AppleInsider published an insightful article on the advantages of distraction free reading and how easy it is to put Instapaper or Pocket to good use in this regard.
This has happened to you. While you’re very busy at work or on a project, you somehow come across an interesting article on the web and you just cannot read it yet. Certainly that’s at least partly because you’re conscientious and you know you’re busy, but there’s more. If you read it now, you would hurry and this is something you want to actually enjoy. So read it later instead. Find this piece on your Mac at work and then read it later on your iPad. You could bookmark things but get Pocket or Instapaper instead.
Update (06/22/18). Instapaper replied yesterday directly to my question when their service will be available again to customers in the EU: “Sorry for the continued inconvenience. We’ll be documenting all the changes that have been made along the way and sharing them out once the service is back and that should clear things up. We wish things were progressing faster too, but I do feel pretty comfortable saying that there aren’t/won’t be any bad surprises involving your data. Other than that, there’s been steady progress, and we’re doing all we can to sore this out and make sure this is a minor blip in the grand scheme of Instapaper and our presence in Europe, and elsewhere. Thanks for bearing with us through this.”
Instead of reflecting on current music and technology trends I’d like to write about my reading and writing aka blogging workflow today. The main reason I do this is because it’s broken at the moment. More on that in a bit. In the spirit of learning out loud I want to explain why the apps of my workflow are important to me and what I do with them.
The Apple mobile and desktop browser is where I read articles initially coming from posted links on social media networks. If something catches my interest I avoid the in-app browser and call Safari to show me the article in its natural web habitat. There I quietly judge the design and marketing shenanigans like “read this in our app” and newsletter overlay before I even had the chance to see anything else etc. This gives me a feeling about the source and my experience kicks in if I deem it to be trustworthy and therefore consider to subscribe their RSS feed. Based on the level of insights and also length I forward the article in Safarai via sharing extension or browser bookmarklet to Instapaper for better reading and further processing.
The feed reader is my main source of reading input, this is where I organise RSS feeds into folders of interest and add and delete subscriptions. I read on a phone and on a laptop so I use Feedbin to keep my read and unread articles in sync across both devices. Silvio Rizzi made Reeder for both MacOS and iOS which I’ve been using for a long time. I like the user interface of Reeder a lot, it’s fast, feels sturdy and it doesn’t get in the way. As soon as my mind itches I skim the folders of feeds for new and interesting articles – which then get forwarded to Instapaper. Before Instapaper I’d mark interesting articles inside Reeder with a star. Important: no notification badge count on the Reeder app to gauge my action, the same is true for all other blogging workflow apps.
This service, the sharing extension (and the browser bookmarklet), its web interface as well as the mobile app quickly became my personal treasure trove of interesting things to read from the web which I saved there.
Its use to me is twofold: it strips an article to its core content and frees it from its design into a standard and very readable form. No ad interruption, no pagination, no bad design. Second it offers ways to process articles while you read them: you can mark sentences or paragraphs that are important to you, so you’ll find the interesting bits very quick when you come back later to it. Additionally you can comment on marked sentences or paragraphs to save your thoughts while reading. All marked and commented articles are collected in a notes folder for quick access to pick up where you left. Instapaper offers the ability to create article folders where you can move saved articles on different topics.
This kind of text processing Instapaper made possible became essential to me: to capture thoughts quickly when reading the article, come back later for the quotes in topic-organised folders.
The Apple design awarded Ulysses app is made by a company from my hometown Leipzig. I recommend this article in German about their history. At first I was looking for a mobile app focussing on writing and also the ability to post to a WordPress blog. I dismissed the WordPress app for mobile and desktop at first and tried Ulysses (they have apps for both mobile and desktop as well). The advantage is of course the local backup (or the cloud of your choice) of your written posts and drafts. The downside is the proprietary Markdown format Ulysses offers when you want to use pictures in your posts. To be able to edit this proprietary Markdown posts you need to opt-in for their subscription model. In my blogging workflow I use Ulysses for drafting posts and as a notebook for ideas when I’m on a train for instance.
This service had probably the most impact on me when it comes to quickly writing down and organising thoughts and outlines on a strategical and conceptual level. In Workflowy I organise also my to-dos for basically everything and not just blogging. I plan every project with it, do research and even use it as my personal knowledge base. Workflowy has great collaboration and content filtering features – still finding out about new use cases every month.
The mobile WordPress app by Automattic is part of my workflow because it gives me statistical insight on the go but more and more I find myself drafting posts directly there. I don’t use the “Reader” feature to follow other blogs because I have Reeder for that. Comment moderation on the go would be of use if I had the comments feature made available on posts.
My current blogging workflow
I’m getting an interesting signal from my feed reader or from social media networks, then I quickly scan it via Safari from where I potentially bookmark the article to Instapaper to read it later and process it further. From notes and comments in topic folders inside Instapaper I draft ideas for a blog post, sometimes in Ulysses, Workflowy or WordPress. When I’m done drafting I press publish in WordPress and the cycle starts again. Currently there are a small number of drafts inside WordPress which will probably rot there until I delete them because I tend to work on one idea at a time rather then on several simultaneously.
Why my blogging workflow is broken at the moment
Pinterest owned service Instapaper shut down its service for users in Europe on May 25th 2018 “to make changes in light of the General Data Protection Regulation (GDPR)”. I have access to all articles saved until May 25th in the Instapaper app but desktop browser access is prohibited:
Two important parts of my blogging workflow are out of reach:
bookmarking ‘n’ reading interesting articles later and
organising ‘n’ processing them in a meaningful way.
I sincerely hope that the service is back online soon because I really got accustomed to the ease of use, the joy of distraction-free reading and the hands-on idea processing features.
Until November 1st 2016 I was a paying premium member of Instapaper. The service was acquired by Pinterest in Sommer 2016. The new owners decided then to make the premium tier free for everyone, because they were “better resourced” and thus “able to offer everyone the best version of Instapaper”. Back then I was surprised about this decision because it seemed a decent business model to me and I was a loyal and satisfied customer – so why make it free when software development is an costly and ongoing process anyway? This statement came to mind:
If you are not paying for it, you’re not the customer; you’re the product being sold.
Schneier cited Facebook as the most heinous example of social networks cashing in on users’ openness toward sharing personal details. “Don’t make the mistake of thinking you’re Facebook’s customer, you’re not – you’re the product, its customers are the advertisers.”.
With Instapaper I never came across ads anywhere as far as I can remember. So the time when Pinterest acquired the service they decided to fully subsidise it? Could there be another way Pinterest made money from this online service? I didn’t know and I probably put my worrying thought that “I became then the product being sold” to rest simply because the service kept going on and using Instapaper became already mandatory in my reading habit. Beside that you can’t sell my reading & processing habit to anyone, can you? (This is a rhetorical question nowadays.)
So what is actually the problem for Instapaper to make their service compliant to GDPR when they claim to „not share information with outside parties except to the extent necessary to accomplish its functionality“?
At this point I really, really hope the delay to make the service compliant to GDPR is just sloppy project management and not something else, like revealing they belong to the GDPR Hall of Shame.
And if so, what would I do? Opt-out of sharing behaviour tracking inside the service and pretend they didn’t do it before? Will I trust this service like I did when I payed for it?
Lots of speculation on my end, but that is always the case when you’re a month in the dark and your workflow is broken.
Why my blogging workflow might be broken anytime again
I depend on services and tools in regards to my workflow. So which parts are crucial and which are not? List goes from “no sweat” to “please Lord, do not taketh away”:
Safari – nothing to worry about here in my book as long as sharing extensions are allowed and work. Apple is not going nowhere soon and they will always improve their browser.
WordPress – Automattic is a huge company and with WordPress they power a healthy chunk of the web, so they’ll be supporting and improving the mobile and desktop app most definitely.
Ulysses – although it’s a great company I’m not a writer to use their acclaimed software to the fullest potential. It sure does help me to write without any visual distraction but I’m not reliant on it.
Reeder – this one is a bit more critical because I really got used to the interface and I know it’s just one developer behind the mobil & desktop app and not a big company. He could stop at anytime and there is no obligation to his customers otherwise. I’d pay a yearly subscription fee to support further development though. At the end of the day and after a long mourning I’d find a new RSS feed reader app and carry on. Like using the web interface of Feedbin as an OPML/feed sync service (which I already use and there are a lot of similar services).
Workflowy – this service is not so much about blogging but thinking to me. It’s part of a creative process and blogging can be one result. The founder Jesse Patel is very committed to further development and I’m confident about it going strong for a while longer. I am a paying customer so there is at least somewhat of a binding commitment for the time being. Since it is used widely I can see a potential acquisition like it happened with Instapaper. I could look for an alternative outliner tool but I’d rather not.
Instapaper – this is originally the idea and work of Marco Ament who’s work and blog I’ve been useing and following for a long time, I respect him very much for his outspoken attitude and commitment to build things. I wished he would still run Instapaper. By now you know what I appreciate most of this service and I still can’t see myself switching to Pocket or else. This is a truly devastating comprehension: if you don’t pay for a service you also can’t complain about it when it stops working really. There is no contract going on. The users are simply depending on the mercy of the makers here. To me this is a situation comparable to July 2013 when Google Reader was shut down and there existed no alternative sync service. In other words: this is actually the worst case scenario – in action.
So I’m aware of the fragile character of my blogging workflow in regards to the services I rely on. At the moment I re-evaluate Pinboard again, I’ve used it a long time ago. This service is run by Maciej Ceglowski, a developer with a stance (read his talks). I have a feeling I could put it to good use as well.
Still hope Instapaper will be up again soon and with a clean record on privacy.
Write to me about your favorite blogging workflow if you dare, I’m interested. Email to my firstname at lastname dot de.
Owner tells revenue is up 30% in his spruced-up shop, equipped with artificial intelligence-backed apps and even a heat sensor to track foot traffic. (…) Among the central ideas is that in the future, shoppers will not view e-commerce and brick-and-mortar as distinct things, but as a single merged organism — as simply “commerce.” What Alibaba and rivals like Tencent and JD.com are doing is corralling businesses into branded, self-contained, AI-infused universes in which only their affiliates capture the profit.
In this phase of transformation Alibaba AI profits from getting a massive insight in shopping behavior. Shop owners profit from an expanding Alibaba digital ecosystem and are able to offer customers a convenient and superior shopping experience through recommendation and payment. These are the early benefits of becoming part of the Borg.
What if the next phase is about optimisation and consolidation? Will the shop owner still be part of the AI-ecosystem and what are the requirements?
Without adtech, the EU’s GDPR (General Data Protection Regulation) would never have happened. Now that the GDPR enters into force on 25th of May 2018 it will harm an industry that existed because they tracked people without their knowledge, approval or consent.
In a hearty article by Doc Searl he outlined the differences between advertising and adtech, what will be left of adtech after the GDPR Sunrise Day, how Google wants to pass the buck and he comes up with three pro tips on what to place your publishing, technology and advertising bets in the future.
What it comes down to is the need for better signaling between customers and companies than can ever be possible in today’s doomed tracking-fed guesswork system. (…) When customers can operate both privately and independently, we’ll get far better markets than today’s ethically bankrupt advertising and marketing system could ever give us.
Erin Sidney wrote a polite indictment of Apple about their self-acclaimed DNA full of music. It is a must read if you’re interested in the consequences of cultural de-contextualisation from the perspective of creators. His article from 2015 touches several pain points which are worth exploring in detail.
His final pledge to expand iTunes LP into Apples artist network Connect is comprehensible even today:
But I like to imagine a world with deep-linked album credits — not just who engineered, produced and played on the record, but going much further. Allowing the artist to thank people and bands for their help, to call out charities that they find meaningful, and for the user to experience all of it beautifully.
These “living liner notes” could be supplemented by a time capsule of the period spent working on the album you’re listening to as documented by the artist themselves on Connect!
I can imagine artists adding information as it becomes relevant later.
You could build a whole user experience around liner notes deeply integrated into Apple Music and spur a whole new level of self-motivated music discovery. Human discovery by humans about humans.
A whole new generation of kids like us, opening up records, scouring them for details, seeking out connections only they could make, building a world that inspires them and all of us.
Apple has confirmed that as of March 2018 new iTunes LP submissions will no longer be accepted. If that means Apple will revamp context information for a mobile world or they finally gave up to care is up for speculation to this date.
Lest you think they couldn’t do this, please remember, Apple is the company that decided working with Google wasn’t in line with their core philosophy and so built a team to map the entire planet. They MAPPED THE FUCKING PLANET when they woke up one morning and decided to.
So there’s no way they can’t tackle this. But they need to want to.
I have no idea what’s stopping them or whether they plan to address this in a future update of Apple Music.
Do they need to want though? That is my main concern: if Apple had visionary leadership they knew why and how to address this lack of commitment for responsible music discovery – for the benefit of creators and listeners equally.
I think the chances of a return to the meaning of “music in our DNA” as a fruitful connection between humans are slim to none as the importance of integration of algorithm experts inside Apple grows and grows.
Mr. Schusser takes over as Apple Music is poised to surpass music-streaming rival Spotify Technology SA in the U.S. in paid subscribers. The music unit has become a key piece of Apple’s strategy to boost its services revenue to more than $40 billion by 2020, a critical part of the company’s future as people hold on to iPhones longer and device sales slow, analysts say.
The upcoming european General Data Protection Regulation (GDPR) from an american perspective:
There has never been a more consumer- and person-friendly data privacy law than GDPR. We can all hope for a ripple effect where adhering to GDPR’s rules becomes the easiest solution for companies worldwide; unfortunately, that’s not likely for giants like Facebook and Google. But it is a huge step forward for Europeans, and a model of what a good personal data protection law looks like.
This thrilling article on MBW reviewed Spotify’s Investor Day in March 2018. It became apparent that in demonizing labels as gatekeepers, Daniel Ek tries to camouflage his goal to become the last gatekeeper standing in the music business. Read what he said and compare to what it means:
The article says that Daniel Ek “doesn’t believe in gatekeepers – before laying down a thrilling, scene-stealing proclamation: ‘Our mission is to enable one million artists to live off their work.'” On the other hand Ek noted “that over 30% of consumption on Spotify is now a direct result of recommendations made by the platform’s own algorithms and curation teams – something he said ‘puts Spotify in control of the demand curve’.”
As Spotify excels at artist discovery for users, Daniel Ek feels “the need to nurture great talent is larger than ever before” as a platform. He continues to explain how this could be achieved: “We believe that great music and artists in the future will come from specialised talent incubators like the labels of the past – [which] brings opportunities for the next Berry Gordy, Rick Rubin or Ahmet Ertegun.” Yet it was also clear that Ek believes labels are gradually being forced to relinquish their ‘gatekeeper’ responsibilities.
I’ll come back to how Ek likes to see nurturing great talent when he speaks of “specialised talent incubators”.
Ek’s vision of a profitable business model
It is important to note, that his current business model differs a lot from his vision: “On Spotify, there will be more creators – and the number of creators that matter will also increase.”
To make the growing “material success of the top tier creators” happen – like Daniel Ek is telling his investors – at the same time as finally becoming profitbale, he has to pave a way for cutting costs.
Ben Thompson explained that for Spotify to become profitable it has to lower their marginal costs significantly and one way to achieve that would be to get rid of the labels.
Spotify could one day cut out the labels altogether — the idea certainly makes sense on a conceptual level. Spotify is in one sense an aggregator, in that it increasingly controls access to music listeners, and to the company’s credit, it has demonstrated the ability to exercise power via its control of music discovery and popular playlists.
The cited MBW article is ironically accompanied by banner ads for AWAL (artists without a label) that wants to allure independent artists. This is one of the “specialised talent incubators” Ek is talking about. “For too long, artists have had to go through the traditional gatekeepers to make a living from music. But now, a revolution for independence has begun. Join the movement.” So they say. But there is more: “We don’t accept everyone, so here’s what we look for in an AWAL member.” The digital distribution service elaborates in 5 paragraphs (this is no joke):
1. Strong Creative Quality
“Our seasoned A&R team searches for originality and the potential in an applicant’s music.”
2. Positive Engagements from Fans
“The ideal AWAL candidate should already have somewhat of an engaged fan base.”
3. Positive Engagement from the Media
“Our A&R team looks to evaluate candidates based on their reception in the media. Are you able to capture the attention of press and music blogs?”
4. Other Members on the Team
“Manager, Live Agent, PR/Publicist, Radio or club promotions company, Music Publisher, Lawyer. It’s not required for artists to have all these relationships to get accepted. However, in some instances we use the existence of these partnerships to gauge the potential an artist has to take their career to the highest point possible.”
5. Commitment to Your Brand
“We look to align ourselves with artists who are imbued with a certain level of professionalism. We specifically look for clear evidence of a well thought out marketing plan.”
This sounds awefully like AWAL wants to be a label without any chore or responsibility. When music labels are investors of artists they believe in, then “specialised talent incubators” like AWAL are merely selectors of already well known artists. A service like AWAL does not invest much in artists, so they can afford a lesser share from streaming platforms like Spotify, thus helping Spotify to lower their marginal costs. AWAL is not in any way a part of any music culture. Culture – a term that is not to be found in a meaningful way or simply as a word on their website.
It is not exactly groundbreaking analysis to note that Spotify has significant marginal costs — specifically, the royalties it pays the music industry (not just record labels but also songwriters and publishers). Spotify’s margins are completely at the mercy of the record labels, and even after the rate change, the company is not just unprofitable, its losses are growing.
The culture clash
Spotify’s freemium strategy completely changed the way of how people expect to be granted access to music: Everything got to be free at first and just to avoid inconvenient experiences like ads between songs people eventually change their behaviour to a paid flat rate account.
With artificial intelligence powered desire fulfilment Spotify raised the bar of the user experience even further: their playlist game seems to go very well with peoples’ needs as users continiously feed the machine what songs they like and when they skip. Spotify is about to become the ultimative gatekeeper of everyone’s listening demand for music.
At the same time Spotify succesfully de-contextualised the traditional way artists and labels previously connected to their fans: Formats like EPs and albums are losing their importance in favor to tactical placed playlists on the platform.
Now Spotify and the non-label “talent incubators” are outsourcing significant economic and cultural investment back to artists and even have the audacity to claim of “nurturing artists” – simply to make their own business work.
This neoliberal approach has serious consequences though. To become profitable Spotify requires an infrastructure of digital artist gatekeepers like AWAL just because they demand a lower cut from Spotify. These services however rely on artists who already became well known, are already well received by the media, are proven self marketers and ideally have a team of professionals in different trades to their support.
Who will these artists be? Who can afford to have a “team” of professionals around them to have the slightest chance of making it as a “top tier” earner on Spotify or elsewhere? What kind of music will pass through these gatekeepers? Will anyone make music that is new and innovative when gatekeepers looking for the popular formula?
Spotify and digital gatekeepers are basically supporting irresponsible artist self-exploitation to reach the acceptance level of being meaningful distributed at all. Or they are systematically nurturing rich kids’ music, simply because they have the headstart and can afford it.