Chris Anderson and Michael Wolff’s August 2010 piece in Wired Magazine called, “The Web is Dead. Long Live the Internet” caused a bit of controversy. The authors argued that the Web is losing supremacy, and stated that our online world will be cordoned off into closed worlds via Apps (for example) over the Internet. In other words, traditional, pre-Internet business models will reign supreme again.
Two decades after its birth, the World Wide Web is in decline, as simpler, sleeker services — think apps — are less about the searching and more about the getting. Chris Anderson explains how this new paradigm reflects the inevitable course of capitalism. And Michael Wolff explains why the new breed of media titan is forsaking the Web for more promising (and profitable) pastures.
They even created this nifty image below, showing the rise and fall of the Web.
Then there are the continuing arguments over net neutrality. In short, “net neutrality” refers to whether or not the FCC has the right to regulate traffic over the Internet, and whether or not companies can charge more for or block some types of traffic. For example, Comcast wants to charge more for Netflix’s movie streaming service, which sucks up bandwidth on Internet providers’ networks. Read more…
On the web site ICPSR writes this about these guidelines:
Many federal funding agencies, including NIH and most recently NSF, are requiring that grant applications contain data management plans for projects involving data collection. To support researchers in meeting this requirement, ICPSR is providing guidance on creating such plans.
The guidelines include:
A List of Federal Agency Policies on Data Management and Sharing
Elements of a Data Management Plan
Data Management Plan Resources and Examples
Other Data Management Plan Examples
Depositing Data with ICPSR for Long-term Data Management
List of Links Related to Data Management and Data Sharing
The guidelines contain a lot of really great information on how to effectively manage data; the information in the ICPSR guidelines is not just relevant to Social Science data managers, but to all data managers.
What is behavioral targeting? Is it a violation of your privacy for businesses to track your movements online via cookies? What are cookies, anyway? Are cookies helpful, or do they provide too much information? Should you worry about how much digital exhaust you trail?
I thought this video was a nice reminder for us old hands, and a great introduction for newbies, on how cookies work. For myself, I think I am resigned to a certain amount of “cyber stalking” by advertisers and businesses, even though I don’t like it. I do clean out my browser cookies a few times a month, although I’m not sure how much that actually helps me keep any real privacy online regarding my digital exhaust.
To learn how to control your privacy settings, the Wall Street Journal offers some tips and suggestions as part of series called, “What They Know“.
Jenn Riley, who is currently the Metadata Librarian with the Indiana University Digital Library Program, sent out a post to the DC-General mailing list yesterday, announcing the release of the wonderful visualization of the metadata universe. I will let her words speak for her; I have included the text of her email below. This resource is simply amazing; it includes both a visualization of the 105 standards of the cultural heritage metadata universe and a glossary that defines each standard that appears in the visualization.
The sheer number of metadata standards in the cultural heritage sector is overwhelming, and their inter-relationships further complicate the situation. A new resource, Seeing Standards: A Visualization of the Metadata Universe, , is intended to assist planners with the selection and implementation of metadata standards. Seeing Standards is in two parts: (1) a poster-sized visualization plotting standards based on their applicability in a variety of contexts, and (2) a glossary of metadata standards in either poster or pamphlet form.
Each of the 105 standards listed is evaluated on its strength of application to defined categories in each of four axes: community, domain, function, and purpose. Standards more strongly allied with a category are displayed towards the center of each hemisphere, and those still applicable but less strongly allied are displayed along the edges. The strength of a standard in a given category is determined by a mixture of its adoption in that category, its design intent, and its overall appropriateness for use in that category.
The standards represented are among those most heavily used or publicized in the cultural heritage community, though certainly not all standards that might be relevant are included. A small set of the metadata standards plotted on the main visualization also appear as highlights above the graphic. These represent the most commonly known or discussed standards for cultural heritage metadata.
Work preparing Seeing Standards was supported by a professional development grant from the Indiana University Libraries. Content was developed by Jenn Riley, Metadata Librarian in the Indiana University Digital Library Program. Design work was performed by Devin Becker of the Indiana University School of Library and Information Science, and soon to be Digital Initiatives & Scholarly Communications Librarian at the University of Idaho.
I hope this resource proves to be helpful to those working with metadata standards in libraries, archives, museums, and other cultural heritage institutions.
I bow to the entire team for an amazing job pulling this together!
“The Public Domain Manifesto” has been released by COMMUNIA, the European Thematic Network on the digital public domain. If you would like to show your support for this cause, after you have read “The Public Domain Manifesto”, you may sign it. You may choose whether or not you would like your signature displayed online. Below, I have copied The Preamble verbatim. The full text of “The Public Domain Manifesto” is available at publicdomainmanifesto.org.
“Le livre, comme livre, appartient à l’auteur, mais comme pensée, il appartient—le mot n’est pas trop vaste—au genre humain. Toutes les intelligences y ont droit. Si l’un des deux droits, le droit de l’écrivain et le droit de l’esprit humain, devait être sacrifié, ce serait, certes, le droit de l’écrivain, car l’intérêt public est notre préoccupation unique, et tous, je le déclare, doivent passer avant nous.” (Victor Hugo, Discours d’ouverture du Congrès littéraire international de 1878, 1878)
“Our markets, our democracy, our science, our traditions of free speech, and our art all depend more heavily on a Public Domain of freely available material than they do on the informational material that is covered by property rights. The Public Domain is not some gummy residue left behind when all the good stuff has been covered by property law. The Public Domain is the place we quarry the building blocks of our culture. It is, in fact, the majority of our culture.” (James Boyle, The Public Domain, p.40f, 2008)
The public domain, as we understand it, is the wealth of information that is free from the barriers to access or reuse usually associated with copyright protection, either because it is free from any copyright protection or because the right holders have decided to remove these barriers. It is the basis of our self-understanding as expressed by our shared knowledge and culture. It is the raw material from which new knowledge is derived and new cultural works are created. The Public Domain acts as a protective mechanism that ensures that this raw material is available at its cost of reproduction – close to zero – and that all members of society can build upon it. Having a healthy and thriving Public Domain is essential to the social and economic well-being of our societies. The Public Domain plays a capital role in the fields of education, science, cultural heritage and public sector information. A healthy and thriving Public Domain is one of the prerequisites for ensuring that the principles of Article 27 (1) of the Universal Declaration of Human Rights (‘Everyone has the right freely to participate in the cultural life of the community, to enjoy the arts and to share in scientific advancement and its benefits.’) can be enjoyed by everyone around the world.
The digital networked information society has brought the issue of the Public Domain to the foreground of copyright discussions. In order to preserve and strengthen the Public Domain we need a robust and up-to-date understanding of the nature and role of this essential resource. This Public Domain Manifesto defines the Public Domain and outlines the necessary principles and guidelines for a healthy Public Domain at the beginning of the 21st century. The Public Domain is considered here in its relation to copyright law, to the exclusion of other intellectual property rights (like patents and trademarks), and where copyright law is to be understood in its broadest sense to include economic and moral rights under copyright and related rights (inclusive of neighboring rights and database rights). In the remainder of this document copyright is therefore used as a catch-all term for these rights. Moreover, the term ‘works’ includes all subject-matter protected by copyright so defined, thus including databases, performances and recordings. Likewise, the term ‘authors’ includes photographers, producers, broadcasters, painters and performers.
So, you may ask, what does this have to do with managing your data? It is about whether or not you have access to the works of others, and whether or not they have access to your work. It is about managing how and who uses and does not use your data/information/product, as well as when, and for how long. Ideally, maintaining a “Public Domain” contributes to the cultural output of a society because the producers receive some copyright protection, but their creative output is not copyrighted in perpetuity. This opens the products of their mind to continued use and reuse by later generations.
Over time, this report has proven to be one of my favorites. The authors miraculously kept it at 70 pages, but managed to cover a lot of information within those few pages. I also tip my hat to them for battling the politics between and within L.A. movie studios, so that they could output a usable document with a set of recommendations that can be adopted across and outside of the movie industry. Read more…
The British Government has released data sets to the public for use in either the public or private sectors at data.gov.uk.
Previously, the governments of the United States, Australia, and New Zealand had created data sites for use by the public, including commercial use. The primary idea behind the release of these data sets is that publicly funded data ought to be made available to the public for free for re-use. The site creators hope that individuals and businesses will use the data creatively to add economic value and generate new services. Sir Tim Berners-Lee and Professor Nigel Shadbolt led the project in the UK.
The Guardian has posted a video interview with Berners-Lee and Shadbolt. Shadbolt gave an example of one re-use of this data by the public: an online route-planning tool that helps cyclists avoid areas where cyclists have the most accidents. Both project leaders discuss how the project developed, why they wanted to put government data online, why the data was released for free, and their hopes for data re-use.
I look forward to following this project, seeing what data is added, and what re-uses of the data are made. I have not attempted to use any of the data sets, so I cannot report on any success or problems I have had with using them. If you have used or do use any of these data sets or applications, please let me know.