images, rather than words.


Snapchat and Instagram are good examples of the changing ways we’re communicating with each other, but their ‘atomic unit’ — the capsule that they use to present their shared content — consists of a single image or series of single images. Whether it’s the way that we’ve become addicted to the ‘stream’ or a sort of philosophical rubicon, most of the consumer Internet products we’re seeing aren’t shaking this model up too much.


On the other side of the coin we have content publishers who are riding on centuries of experience creating books, magazines and more with strong visual components. But they don’t seem to get devices like tablets and smartphones at all — opting to repackage existing content or minimally revamp their workflow to serve customers using hyper-personal computers.


It’s self-evident that our casual communication languages are going to default to visual relatively soon. There are apps at every turn that are tearing away at the short form visual problem — but where’s our long-form visual storytelling app built specifically for truly personal devices?


That’s what Storehouse, a new app and service from ex-Apple, Facebook and The Daily talent is looking to tackle.


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Storehouse is an app for iPad that allows you to import images or video clips from your camera roll, Dropbox, Instagram or Flickr. Once you’ve pulled them in, you can use the clever creation tool to arrange them into a story with a cover image and a completely free-form layout of your choosing. Tapping on an image will let you drag it across in any configuration of horizontal or vertical slicing, snapping to an invisible grid. You can also pull them out to a full bleed view if you wish.


It’s impossible to describe just how well the team has nailed it until you start playing with it yourself. I’ve used an enormous amount of apps to lay out images and present them, both as a photographer and just a guy who people give a lot of stuff to in order to test it. The system here is quick, smart and never frustrating, and gives you just enough control without throwing you off into the deep swell. Videos can be inserted right alongside images and play back with a tap. They can also be used as a cover image to add some awesome visual pizazz in the story browser — setting the tone for the story within. You can add text if you wish and that is nicely formatted, though it’s clear that photographs and video are first-class citizens here.


The app is available solely for iPad at the moment, thought other platforms aren’t ruled out by anything but time and effort. And the stories can be shared to the web in a fully responsive layout that looks good on any device.


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I spoke to Storehouse co-founder Mark Kawano about what the company hopes to accomplish, besides creating a nice portfolio creator.


“We’re not targeting just photographers, we want to teach everyone that they can tell stories,” Kawano tells me. He points out that, when the communication is visual, it doesn’t matter what language you speak. “We want Storehouse to be the really easy way to share and create stories. From photographers…to everyone, this is the shift in visual communication.”


Storehouse, Kawano says, comprises both a set of creation tools and distribution tools for visual communication. Since users can publish to Storehouse, where all stories are currently public, though not indexed or searchable, this will affect the way that they publish stories.


“Knowing that it’s public and can be distributed shapes the way you create and share,” says Kawano. Not having nested privacy controls as a part of the app at launch is a calculated decision, though Kawano doesn’t rule out more control coming in the future. Storehouse, he says, embraces distribution as part and parcel with the creation process.


“A word processor document or Keynote file, those are not public,” Kawano says, noting that “who is word for” is a hard question to ask. Storehouse is not exactly ‘for’ anyone, it’s for a task. Kawano says that he doesn’t want Storehouse to be for a specific set of people — just anyone that has a story to tell.


“It’s not for a certain kind of person, it’s for a certain kind of story,” he says. Which is an interesting way to come at the problem, given his background.


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Kawano certainly has a background in tool building for photographers, and it would have been easy to go down that path, but he’s out to make a bigger impact.


Kawano is partnering with co-founder Tim Donnelly, who comes via The Daily, to create Storehouse. The pair were frustrated with the apps and offerings that existed for storytellers and how the iPad was being used — or not used — to facilitate new ways of displaying and distributing visual stories.


They are both designers and fairly technical, Donnelly codes as well and they’ve built a team comprised of ex-Apple and ex-Facebook talent. Kawano was previously a designer at Apple on the Aperture and iPhoto teams, before joining its WorldWide Developer Relations team as a User Experience Evangelist — helping companies refine their user experiences. Before that he worked at Adobe on Photoshop and Camera Raw.


After a few months of prototyping, they settled on what is now Storehouse and raised a seed round in June from True Ventures, Lehrer, SV Angels and a few individual angel investors.


That seed round was a product of asking some hard questions about what they wanted to build.


If they were bootstrapped, Kawano says, they could have riffed off of what Storehouse was to build a creation tool for photographers — or they could have built a magazine to throw their subjective gauntlet into the publishing ring.


But, says Kawano, those addressable markets were too small if he and Donnelly were going to do what they set out to: really change the way people think about and use tablet content creation tools.


storehouse


And there were other factors, as well. “We had made so many [personal] sacrifices…we needed to justify them,” Kawano tells me. “We work hard and we care, whatever we build we’re going to spend a tremendous amount of effort on. If we’re going to do all of that then we’re going to take advantage of the effort to build something that really moves the needle.”


Many media companies end up building apps around the content, to facilitate what they’re already producing for other venues like magazines. The alternative is apps that think too small about how to present visual content.


As for what Storehouse’s chances are of making it over the hump to traction — we’ll see. The experience is certainly compelling, especially once the app started to flesh out with content from creators both amateur and professional. There’s a manually curated set of stories for now and many of those show off the unique intermix of photos and videos very well. Even if you’re just slapping a bunch of vacation pictures in to share with the family, though, there’s still something there. The ease of the layout tools and the beautiful presentation elevates even mundane images and video.


And video is certainly a major part of what makes Storehouse different from other visual story creation apps I’ve seen. “It’s a window into a world where there’s no beginning and end,” says Kawano.


Storehouse allows each clip to be of lesser importance but still add to the story in ways that a photo cannot. Sharing bundles of video clips together hasn’t been easy or feasible in a storytelling context. Most of the video sharing services on the web are based on viewing single clips. Vine comes close, but the atomic unit is still ‘one Vine’.


In order to encourage you to share and include video, the basic unit of shareable content on Storehouse is a ‘story’. This means that you can share multiple short clips of video that work within a theme, or just as scene setting, but may not work at all on their own on YouTube or what have you.


This could encourage people to share video that tells a story about a place, but may not have a particular subject or pivotal event. AKA, the videos you leave behind in your camera roll.


There are definitely no shortage of competitors on the publishing side of things, like Prss, Magzster and more. As I mentioned earlier, though, these are often focused on helping publishers replicate the exact experience of a magazine digitally, and that’s definitely not the same tree Storehouse is barking up. On the other end of the scale you have consumer internet apps like Snapchat, Frontback, Instagram and Facebook offering you the ability to ‘deposit’ single images (or albums in Facebook’s case), but not a lot of storytelling tools. Then there’s the new breed of digital publishers building cool stuff for mobile like Offline and Glide — but most of those aren’t platforms yet.


Storehouse could thread the needle between these two groups — providing a sincerely mobile-centric publishing tool that spurs long form visual storytelling along. There feels like room here for an app to democratize the creation of stories that feel like they came out of a high end design tool.


The testers of Storehouse are already producing some pretty great content. From travelogues to simple stories about an old friend, they all look great — and they’re not all coming from professionals. Some stories are being created t


As for what Storehouse has set for the future, Kawano won’t say much. But he does say they cut a lot of features from the first release. “Saying no lets you focus,” he says. Among those are the inclusion of browsing or search, and the limit to a simple ‘follower’ model where you only see additional content from the people you follow.


“We know that with long form content creation…there’s a longer growth curve,” he adds, noting that in order to make sure that everyone has a great experience, they needed polish. “We needed to make sure the features and the backend would all work and would hold up.”


For now, the launch product is certainly gorgeous. If you’ve got images that you’ve been wanting to share in a format that isn’t a simple ‘grid of thumbnails’, or that you had just a few pieces of context to add to, it’s worth a try.


Storehouse is live in the App Store here.







7:55 AM

The way we communicate is increasingly visual. The devices that we carry with us are uniquely suited to both capturing and displaying storie...

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blocked

Yale Bluebook+, a student-created mock course scheduling tool with consolidated course evaluations and ratings, was blocked on the internal university Internet on Monday by the administration, citing non-permissible use of Yale’s data and name. The block came less than a week after Gabriel Olszewski, the university registrar, raised the university’s concerns with the site in an email to the site’s founders, computer science majors Peter Xu and Harry Yu. Aside from its course scheduling function, YBB+ featured consolidated course evaluation data presented in a color-coded system. Users could also sort classes and professors according to the scores given by prior students.


“There was a design component used to present data in a way that was never intended, as voted by the faculty” Olszewski, who declined to specify the exact feature, said in a phone interview.


Yale grants access to course evaluation data only for current students of Yale College. In the email sent last Tuesday, Olszewski pointed out that YBB+ provided access also to other Yale students login credentials and that the site “averaged evaluations,” according to an opt-ed written by Peter Xu in today’s Yale Daily News.


“Blocking sites that Yale disapproves of reminds us more of China’s Great Firewall than one of the world’s leading research institutions,” Xu, who was not immediately available for a comment, wrote


YBB+ was created as a follow-up to Yale Bluebook, a course scheduling site created by then-students Jared Shenson and Charlie Croom that launched in the spring of 2011. Containing course descriptions, course evaluations and a function allowing users to map out potential schedules, the site quickly emerged as a nimble and more user-friendly alternative to Yale’s own online course registration platform.


The founders were then posed with similar problems as YBB+’s Xu and Yu: it consolidated and used copyrighted Yale data on servers outside the university. But in the summer of 2012, Yale chose to acquire the right to run the site and incorporated it under its .edu domain.


In response to the university’s concerns, Xu and Yu last week changed the site’s domain to CourseTable and offered to remove the numerical scores and ranking function, Xu wrote in the opt-ed. But that did not please the university administration which blocked the site on Monday, displaying a message saying that the site had been “blocked in accordance with Yale policy” to anyone trying to enter.


“[Yale] has let down its students, who pay $58,600 a year to attend, by preventing them from making the most of their credits,” Xu wrote.







6:39 AM

Yale Bluebook+, a student-created mock course scheduling tool with consolidated course evaluations and ratings, was blocked on the internal ...

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Mindie

Mindie’s story is a great tale for every aspiring entrepreneur. When I first talked with the French team, the startup wasn’t working on its viral music video app, but was working on something completely different called Ever.


In only a few months, Mindie was able to abandon its storytelling app Ever, create another app, release it, get a bit of traction. And now it just closed a $1.2 million seed round from SV Angel and others — it even had to turn down investors. In the coming weeks, the team will also relocate to San Francisco.


As a reminder, Mindie is a video-sharing app with a twist. When you record a video, you first pick a soundtrack and shoot a few seconds of video like you would on Vine. Then you share it on Twitter and Facebook. Music is the story of your video, it’s what makes the app so different from Vine, which became a comedy app.


Investors include SV Angel, Lower Case Ventures, Betaworks, David Tisch, Dave Morin with Slow Ventures, CrunchFund (disclosure: CrunchFund founder Michael Arrington previously founded TechCrunch), Pete Cashmore, Lady Gaga ex-manager Troy Carter, and Chris Howard. This is the story of how Mindie came to be.


Building ‘Ever’ Then Restarting From Scratch


Mindie’s first app, Ever, had nothing new to offer. It was yet another storytelling app, like Backspaces, Checkthis and others. A post was basically a few pictures tucked together with a location, a soundtrack and titles. Here’s what it looked like:


Mindie Ever


It was beautiful. But there were too taps due to a cumbersome hierarchy. You had to tap on a post to see its content, tap on the play button to launch the music, tap on a picture if you wanted to write a comment (and the comment was tied to this particular picture). You could like a story or individual pictures, leading to a lot confusion.


In other words, it was a pretty app with a bad user experience. As Snapchat has taught mobile designers, making pretty things doesn’t matter if your app isn’t efficient at what it should do.



I didn’t even understand what Ever was.

— Oussama Ammar, TheFamily co-founder

In July, after months of hard work, the team was confident enough to ask for feedback. Co-founder Grégoire Henrion showed me the app, and I know that some French designers had a look as well. Around the same time, the team pitched to get accepted in Paris-based accelerator TheFamily.


“I didn’t even understand what Ever was,” TheFamily co-founder Oussama Ammar very recently told me. But he chose to let the company in the accelerator, thinking that it will have to change its product at some point or work on other projects with other teams. It was a talented team after all — it was able to make a good-looking app, all flaws aside.


Something had to be done if the company wanted to avoid a scenario à la Checkthis – Checkthis’ story is very similar. The team realized that they had to start something new because Checkthis wouldn’t get traction. In fact, it had two weeks left to live when the startup released Frontback, its much more successful next act.


It was the same for Ever and Mindie. Bouncing back is not always easy, but it’s exactly what the Mindie team did.


Meet Mindie, An Addictive Music Video App That Couldn’t Get Funding


At this point, the team showed everyone its main quality: listening to feedback. While everybody around the four of them was probably saying the same thing, it’s hard to have a critical opinion on your own work, especially if you’ve spent months on it.


After refocusing and rethinking what Ever was all about, the team quietly worked on Mindie. In October, Henrion came back to me and sent me a message out of the blue. Mindie was ready for App Store prime time.


When I opened the app, the first video of my feed instantly started playing. It was a very immersive fullscreen video with a soundtrack. When you swiped your finger across the screen, you got another video, another song. And it went on and on. Posting a video took a matter of seconds.


The app design was very efficient, at the opposite of Ever’s intricate design. Instead of having to make dozens of taps, it was all about swiping and holding your finger to record. And everything was straightforward — it was a modern consumer app design. Here’s what it looked like:


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Mindie’s launch wasn’t a big splash — I wrote a TechCrunch post, and that’s about it. Yet, slowly but surely, angel investors and product guys in the Valley started using the app. Jack Dorsey tried it and kept posting Mindie videos.


But when the company started taking meetings in France to raise a seed round, a lot of investors said no. Mindie was a moonshot — it could either fail miserably or become incredibly successful. And French investors weren’t convinced.


Finding Mindie’s Investors


The team flew to the U.S. and spent four weeks in New York and San Francisco. It met SV Angel, who immediately invested and started putting together a seed round with business angels. It became clear that Mindie had to say no to many investors. Even though many French investors changed their minds, the round was quickly overbooked.


Mindie’s trials and tribulations show that it doesn’t always go as planned, but it can thrive. A consumer product like Mindie resonates in San Francisco. This is where it can find its audience of early-adopters, investors that understand the product, and many product-savvy people.


That’s why the Mindie gang will move to San Francisco in the coming weeks. The team is hard at work on a new version that will bring new creative possibilities. In the long run, Mindie wants to become the new MTV for the mobile generation. Remember that time when MTV was all about music videos, most of them amateur-looking but very creative? This is Mindie’s future.


Mindie’s first app Ever wasn’t even released in the App Store. This is now all part of the company’s backstory. The road to creating an App Store success is long and winding. But when you struggle and listen to feedback, you eventually know when you have something compelling in your hand.







6:09 AM

Mindie’s story is a great tale for every aspiring entrepreneur. When I first talked with the French team, the startup wasn’t working on its ...

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