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Twitter-OAuth-PHP
(via - docs.google.com )
I read it on 03/07/10 at 08:58 PM
Posted on 03/08/10 at 01:56 AM

This documentation is for TwitterOAuth library verision 0.1.x.
If you are using trunk (0.2.x) these instructions will be wrong!

Try it out live: http://twitter.abrah.am

Twitter OAuth is in beta and could change at any time. Feel free to contact me with bug/questions. A full TwitterOAuth lib will be released soon. Currently the code is hacked together and should not be used in production without proper testing.

Index

Definitions

Consumer: the application you are building. registered with twitter. Sometimes referred to as application
User: the user using your application.
Token: there are several different sets of tokens usually in key/secret pairs.
Consumer token: the token pair Twitter gives you when you register an application.
Request token: the first token pair Twitter returns. used to build an authorize URL used to request the access token.
Access token: unique to user. Used to access users data.

Get the code

Pull code from http://github.com/abraham/twitteroauth
git clone git://github.com/abraham/twitteroauth.git

Process overview

This is a very simplistic overview of authenticating with Twitter's OAuth.
  1. Build TwitterOAuth object.
  2. Request tokens from twitter.
  3. Build authorize URL.
  4. Send user to Twitter's authorize URL.
  5. Get access tokens from twitter.
  6. Rebuild TwitterOAuth object.
  7. Query Twitter API with new access tokens.

Process

For this example we will be using the the index.php from the example folder and it will be located in the web root.
public/index.php
public/twitteroauth/

Go to https://twitter.com/oauth_clients and register a new application. Fill out what the form. For a callback URL we will be using http://example.com/index.php. Once registered you will get a consumer key and a consumer secret. Those go in index.php

Now we create a TwitterOAuth object. The class constructor chooses HMAC-SHA1 as the signature method, and builds a OAuthConsumer object with the app consumer key/secret.
$to = new TwitterOAuth($consumer_key, $consumer_secret);

With that object we use curl to request a token from twitter. The API URL we hit is https://twitter.com/oauth/request_token. getRequestToken() pulls the tokens from twitter, parses it into an array, and creates a new OAuthConsumer object.
$tok = $to->getRequestToken();

Save the tokens for when the user returns from Twitter.

Set up the authorization URL. This is the URL the user will visit to tell twitter the application can access their data. https://twitter.com/oauth/authorize is used.
$request_link = $to->getAuthorizeURL($token);

Once the user tells twitter yes and returns we request the access tokens. The access tokens can be thought of the users passwords and will be used to authenticate as them for future API calls. https://twitter.com/oauth/access_token is used.
$tok = $to->getAccessToken();

At this point you can check https://twitter.com/account/connections and the application should be listed.

Build a new TwitterOAuth object using consumer key/secret and access key/secret.
$to = new TwitterOAuth($consumer_key, $consumer_secret, $user_access_key, $user_access_secret);

Now to interact with the API as the user to verify their credentials. This should return their profile. You can now save the access key/secret as being associated with the returned user info.
$content = $to->OAuthRequest('https://twitter.com/account/verify_credentials.xml', array(), 'GET');

To send a status update change the API URL and add a key/value array.
$content = $to->OAuthRequest('https://twitter.com/statuses/update.xml', array('status' => 'Test OAuth update. #testoauth'), 'POST');

There you have it. Basic interaction with Twitter's OAuth beta. To run other commands just change the API URL and array() keys/values in the last call.

Links

My website: http://abrah.am
Twitter: http://twitter.com
OAuth: http://oauth.net
Twitter API docs: http://apiwiki.twitter.com
Twitter API discussion: http://groups.google.com/group/twitter-development-talk
Fire Eagle OAuth docs: http://fireeagle.yahoo.net/developer/documentation/php_walkthru



Tags: twitter  access  token  oauth  key  
 
 

Steve Ballmer teases new Xbox 360 form factors, price points and options
(via - Engadget )
I read it on 03/06/10 at 09:04 AM
Posted on 03/06/10 at 10:21 AM

Turns out Steve Ballmer's talk up at the University of Washington delivered even more saucy info than we were initially led to believe. In a transcript of the subsequent Q&A session, Steve is shown to have delivered the following statement on the topic of large-screen televisions and Microsoft's related hardware strategy:
For that big screen device ... there's no diversity. You get exactly the Xboxes that we build for you. We may have more form factors in the future that are designed for various price points and options, but we think it's going to [be] important.
It's safe to assume new form factors point to a smaller rather than larger 360 chassis, though the price points and further options he mentions are wide open for speculation. It wouldn't be unreasonable to forecast Microsoft pushing out its own slimmed-down console to match up with Sony's PS3 Slim, but we also shouldn't discount the idea of an Xbox 360 with Project Natal hardware integrated into its shell. In other words, we really don't know what Steve has going on under that shiny dome of his, we just hope it's as exciting as he makes it sound.

Steve Ballmer teases new Xbox 360 form factors, price points and options originally appeared on Engadget on Sat, 06 Mar 2010 05:21:00 EST. Please see our terms for use of feeds.

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Tags: steve  points  options  factors  price  


 
 

Windows Phone 7
(via - Chris Pirillo )
I read it on 03/06/10 at 09:08 AM
Posted on 03/06/10 at 07:33 AM

Windows Phone 7 is a post from Chris Pirillo


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First, if you have any questions for the Windows Phone 7 Series team, I'd be more than happy to ask on your behalf (as I do live around the corner from Redmond's campus and will be meeting with the team again at some point in the future). Post a comment and/or video response.

I was invited to a behind the scenes look at elements of the Windows Phone 7 Series developer platform. At Mobile World Congress (covered earlier in this channel), Microsoft provided a first look at Windows Phone 7 Series and I'm pleased to offer you the opportunity to see a live demonstration up close.

Yes, I got to play with the phone, too. It works as advertised even as a prototype. Unfortunately, we could not adjust the brightness settings in this particular device. The Metro interface is a bucket of win in my book.

Charlie Kindel partner group program manager, Windows Phone App Platform & Developer Experience was hosting an intimate reception this evening in San Francisco. I wasn't able to make it, but Microsoft arranged a somewhat more private meeting with Greg Sullivan from the Windows Phone team a little closer to home.

I met Greg a few years ago through the Longhorn Labs project (back when Microsoft Windows team leads worked actively with their most vocal community supporters). I'm not sure if I can reveal any more device details at this point, but suffice it to say

I want one.




Tags: lt  gt  li  pirillo  href  
 
 

Bogus Copyright Claim Silences Yet Another Larry Lessig YouTube Presentation
(via - Techdirt )
I read it on 03/02/10 at 08:50 AM
Posted on 03/02/10 at 12:26 PM

Nearly a year ago, we wrote about how a YouTube presentation done by well known law professor (and strong believer in fair use and fixing copyright law) Larry Lessig had been taken down, because his video, in explaining copyright and fair use and other such things, used a snippet of a Warner Music song to demonstrate a point. There could be no clearer example of fair use -- but the video was still taken down. There was some dispute at the time as to whether or not this was an actual DMCA takedown, or merely YouTube's audio/video fingerprinting technology (which the entertainment industry insists can understand fair use and not block it). But, in the end, does it really make a difference? A takedown over copyright is a takedown over copyright.

Amazingly enough, it appears that almost the exact same thing has happened again. A video of one of Lessig's presentations, that he just posted -- a "chat" he had done for the OpenVideoAlliance a week or so ago, about open culture and fair use, has received notice that it has been silenced. It hasn't been taken down entirely -- but the entire audio track from the 42 minute video is completely gone. All of it. In the comments, some say there's a notification somewhere that the audio has been disabled because of "an audio track that has not been authorized by WMG" (Warner Music Group) -- which would be the same company whose copyright caused the issue a year ago -- but I haven't seen or heard that particular message anywhere.

However, Lessig is now required to fill out a counternotice challenging the takedown -- while silencing his video in the meantime:
While you can still see the video on YouTube, without the audio, it's pretty much worthless. Thankfully, the actual video is available elsewhere, where you can both hear and see it. But, really, the fact that Lessig has had two separate videos -- both of which clearly are fair use -- get neutered due to bogus copyright infringement risks suggests a serious problem. I'm guessing that, once again, this video was likely caught by the fingerprinting, rather than a direct claim by Warner Music. In fact, the issue may be the identical one, as I believe the problem last year was the muppets theme, which very very briefly appears in this video (again) as an example of fair use in action. But it was Warner Music and others like it that demanded Google put such a fingerprinting tool in place (and such companies are still talking about requiring such tools under the law). And yet, this seems to show just how problematic such rules are.

Even worse, this highlights just how amazingly problematic things get when you put secondary liability on companies like Google. Under such a regime, Google would of course disable such a video, to avoid its own liability. The idea that Google can easily tell what is infringing and what is not is proven ridiculous when something like this is pulled off-line (or just silenced). When a video about fair use itself is pulled down for a bogus copyright infringement it proves the point. The unintended consequences of asking tool providers to judge what is and what is not copyright infringement leads to tremendous problems with companies shooting first and asking questions later. They are silencing speech, on the threat that it might infringe on copyright.

This is backwards.

We live in a country that is supposed to cherish free speech, not stifle it in case it harms the business model of a company. We live in a country that is supposed to encourage the free expression of ideas -- not lock it up and take it down because one company doesn't know how to adapt its business model. We should never be silencing videos because they might infringe on copyright.

Situations like this demonstrate the dangerous unintended consequences of secondary liability. At least with Lessig, you have someone who knows what happened, and knows how to file a counternotice -- though, who knows how long it will take for this situation to be corrected. But for many, many, many other people, they are simply silenced. Silenced because of industry efforts to turn copyright law into something it was never intended to be: a tool to silence the wider audience in favor of a few large companies.

The system is broken. When even the calls to fix the system are silenced by copyright claims, isn't it time that we fixed the system?

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Tags: copyright  video  fair  such  lessig  
 
 

Publishing 2010: The Beginning of the End or the End of the Beginning?
(via - Evil Genius Chronicles )
I read it on 03/02/10 at 09:00 AM
Posted on 03/02/10 at 12:23 PM

This post is my attempt to distill together many different threads into a common tapestry. There is a lot of turbidity in the publishing, podcasting, music, film, television worlds right now. I have these feeling that every bit of this is all part of a larger whole and I'm going to take a stab at defining it. This post will either be awesome because it succeeds or a miserable failure. There is no middle ground. Off in to it. This will be long, you have been warned.

First, let me inventory the raw materials that got me thinking this way. Recently JC Hutchins posted that he had been dropped as an author by St. Martins Press and that they would not be publishing the 7th Son sequels. The post lives between a gut-check and a crisis of faith from one of the pioneering new media creator/ novelist hybrid guys. He also posted about monetary realities of writers pubishing via ebooks. Not that long before this, I had listened to JC's Hey Everybody interview with Pablo Defendini and Ami Greko from The New Sleekness blog. It's a really interesting discussion about the future of book publishing by industry professionals young enough in their careers to be less invested in the status quo and more willing to help a new future emerge. (Side note 1: I met Pablo and Ami at last year's Dragon*Con in the classic SF con fashion I wanted to meet them, saw them in a hotel bar, asked if I could sit with them, introduced myself and hung out for an hour. Try it, it works! ) Much in my thinking was informed over the last month by the Amazon/Macmillan ebook pricing wars of far too large a trail to link to anything. In that debate I did first run across Joe Konrath, his fiction and some of his posts with amazingly open and detailed statistics of what he sells and what he makes from digital publishing. (Side note 2: I bought, read and enjoyed his book Whiskey Sour as fallout from the debate).

There are many other bits of thought in the mix, such as my feelings about beginning my own novel during NaNoWriMo and thinking about hiring my friends at Sterling Editing to work on it and what I might choose to do with such a book when)it is finished. That's enough of a prelude, though. Time to hit it.

JC Hutchins struck a nerve when he basically waved the white flag on his current way of working.

Creating podcast fiction does does not generate direct revenue for me. Based on anecdotal and statistical data, very few people are willing to pay for general podcast content, much less podcast fiction. Since my goal is to make a living wage with my words, the current monetization models including in-show advertisements will not deliver this. Dedicating time and effort to my non-fiction podcast projects will deliver equally underwhelming monetary results.

It is also apparent to me that using the Free model to promote a tangible product, such as I did with 7th Son: Descent and Personal Effects: Dark Art, does not deliver sustainable sales results. I have friends some of whom are my best friends, the most talented people I've had the privilege to know and work with who have absolute faith in this model. I treasure their trailblazing efforts and enthusiasm. My faith, however, has been fundamentally rattled.

Put simply: The new media model viably supports only the most blessed and talented of authors. The time, effort and money I invest in entertaining you for free pulls my attention and talent away from projects that can generate revenue. While podcasting, podcast fiction, and most importantly your support and evangelism has positively impacted my life and career in ways I'll never be able to fully express, I cannot continue to release free audiofiction if I wish to make a living wage with my words.

This is pretty big stuff in the world of podcast fiction. Hutch was one of the pioneers of the form and his getting picked up by St. Martins was considered a watershed and a validation for the medium. So if he can't make it in this world, what does that say about all the other podcast novelists who are less engaged, have less of a fan base, less sheer horsepower? Does it mean this medium is screwed?

I am positing that Hutch had a terrible misfortune of timing, that he arose as a viable author at exactly the wrong moment in publishing history. As he started down his path it seemed like the end game was to get a book deal with a major publisher. For writers of the last 100 years, this was the reasonable career success path for authors, and practically the only one. In the last few years though a sea change has happened so rapidly and thoroughly to flip that Hutch got his boat capsized in the process and he will be far from the only one. As crazy as it may sound, for a certain kind of author at this point I think a major publishing contract may seem like winning the game but is in fact losing it.

The red flags I got from the JC Hutchins post started here:

Examining the lead up to, and release of, the novel, I cannot see how I could have promoted it any better than I did. I literally went broke promoting this book and Personal Effects: Dark Art (another novel that will not have a sequel; it also underperformed). I conceived numerous brand-new online marketing campaigns that dazzled you and others. I asked you to purchase the novel, and many of you did.

If JC is literally going broke promoting 7th Son and Personal Effects book, I think a reasonable question to ask is What is St. Martins Press' role in this? If JC is willing and able to put so much of his own time and money into the promotion of the books, what value is he getting from the big publisher that is worth giving away 90% of the sale of the book to them? 50 years ago, and 20 years ago and 2 years ago, this made sense. It was pretty much impossible to get a book published and into the hands of the world in any significant way especially in a way that a writer could make a full-time living without a major publisher contract, especially one paying advances at a level to be a livable wage. Nowadays, especially due to the markeplace enabled by the Kindle, Nook, Sony Reader et al, that's a different equation.

Joe Konrath's post about the money he makes from the Kindle store shows a really clear pattern that he summarizes with:

My five Hyperion ebooks (the sixth one came out in July so no royalties yet) each earn an average of $803 per year on Kindle.

My four self-pubbed Kindle novels each earn an average of $3430 per year.

If I had the rights to all six of my Hyperion books, and sold them on Kindle for $1.99, I'd be making $20,580 per year off of them, total, rather than $4818 a year off of them, total.

So, in other words, because Hyperion has my ebook rights, I'm losing $15,762 per year.

For a writer with an engaged audience, like JA Konrath has and like JC Hutchins has, there may well be more money in their books self-published primarily through the Kindle and other ebook stores. An interesting bit from the Konrath numbers above, that's from making 35% of the sales price for his direct books. When it changes to 70%, he'll be making twice as much per book as he posted above for the self-published ones.

Let me say it again: for a writer who is engaged with their audience and reasonably prolific (because you need new books to keep this engine turning), we may be at the turning point where a better living is available through self-publishing than a big New York publisher book deal.

There are certainly authors that this model will not work for. During my preparation for last year's Podcasting for Working Writers panel at Dragon*Con I talked to both James Patrick Kelly and Kelley Eskridge on this topic and they both raised the point that for a number of old school writers, the idea of engaging at the level of podcasting and doing large parts of their own publicity is anathema. A reasonable chunk of authors don't want to get out in the limelight and picked this career specifically so they don't have to engage. They write their books, maybe do a few conventions a year, do some bookstore events and that's it. Back to the keyboard where the serious work happens. That's fair enough and those writers will always need a publisher to do the parts of this business that would make them unhappy to pursue.

I think of the classic big publisher and big record label model as basically serving the function of the bank or maybe as VC. The manufacturing and distribution of the creative work was too capital intensive for an individual so this company would lend that money to the process, make the books or records show up in the store, do some publicity and keep most of the money. They insulate the creator from the process and from the retailers and fans. What publicity efforts exist, the big media company acts as a semi-permeable membrane to let a little of the public through, but not a lot. Ultimately in this model, the relationship with the fans of the buying public is owned mostly by the retailer and the publisher or label, very little by the writer or musician. For the author that doesn't want to feed and water that relationship, that's perfect.

For the other kind of author, a JC Hutchins or Mur Lafferty or Scott Sigler, going with a major publisher outsources to a third party a relationship with their fans that these writers are really really good at maintaining. When Hutch is paying his own money to publicize his books and his his own direct line into his own fanbase, what can the big publishers do for him? They could give him large enough advances to keep his bills paid while future books are written, but obviously they aren't willing to do that because sales aren't high enough. JC's books earn money, but not enough money to keep him in that system. For me, the real question is Did St. Martins Press do 9 times the work than JC did to get the work promoted? If not, what did they do to deserve a 90/10 split?

Last November for NaNoWriMo I began a novel that I have literally been thinking about since 1991 when I was 23. While I came nowhere near finishing it that month and am nowhere near finished now, I have a goal to finish this novel in 2010. I've already been thinking about what happens when I finish the book. Do I try to find an agent and then try to have them place it with a major publisher? Since I don't have any plans beyond that one book and thus don't necessarily have a writing career in mind, how does that affect my decision making? At the moment I'm leaning towards not bothering to place the book with any publisher at all. I'll pay Nicola and Kelley at Sterling Editing to work with me to get it publishable and hire a book designer and/or artist to hone the final product and then publish it to the Kindle store, Smashwords, the Nook store and whatever else seems reasonable at the time. I'll probably release it via Podiobooks.com at the the same time, do my publicity via that and the other usual online suspects and let it ride. The key point to me is that the energy I could spend in placing my book at a big publisher could be spent selling the book to readers and I'll probably make more money that way in the long run. This isn't the way things worked for the 19th and 20th century and it may not be the way it works in the future, but March 2010 it is the way it looks to me now. The validation of having a major publisher decide I'm their sort of writer doesn't do anything for me. I don't need the book contract to pay my living, I'd end up doing mostly my own publicity anyway so what the hell does the publisher have to offer me anymore? Rather than have them put out a $15 Kindle book that I see a buck or two from and no one buys with a print version that is on and off the shelves in head-swimming time on a death march to the warehouse remainder store, I'd rather put out a $5.99 ebook version that I see $4 from each one and more people buy. I have a whole rant on how the true function of ebook platforms is to enable impulse buys, but this current post is already too long. That must come later.

When I interviewed Cory Doctorow in 2006, one of the things he said is that the generation coming of age now is the first one to arise without a stigma attached to self-publication. Since I've been paying attention to the world of science fiction and writers in general, a giant shift has happened. When I joined GEnie in 1992, the notion of self-publishing your work meant that it was unreadable tripe and the very thought of it was risible to any serious author. Nowadays, it might well be the most rational economic choice available. If you aren't already in the system and earning livable wages from advances on your books, and you are the sort of writer and person with that drive a JC Hutchins, a Scott Sigler, a Tee Morris, a Mur Lafferty, an Alec Longstreth, someone willing to do more than thrown the manuscript over the wall and wait for finished copies to return it might be time to take the reins yourself and just do this. The costs are low which means the cost of failing is low. The traditional publishers aren't paying that much anyway so the opportunity costs are low. Just do it. Lynne Abbey, CJ Cherryh and Jane Fancher did. The writers at Book View Cafe did. I will. Don't pin your hopes on a big publisher with economic drivers that are different than yours. Just do it yourself, work the people yourself and keep as much of the money as you can.

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Tags: book  publisher  money  jc  books  
 
 

AT&T wants to make sure your iPhone works at SXSW
(via - MobileCrunch )
I read it on 03/01/10 at 07:40 PM
Posted on 03/02/10 at 12:33 AM

Anyone who's been to SXSW in the past few years, ever since the iPhone's release, knows that the AT&T network absolutely explodes during the festival. Texts, if they ever make it through, take hours; calls are dropped at an alarming rate, even by AT&T standards; and Internet access is essentially impossible. It's hard for AT&T to keep up because Austin, any other week of the year, isn't absolutely flooded with iPhone users mucking about, asking where the Facebook party is, or if they're on the list for the Gawker party. (I'm on the list, but I'm not going this year so it doesn't matter.) The point is, AT&T has its hands full that week, so let's give them an A for effort for trying to prevent another iPhone meltdown this year.

SXSW starts on March 12, and runs through March 21. It's a couple of days worth of tech, music, movies, and open bars. It's sort of an exaggeration, but every single attendee rocks the iPhone. It brings AT&T's network, already sorta meh, to it knees. This year, though, AT&T has prepared itself for the huge influx of users.

AT&T has installed a distributed antenna system at the Austin Convention Center. In a perfect world, it adds the equivalent of eight cell towers to the covered area. AT&T has also three temporary cell sites for good measure. These things are typically installed during big, but temporary events. Think Super Bowl or, well, large conventions.

The company also says it has added fiber-optic connections to more than quadruple the backhaul capacity of each of the eight cell sites that serve the event area, and temporary sites will also be served by extensive backhaul. Whatever that means!

Fingers crossed, every SXSW attendee will be able to FourSquare till their battery dies. That's all you can ask for.

Flickr





Tags: iphone  year  sxsw  temporary  sites  
 
 

Will One Company Become the Dominant Player in Cloud Computing?
(via - ReadWriteWeb )
I read it on 02/16/10 at 12:02 AM
Posted on 02/15/10 at 11:42 PM

OneCloudRing.gif

With each new milestone in technological evolution we've seen a company emerge as the clear leader. In the current landscape, we observe this happening in several key parts of the marketplace including networking, search and operating systems.

Cloud computing is a new disruptive force that makes us ask the question whether we'll see the future of the cloud dominated by a single company. In this multi-part series, we'll take a look at a handful companies and envision what the world might look like, if, in fact, they win it all. We'll also analyze what it will take for a new company to rise up and claim the leadership role in this chapter of computing.

Sponsor

Dominance Happens: A Bit of Recent History

There has been a love/hate relationship with companies that dominate markets. On one hand, it's us consumers that make it happen. But when they become giants we cheer as governement regulators and competitors knock them down.

courtHouse.jpg

Microsoft has faced this issue perhaps more than any company in the past few decades. When the browser battles were in full swing in the late 1990s, Microsoft was taken to court by the Department of Justice for antitrust violations.

In this note released in 2000 - Technology, Market Changes, and Antitrust Enforcement -Microsoft evaluated the idea of whether it was consistent with public welfare for a company to "win" a technology market, and what it means to have a network effect in technology.

Microsoft makes the point that no technology company will hold a dominant position for long if it doesn't innovate and expand the market definition. Additionally, if a company doesn't find the right balance of trust and pricing between its customers new technologies will find a way into the market and cause customers to defect.

Point: A Dominant Vendor Will Emerge in the Cloud

moutainPeakCloudSmall.jpg

Taking these factors into consideration, we believe there are several points that can support the argument that a dominant player in cloud computing in the future. Due to the nature of market forces a single vendor will emerge as the clear leader in offering cloud solutions.

  • First mover advantage: We're already seeing amazing things happen at first-movers like Amazon that are defining product and pricing. This gives them an advantage in fueling further growth and by learning and iterating the solutions in the market. Being first in an infrastructure-driven business will help them reach scale that others just can not reach easily - and potentially price it where others can't match.
  • Vendor lock: Once you get started with an infrastructure provider it becomes interwoven into business operations. By the current nature of the cloud (e.g. little standards, a lot of innovation) being first with leading solutions adds more momentum to the first-mover that wins strategic customers.
  • Strategic synergies: When we look at the combination of cloud computing and collaboration, we see a natural fit in services that meet more needs and take more market share. It may just work out that bundling works also in the cloud and creates the network effect that Microsoft is famous for. Cisco is also partnering across the landscape, with a focus on preparing the network for the cloud. By making it easier to manage your cloud with Cisco gear, it will provide IT leaders a reason to expand their relationships today, and stay tomorrow.
  • Acquisitions and Partnerships: Companies that buy their way into the market will be a big factor in putting momentum behind their offerings. Companies to watch: VMware, Cisco, Oracle. These companies are already showing that the race is on to win the cloud through aggregation of capabilities. Cisco has a blog dedicated to Cloud Computing, Oracle is going on tour sharing its ambitions for the cloud

Counterpoint: A Dominant Company Will Not Emerge in the Cloud

Perhaps no single organization will have the ability to create a dominant foundation in cloud computing. Instead, we'll see many types of solutions as equal peers in the market.

In a way, this runs against the grain of existing technology landscape and our history with successful innovations. Maybe that is why we love the idea of the cloud itself?

  • It's too big to own: One big reason to doubt a single dominant force in the cloud is that it feels like owning the Internet. Even Cisco with its strengths can't make such a claim. Perhaps the cloud is the perfect market, where the barriers of entry are low enough that continual evolution will occur.
  • It's a movement, not a layer: Another argument against the cloud having a dominant player is its fuzzy definition. There are many parts and pieces to it, and it's not clear today what it would mean to "win" the cloud computing market.
  • Portability will keep vendors in check: If customers demand solutions where they can move from vendor to vendor freely, it will impact the landscape. Companies with cloud solutions in the marketplace could be required by these customers to remove barriers to moving data and services between different entities. Additionally, standards and best practices may emerge that allow companies and individuals to move freely between providers. In this world, it will become a fluid market that prevents vendor lock and promotes pricing and trust as brand differentiators.

A Glimpse at Potential Futures

We've compiled a list of companies worth reviewing as candidates as possible dominant players in cloud computing. We'll be looking at their brand and the available assets that could be leveraged to achieve this position. Finally, we'll take a fresh look at what it might feel like if they succeed and shape the brave new world of cloud computing.

The list of candidates we're analyzing includes: Google, Microsoft, Apple, VMware, IBM, HP, Cisco, Amazon, Salesforce, Facebook, and our favorite, Insert new startup to our list by adding a comment below.

Please let us know what you hopes and fears are with the cloud computing marketplace. Any companies we should we add to our list (or remove)? What's your take: Is there one company today that is best positioned to win the cloud?

Photo credit: reddodo & savingfutures

Discuss




Tags: cloud  market  computing  company  dominant  

 
 

Blog to Book?
(via - Matt Cutts: Gadgets, Google, and SEO )
I read it on 02/16/10 at 12:06 AM
Posted on 02/15/10 at 11:23 PM

I recently went looking for some software to make a blog into a book. Here's what I found:

- Lulu will take PDF files for a book. Blogbooker.com will try to create a PDF from a blog. Unfortunately, my blog made BlogBooker choke (I have 991 posts from my blog) even when I excluded comments.

- Blurb.com will try to create a book from a blog, but it only supports blogs hosted on WordPress.com, not other WordPress blogs. That will help some people who want to print their blog into a book, but not everyone.

- I had the best luck with FastPencil. In order to reduce the size of your exported blog, you'll first want to go to your comments section, click on the spam link and clear out any spam comments by selecting all the spam comments and clicking Empty Spam. Then you can export your WordPress blog (from the Dashboard, click Tools, then Export) as an XML file that you can download to your computer. From there, FastPencil lets you upload the .xml file and then select which blog posts to include in the book. You can also filter by time, which I had to do. Even my blog posts (no comments) from the last year and a half still made a 350+ page book, and FastPencil choked on turning my entire blog into a book.

FastPencil did a few things well. Included images were imported, and some formatting such as bold made it into the PDF. But other formatting, such as code formatting and newlines/spacing between paragraphs didn't make it. Embedded content such as videos or polls were likewise empty. Trying to import my entire blog also didn't work. But all in all, I was impressed with FastPencil. They also have nice collaboration tools (e.g. you can designate editors, reviewers, co-authors, and project managers to help in writing/polishing the content). The site also works through your web browser instead of as a downloadable program, which appealed to me. If you're used to WordPress, FastPencil won't be too much of a change.

It's still not a point-and-click affair to make a nice looking coffee table book out of a blog, but it's getting closer. Right now, the make a book niche feels like the early days of recordable CDs. Back then, CD-R discs were expensive enough that I would spend time to make sure that I used all the free space on the CD. Eventually prices dropped so much that you didn't feel bad about burning a half-empty or not-perfectly-polished CD.

If you've tried other blog-to-book services or websites, let me know your experiences in the comments.




Tags: blog  book  comments  fastpencil  wordpress  
 
 

Will You JooJoo?
(via - The Magical Tablet )
I read it on 02/16/10 at 08:18 AM
Posted on 02/15/10 at 11:09 PM

JooJoo TabletWhile the saga between TechCrunch and Fusion Garage continues, the latter company is moving forward with the launch of the controversial web tablet, now called JooJoo. While it's not the magical tablet that inspired this blog (In African, the word joujou' means magical device.') Fusion Garage thinks they've got a winner on their hands.

For the same $499 that Apple intends to charge for an entry-level iPad with 140,000 available apps, Fusion Garage will provide you with a browser-based tablet without any capability to run and install local applications. It also lacks a 3G wireless option of any kind, relying solely on WiFi.

But what does the JooJoo have that iPad doesn't?

For starters, a 12.1 inch LCD touch screen in a widescreen aspect ration that we're more accustomed to seeing these days. And you can use all of that screen to render full HD quality video but only from your favorite video sites since the device has only 4 GB of SSD storage not nearly enough to store HD content of any real duration. It has the front-facing camera for videoconferencing that so many people feel is lacking in iPad as well as a USB port, though what one might do with that port is still unknown. As for the software, it's a Linux variant running a Webkit browser that will support both Adobe Flash 10.1 and Java.

So, do they have a winning device?

They may have had one before the iPad announcement, but not now not at that price point and limited functionality, anyway.

You can pre-order the JooJoo now which is expected to ship in 8 to 10 weeks though the site has indicated that time horizon for some time. If you're considering a JooJoo you may want to contact them for an update on a ship date, though the latest word from company executives is late Februrary.

Will you JooJoo?

[JooJoo]

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Tags: joojoo  tablet  garage  fusion  ipad  
 
 

Connecting With Fans And Giving Them A Reason To Buy Requires A Lot Of Experimenting
(via - Techdirt )
I read it on 02/15/10 at 11:10 PM
Posted on 02/15/10 at 11:09 PM

With my big post explaining the whole CwF+RtB concept in a lot more detail, complete with examples of many artists, small to big, who are using it, we've been hearing about more and more artists. It's really great, and it's often difficult to choose which ones are worth writing up. But sometimes an example comes along that really highlights a point that hasn't necessarily been driven home before, and that helps make the decision easy. ChurchHatesTucker points us to a recent blog post by singer Marian Call in which she talks about her various experiments in connecting with fans and the surprise result of giving them a reason to buy. I can't emphasize enough that the whole post is worth reading, but I'll share a few highlights.

First, she talks about how much value there is in really connecting with your fans over social networks, and that doesn't mean just putting out blast messages about what you're doing, but also reading about what they're doing -- and, at times, going beyond that, including visiting "their websites, blogs, photo albums once in a while." Obviously, you can't do this all the time or with every fan, but it certainly does help connect with many fans in a very genuine way. It's not marketing, it's about making a connection and building a real relationship.

But the bigger point that she makes is that all of this -- both sides of the CwF + RtB equation -- require an awful lot of experimenting:
About twice a week I think, "Why don't I try this crazy idea and see if it works?" about some element of my career. With no label, no manager, and no inner voice of reason slow me down, I get to experiment all I want. 90% of my crazy ideas have to do with social networking -- which I spend half a lifetime doing, despite the crap I take from my family and Real Life friends. (Hey, some of us actually do bond over web comics, starship replicas, the fail whale, and photos of stuff on cats.) Mostly my nutty ideas work just a little bit. Some are epic failures. But my experimental flopping and floundering inches me closer to the day when I'll be totally financially independent as a full-time musician. Plus it's more fun than having a real job.

But every now and then a crazy idea works really really really good. Bam!
The really good idea in this case? She was performing a live gig at Whole Wheat Radio that was to be streamed online, and in a quick & dirty way, decided to offer up a special limited edition "bootleg" CD of live tracks. She said that her Twitter and Facebook friends had been complaining that she hadn't released any new music in a while, and she's still working on her next "studio" album -- but in just two hours she was able to assemble everything she needed for the Marian Call Bootleg Album, which she decided to make available for one night only. How did it work out?
I planned to sell 20-40 of my little bootleg CD's. Silly me. I sold well over 200. My little stack of jewel cases looked so pathetic.

WholeWheatRadio.org broke every record for online listenership, CD sales, tips -- everything. The more listeners tuned in, the more tuned in, and the more money they gave, the more money they gave. The crowd online was thrilled to be breaking WWR records. I drove away from Talkeetna having earned about $4,000 in one night, with a new CD to produce in just a couple of days and an avalanche of e-mail and publicity requests to deal with. Seldom have I been so happy and so panicked.
Again, this isn't the solution for everyone. But it shows how really connecting with fans, and trying different stuff out continuously, helps. Eventually, one or more of those ideas takes off with great results. While she may not be a full-time musician yet, it certainly seems like Marian has all the right pieces in place (and, yes, that includes great music).

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Tags: fans  connecting  cd  doing  idea  
 
 
 
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