current approaches often rely on decoupled trigger-response pipelines or are limited to captioning-style narration, reducing their effectiveness for open-ended question answering and long-horizon interaction
大多数人认为现有的视频大模型可以通过简单的触发-响应管道或描述式叙述来处理实时视频流，但作者认为这种方法对于开放式问答和长时程交互效果有限。这是一个反直觉的观点，因为它挑战了当前视频处理领域的常规做法，暗示需要更集成的端到端方法来真正实现实时视频理解。
Cette page analyse l’évolution du rap français à l’ère du streaming. Elle explique comment les plateformes comme Spotify ont changé comment dont les artistes diffusent leur musique et trouvent du nouveau publique. Cette ressource est pertinente pour mon sujet car elle montre que les nouvelles technologies ont profondément transformé l’industrie musicale et la popularité de certains genres comme le rap.
Cette page explique comment les nouvelles technologies ont transformé l’industrie musicale. Elle décrit l’évolution des formats musicaux jusqu'au streaming. Ces changements ont énormément modifié la manière dont les gens découvrent et écoutent la musique aujourd’hui. Cette ressource est pertinente pour mon sujet car elle montre comment la technologie influence la diffusion et la consommation de la musique.
Hundreds of millions of us have already given away ownership over music, TV shows, and movies to cloud companies like Spotify and Netflix — both of which run on Amazon Web Services. Cloud gaming products like Amazon Luna, NVIDIA GeForce Now, and Xbox Cloud Gaming are all seeing steady growth, too — but it's not just about these niche scenarios.
fair point, we do need to bring media home again. i've made the switch in books early last year. Music up next.
Using the snippet below, the host’s audio will be available to DLNA
The Browse tab is now called New, but it’s just a name change.
What?!
No!??
We keep your music streaming and downloading quickly and reliably, whether it’s 3am on a Sunday, or the hour your new record drops and Pitchfork gives it a scathingly positive review. We make your tracks available in every format under the sun, so the audiophilic nerderati can have their FLAC and eat mp3 v2. We adorn your songs with all the right metadata, so they sail into iTunes with artwork, album, band and track names intact. We mutter the various incantations necessary to keep your site top-ranked in Google, so when your fans search for your hits, they find your music long before they find bonkersforlyrics.com or iMyFace. We give your fans easy ways to share your music with their friends, and we give you gorgeous tools that reveal exactly how your music is spreading, so you can fan the fire.
We keep your music streaming and downloading quickly and reliably, whether it’s 3am on a Sunday, or the hour your new record drops and Pitchfork gives it a scathingly positive review. We make your tracks available in every format under the sun, so the audiophilic nerderati can have their FLAC and eat mp3 v2. We adorn your songs with all the right metadata, so they sail into iTunes with artwork, album, band and track names intact. We mutter the various incantations necessary to keep your site top-ranked in Google, so when your fans search for your hits, they find your music long before they find bonkersforlyrics.com or iMyFace. We give your fans easy ways to share your music with their friends, and we give you gorgeous tools that reveal exactly how your music is spreading, so you can fan the fire.
“You need to find a place to host it, you’ve gotta get the metadata right, it’s just hard. So we just decided we would do that hard part for musicians so that they didn’t have to be so nerdy.”
Bandcamp was technically the first comprehensive library-modeled music streaming service in existence
Trump Media Quietly Enters Deal With a Republican Donor Who Could Benefit From a Second Trump Administration by [[Justin Elliott]], [[Robert Faturechi]] and [[Alex Mierjeski]]
Passengers must have an iPhone with iOS 17 or later, but don’t need to have an Apple Music subscription.
Well, now I've confirmed the most crucial answer I needed answering about iOS 17...
...now just to figure out how I'm going to make this happen.
Please note that this was written long before Epic Game's acquisition of Bandcamp, which you can read more about in Pitchfork, The New York Times and/or Bandcamp's own blog post.
All digital transitions have had losers, some of whom we may care about more than others. Musicians seem to have a raw deal in the streaming age, receiving fractions of pennies for streams when they used to get dollars for the sales of physical media. Countless regional newspapers went out of business in the move to the web and the disappearance of lucrative classified advertising. The question before society, with even a partial transition to digital books, is: Do we want libraries to be the losers?
Will libraries have the same problems with the digital transition that music and journalism have had?
A few more apps have arrived since this was first published - I thought I would include three I've actually used the most.
Ya know, my memory isn't so great anymore, but I remember my then best friend and most respected music authority resting pretty confidently in an argument about this sound, and those who peretuated it: that it was by nature/declaration substanceless, and therefore, those invested in it were either just superficial or.. idek anymore. Ingenuine, maybe?
I don't think I was even placating with him when I mostly went along with it - it did seem important to invest in more abrasive (read: edgy bs) pursuits. I thought I was resisting "nostalgia" and even invested most of my twenties trying to start an online culture/electronic music magazine in direct editorial opposition to regurgitation. Imo, though, any actual exposure to self-described "vaporwave" makes it very plain how utterly useless it is to cry nostalgia because - crucially - whatever form of it that may or may not be an established marker of this voice is completely devoid of the illness that has absolutely pervaded, destructively, throughout all manner of expression and exploitation in the past 10 years.
It is just not a constraining or negative force, here. I would propose, even, that it's been made, here, into the most powerful form of critique there possibly could be.
And the grief!!! and the mania!! In any sort of ... worldly-participatory context, it should not be some gargantuan leap for even the most cynical, repressed, bitter 50-something white music writer army to make the connections, here. Our tears are fucking digital, idiot.
...ANYway, sorry. I don't actually have any business talking about music, but I can express my big, soppy as hell appreciation for the nigh-inconceivable amount of quantitive life force for which this milestone is a handy opportunity to reflect.
the enhanced metadata, using work and movement tags, is not visible in Apple Music on the Mac nor in the Apple Music app on the iPhone and iPad. It seems Apple is using two separate databases, which makes no sense. If the metadata is available—and work and movement tags are available on many albums in Apple Music already—why not let the other apps access them?
I suspect this is due to Apple Classical being based to some degree (entirely supposition, btw) on Primephonic, the service Apple acquired in August of 2021. What do I know, though?
https://riverside.fm/magic-editor
Jerry Michalski mentioned using this recording/editing tool as a means of having something that looked "different" than the traditional Zoom, Meet, etc. products.
limitintegerThe maximum number of items to return. Default: 20. Minimum: 1. Maximum: 50.>= 0<= 50Default value:20Example value:10
I find it hilariously telling that Spotify's official, very-credentialed own Web API will not retrieve more than 50 fucking tracks from a playlist lmao.
(I lied to you just then. I find it makes me want to commit systematic acts of violence on myself.) - WTF
I like to think of thoughts as streaming information, so I don’t need to tag and categorize them as we do with batched data. Instead, using time as an index and sticky notes to mark slices of info solves most of my use cases. Graph notebooks like Obsidian think of information as batched data. So you have a set of notes (samples) that you try to aggregate, categorize, and connect. Sure there’s a use case for that: I can’t imagine a company wiki presented as streaming info! But I don’t think it aids me in how I usually think. When thinking with pen and paper, I prefer managing streamed information first, then converting it into batched information later— a blog post, documentation, etc.
There's an interesting dichotomy between streaming information and batched data here, but it isn't well delineated and doesn't add much to the discussion as a result. Perhaps distilling it down may help? There's a kernel of something useful here, but it isn't immediately apparent.
Relation to stock and flow or the idea of the garden and the stream?
The OPDS Page Streaming Extension (OPDS-PSE) is an unofficial extension of the Open Distribution Publication System. Its goal is to enrich the OPDS feed with information allowing the client to request a specific page of a document without having to download it completely. This extension was designed primarily for comic books, to allow reading them on connected devices without having to wait for the book to be completely downloaded.
Example :
« pse » ):xml
<feed xmlns="http://www.w3.org/2005/Atom"
xmlns:dcterms="http://purl.org/dc/terms/"
xmlns:pse="http://vaemendis.net/opds-pse/ns"
xmlns:opds="http://opds-spec.org/2010/catalog"
xml:lang="en"
xmlns:opensearch="http://a9.com/-/spec/opensearch/1.1/" >
xml
<link rel="http://vaemendis.net/opds-pse/stream"
type="image/jpeg"
href="/opds-comics/stream/1217?page={pageNumber}&width={maxWidth}"
pse:count="35" />
Yang, M. (2022, January 14). ‘Menace to public health’: 270 doctors criticize Spotify over Joe Rogan’s podcast. The Guardian. https://www.theguardian.com/technology/2022/jan/14/spotify-joe-rogan-podcast-open-letter
Under-the-hood working of the streaming SSR server with the new React 14's suspense. A thread. #reactjs #webperf #perfmatters
Cucinotta, C. E., Martin, B. J. E., Noé González, M., Raman, P., Teif, V. B., & Vlaming, H. (2021). Strength is in engagement: The rise of an online scientific community during the COVID‐19 pandemic. EMBO Reports, 22(5). https://doi.org/10.15252/embr.202152612
Since the two streams are independent, the client and server can read and write messages in any order
That's how batching can happen in gRPC. With bi-directional streaming
This could be fun and useful. I wonder if it will allow focusing on certain sub-portions of the screen?
<small><cite class='h-cite via'>ᔥ <span class='p-author h-card'>David Molloy</span> in Why popular YouTubers are building their own sites - BBC News (<time class='dt-published'>03/07/2021 16:14:09</time>)</cite></small>
<small><cite class='h-cite via'>ᔥ <span class='p-author h-card'>David Molloy</span> in Why popular YouTubers are building their own sites - BBC News (<time class='dt-published'>03/07/2021 16:14:09</time>)</cite></small>
Mims, C. (2020, November 21). Four Reasons the Stay-at-Home Economy Is Here to Stay. Wall Street Journal. https://www.wsj.com/articles/four-reasons-the-stay-at-home-economy-is-here-to-stay-11605934806
Disney CEO: No “going back” to old way of movie watching. (n.d.). Retrieved March 3, 2021, from https://nypost.com/2021/03/02/disney-ceo-no-going-back-to-old-way-of-movie-watching/?utm_source=NYPTwitter&utm_campaign=SocialFlow&utm_medium=SocialFlow
Bandcamp’s CEO and founders’ public attaché Ethan Diamond is as good as they come
Important!
I've just come across a recent interview with Ethan Diamond in which so many of the questions which prompted me to write this essay are addressed. (The link includes my annotations.)
“More than 99 percent of audio streaming is of the top 10 percent most-streamed tracks [on Spotify.] Which means less than 1 percent of streams account for all other music.”
Well, deciding what to work on next, that has always felt like the easiest part of the job because it’s whatever benefits artists the most. Because the way Bandcamp makes money is if artists make a lot more money, so that’s what we try to spend every day doing.
In contrast with Spotify's CEO:
“Music is everything we do all day, all night, and that clarity is the difference between the average and the really, really good.”
Source: Spotify’s $30 billion playlist for global domination by Robert Safian
I like the idea that Bandcamp hangs out in the background and just makes all of this stuff work, and also, hopefully, helps the artist promote themselves, and it’s not about “Bandcamp, Bandcamp, Bandcamp.”.
And this is why I felt so compelled - obligated, even - to write my big Bandcamp essay.
how come Bandcamp doesn’t get mentioned in all these press articles about music services? Are those related questions?
Oh my god, this. I have been asking myself this question with increasing intensity for years, now.
Ek said that many artists are happier in private about the money they receive than they are in public. He also said that musicians not doing well from streaming are the ones who want to release music “the way it used to be released”.
This is hogwash. Artists want to make a living, while Ek and his cohorts maximise their profits while actively lobbying against songwriter royalties and pushing transphobic people like Joe Rogan. More here: https://niklasblog.com/?p=25501
Last week Radiohead’s Ed O’Brien, Elbow’s Guy Garvey and Gomez’s Tom Gray gave evidence alongside Shah. Gray’s Broken Record campaign aims to fight for fairer terms for artists.
the streaming platform’s
Some examples of this would be Netflix, Prime Movies, Hulu, Youtube, Vudu, and Vimeo
However, many of Pearson's digital products are sold on a subscription basis, raising fears that authors will lose out in the way musicians have to music streaming services.
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Please note: These albums are NOT available on public streaming services.
Screw Spotify et al. Support your artists.
I wish this were streamed via Blockchain, giving OR 99.9999% of the royalties.
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Apple Music now has 15 million paid subscribers,
Sounds both like a relatively large number (given that the service was panned by many people) and a small percentage of Apple’s active userbase.
What Amber explained was exactly what I’d feared: through the Apple Music subscription, which I had, Apple now deletes files from its users’ computers. When I signed up for Apple Music, iTunes evaluated my massive collection of Mp3s and WAV files, scanned Apple’s database for what it considered matches, then removed the original files from my internal hard drive. REMOVED them. Deleted.
This is from 18 August, 2015, so it's possible things have changed. But it's interesting anyway, and many links are given.
Most music streaming services have been paying artists on a per-click basis. So most subscribers' money doesn't go to the artists they are listening to, but rather whichever artists get the most clicks. And this system is extremely vulnerable to click fraud.
The author argues that Subscriber Share is a better system. With that method, your subscription fee is divided among the artists you listen to according to the percentage of time you spend listening to them.
FAQ includes additional links and replies to counter-arguments.