Slashdot Mirror

It's "an epic sci-fi adventure about the human race's journey into a theoretical technological Singularity." Or is it an "entertainment industry boondoggle...part DRM snake oil marketing, part pseudo-Bitcoin scam and part sincere Singularitarian weirdness?" Long-term Slashdot reader David Gerard writes: SingularDTV is an exciting new blockchain-based entertainment industry startup. Their plan is to adapt the DRM that made $121.54 for Imogen Heap, make their own completely pre-mined altcoin and use that to somehow sell two million views of a sci-fi TV show about the Singularity. Using CODE, which is explicitly modeled on The DAO ... which spectacularly imploded days after its launch. There's a white paper [PDF], but here's an analysis of why these schemes are a terrible idea for musicians.
'Singular' will be a one-hour adventure/drama "that explores the impact technology will have on the future of our planet and how it will shape the evolution of our human race," set in the years 2021 to 2045, "as an unprecedented technological revolution sweeps over the world..."

It's "an epic sci-fi adventure about the human race's journey into a theoretical technological Singularity." Or is it an "entertainment industry boondoggle...part DRM snake oil marketing, part pseudo-Bitcoin scam and part sincere Singularitarian weirdness?" Long-term Slashdot reader David Gerard writes: SingularDTV is an exciting new blockchain-based entertainment industry startup. Their plan is to adapt the DRM that made $121.54 for Imogen Heap, make their own completely pre-mined altcoin and use that to somehow sell two million views of a sci-fi TV show about the Singularity. Using CODE, which is explicitly modeled on The DAO ... which spectacularly imploded days after its launch. There's a white paper [PDF], but here's an analysis of why these schemes are a terrible idea for musicians.
'Singular' will be a one-hour adventure/drama "that explores the impact technology will have on the future of our planet and how it will shape the evolution of our human race," set in the years 2021 to 2045, "as an unprecedented technological revolution sweeps over the world..."

David Gerard writes "Here in the future, musicians and record companies complain they can't make a living any more. The problem isn't piracy — it's competition. There is too much music and too many musicians, and the amateurs are often good enough for the public. This is healthy for culture, not so much for aesthetics, and terrible for musicians. There are bands who would have trouble playing a police siren in tune, who download a cracked copy of Cubase — you know how much musicians pirate their software, VSTs and sample packs, right? — and tap in every note. There are people like me who do this. A two-hundred-quid laptop with LMMS and I suddenly have better studio equipment than I could have hired for $100/hour thirty years ago. You can do better with a proper engineer in a proper studio, but you don’t have to. And whenever quality competes with convenience, convenience wins every time. You can protest that your music is a finely-prepared steak cooked by sheer genius, and be quite correct in this, and you have trouble paying for your kitchen, your restaurant, your cow."

David Gerard points us to a story by Kim Komando, the CyberSpeak columnist for USA Today. Kim wants to alert parents to the growing menace of digital drugs. This imaginary terror uses binaural beats to simulate the effects of marijuana and heroin, and — some claim — to help develop telepathy and psychokinesis. Not to perpetuate a story that is clearly scare mongering, Kim is nice enough to add that, "many are skeptical about the effects of digital drugs. Few scientific studies have been conducted on binaural beats." I want a copy of mutant powers on tape and a whistle that will make women drunk when I blow it.