“unicorn” companies — startups that reach a $1 billion valuation before their IPO. IPOs: Initial Public Offerings
Evernote, the first dead unicorn
But unicorns are no longer so rare, and failure is part of a healthy economy’s means of turning over into new ideas and new leadership. With tech in the midst of a wide-ranging boom, there are other, more financially-stable and innovative companies hungry to hire away talent into positions better suited to the employees and the economy as a whole.
Aside from anecdotal stories like the Zirtual mess, unicorns don’t simply vanish over the weekend like Bear Sterns. Unicorns die a slow death as their core products lose relevance, new product initiatives fail, user growth slips away, costs mount, and key employees and talent drain from the system.
After a multi-year period of what can only be described radio silence from Evernote, the company made a change at CEO in late July of this year. Phil Libin, a member of the founding team who had repeatedly talked about building Evernote into a ‘100 year company,’ was departing and handing the role over to Google Glass executive Chris O’Neill.
Aside from Evernote’s success in China, the Evernote of 2012 sounds little like that of 2015. The short-term market conditions that Evernote of 2012 worried about failed to materialize
Evernote competes with Dropbox, Box, iCloud, and Google Drive in cloud storage, Instapaper and Spool in web clipping, and Photoshop and Gimp in image editing as Evernote acquired image annotator Skitch last year. The wealth of established competitors indicate a challenge for Evernote, but also a clear need for its products. Libin tells me he doesn’t see competitors as Evernote’s biggest threat, though.
Most business customers are using other products already that more than adequately address the need of a note taking application. Many customers have long converted to Google Apps, which bundles document sharing (and spreadsheets, and ‘power point’) into a larger, more valuable suite of products centered around Gmail. Microsoft’s OneNote is available for free, and its collaboration tools are available already for organizations running Microsoft’s Office 365.
The most interesting shift away from an Evernote-like model is Slack, which has seen its own meteoric growth into the unicorn club. Slack’s power is not just as a messaging platform; it’s a real, live, categorized and searchable history of business happenings sorted by channel.
Welcome to the Fall 2015 four-week series on Photoshop
where: Miller Center 205. Second floor on the East side (computer lab). Here is a virtual reality map:
when: Today, Sept 3, Sept 10, Sept 17 and Sept 24. 11AM
who: anyone who would like to discuss and hands-on image processing techniques
BRING YOUR OWN PICTURES and have fun with us
> The post 29.126 has been niggling at me for days. I originally want to
> reply with a simple observation that the appeal to storytelling is
> cast in such a way to avoid the complications of narration’s relation
> to narrative (the telling and the told; shown and said). But it was
> the theme of “borrowing” from one domain by another that leads me to
> recall a counter-narrative where there is no need to borrow between
> domains since the military-industrial-entertainment complex is one entity.
> I contend that fundamental to human interaction is narration:
> attentiveness to how stories are related. Stories are for sorting and
> storing. *Sometimes this soothes paranoia induced by too much
> A while ago (1996), I explored recursivity and narrativity. My
> starting point was the ability to ask questions (and learn from one’s
> bodily reactions). The musings may or may not have military relevance.
> Judge for
> Pedagogical situations are sensory. They are also interpersonal.
> Because they are sensory this makes even learning by oneself interpersonal.
> Egocentric speech is like a dialogue between the senses. In
> Vygotsky’s and Luria’s experiments, children placed in problem-solving
> situations that were slightly too difficult for them displayed egocentric speech.
> One could consider these as self-induced metadiscursive moments. The
> self in crisis will disassociate and one’s questionning becomes the
> object of a question.
> Not only is the human self as a metabeing both fracturable and
> affiliable in itself, it is also prone to narrativity. That is, the
> human self will project its self-making onto the world in order to
> generate stories from sequences and to break stories into recombinant
> sequences. Its operations on signs are material practices with consequences for world-making.
> The fracturable affiliable self calls for reproductive models suitable
> to the interactions of multi-sensate beings, models that render dyads
> dialectical, questionable, answerable. Narrativity understood
> dialectically does not merely mean making sequences or strings of
> events into stories but also stories into things, strung together for
> more stories. From such an understanding, emerge non-dyadic
> narratives of reproduction, narratives where a thing-born transforms
> itself into an event, comes to understand itself as a process.
> Funny to consider that those remarks were based in a consideration of
> language and feedback mechanisms. Make me think that the storytelling
> as “potent form of emotional cueing” may be directed to undesired
> responses such as greater self-reflexivity. And depending on how they
> are parsed, Hollywood films can contribute to undesired responses
> including escape. 🙂
> Francois Lachance, Scholar-at-large
> to think is often to sort, to store and to shuffle: humble, embodied
> On Mon, 29 Jun 2015, Humanist Discussion Group wrote:
>> Sharon Ghamari-Tabrizi, in “The Convergence of the Pentagon and
>> Hollywood” (Memory Bytes: History, Technology, and Digital Culture, ed.
>> Rabinovitz and Geil, 2004), describes in some detail the adoption by
>> the U.S. military of the entertainment industry’s storytelling
>> techniques implemented by means of simulation. This chapter follows
>> on from her excellent “Simulating the Unthinkable: Gaming Future War
>> in the 1950s and 1960s”, Social Studies of Science 30.2 (2000). In
>> the 2004 piece she describes a U.S. National Research Council
>> workshop in October 1996 at which representatives from film, video
>> game, entertainment and theme-parks came together with those from the
>> Department of Defense, academia and the defense industries. There is
>> much about this convergence that we might productively take an
>> interest in. Let me, however, highlight storytelling in particular.
>> In a military context, Ghamari-Tabrizi points out, skilled
>> storytelling techniques are used to help participants in a VR
>> environment sense that they are in a real environment and behave
>> accordingly. Storytelling functions as a potent form of emotional
>> cueing that would seem to elicit the desired responses. But
>> especially interesting, I think, is the fact that “many conference
>> participants argued that the preferred mode of experiential immersion
>> in electronic media is not the unframed chaos of hypertext, but
>> old-fashioned storytelling.” She quotes Alex Seiden of Industrial
>> Light and Magic (note the date — 1996): “I’ve never seen a CD-ROM
>> that moved me the way a powerful film has. I’ve never visited a Web
>> page with great emotional impact. I contend that linear narrative is
>> the fundamental art form of humankind: the novel, the play, the film… these are the forms that define our cultural experience.”
>> Willard McCarty (http://www.mccarty.org.uk/), Professor, Department of
>> Digital Humanities, King’s College London, and Digital Humanities
>> Research Group, University of Western Sydney
Turning Technophobia through Digital Storytelling
5 Essential Insights About Mobile Learning
1. Set goals and expectations for teaching and learning with mobile devices before worrying about the device itself.
St. Vrain Valley School District in Colorado,
Mooresville Graded School District
Consolidated High School District 230
2. Develop a strong community of support for the initiative early and keep up transparent communication with parents and community members throughout the process.
Forsyth County Schools in Georgia.
3. Think about equity, but don’t let it stop forward motion.
includes both urban and rural areas,
4. Evaluate the effectiveness of a mobile learning initiative based on the goals set at the beginning of the rollout.
5. Some of the biggest lessons learned include giving up control and trusting students.
included students in the discussions
While these mobile learning pioneers have seen some of the pitfalls and can help districts new to the game avoid the same stumbles, this space is changing quickly and every community’s needs will be different.
“It’s no longer just something you implement; it’s evolving and it’s unique in each location,” Bjerede said. “If you try to be cookie cutter about it you won’t meet the needs of every kid in every classroom.”
The technology will change, students will surprise their teachers and the best advice to district leaders is to stay open to all the possibilities and allow students to take control of the tremendous learning opportunity that having a device at all times could offer them.
My note: Kathrina Schwartz offers an opinion, which reflects the second wave (withdrawl) in the 3 steps of innovation
The Struggles and Realities of Student-Driven Learning and BYOD
A 2013 Pew study revealed that only 35 percent of teachers at the lowest income schools allow their students to look up information on their mobile devices, as compared to 52 percent of teachers at wealthier schools.
Many advocates of using mobile technologies say the often cited issues of student distraction are just excuses not to try something new.
“The way you discourage it is engage them in the activity so they don’t even think of sending a text. You’ve got to jump in and play their game or you’re going to lose them.”
Angela Crawford has heard all the arguments of BYOD evangelists, but doesn’t see how they match the reality of her classroom. “BYOD is very problematic in many schools, mine included, because we have a prominent engagement problem,” Crawford said.
Tactics to improve engagement like making work relevant to her students’ lives or letting them use their phones in class to look up information, haven’t worked for Crawford, although she’s tried.
When she first started, Crawford was enthusiastic about jumping into collaborative, project-based learning. “I thought my colleagues were monsters because of how they were teaching,” she said of a school where she previously worked and where teachers lectured all the time. She tried to teach students through projects, but found it was a disaster. To her students’ parents, her efforts to make the classroom “student-centered” looked like she wasn’t teaching. “There is a different perception of what a teacher should be in different cultures,” Crawford said. “And in the African-American community in the South the teacher is supposed to do direct instruction.”
“What works best for each student is really the heart of student-centered learning,” Crawford said. “Sometimes what the student needs best is direct instruction. They need that authoritative, in-control figure who is directing their learning and will get them where they need to go.” Many of Crawford’s students come from homes run by single mothers who rule with an iron hand. She tries to replicate that attitude and presence. “They respond to that; they like it,” Crawford said. “It’s comforting to them.”
Still, Crawford will not be experimenting with a bring-your-own-device program. “My problem with education innovation is we tend to want to take a new technology or a new idea and go forth with it as if it’s the silver bullet,” Crawford said. “What happens is that teachers who teach in my type of environment realize this would be a disaster in my classroom.”
Crawford is skeptical that kids in higher income areas aren’t misusing technology too. Her children attend school in a more affluent district and they tell her that kids are constantly messing around on their devices. They just switch screens when a teacher comes by. They get away with it because their teachers trust them to do their work.
“I think kids in middle class or upper middle class schools are equally distracted as low-income students,” said Bob Lenz, director of innovation at Envision Schools, a small charter network that’s part of the deeper learning movement. “It’s just that because of the privilege of their background the content and the skills that they need to gain in school — they’re coming with a lot of those skills already– so it’s not as urgently needed.”
Father of the internet: ‘If we don’t move now, we risk losing all the data we’ve created in the 21st century’
Last year, it took a group of hackers to decode some old tape decks from a lunar orbiter mission run in the 1960s — as Wired points out, “the drives had to be rebuilt and in some cases completely re-engineered using instruction manuals or the advice of people who used to service them, and “the data they recovered then had to be demodulated and digitized, which added more layers of technical difficulties.”
take an X-ray picture of everything that is in place — not just the picture bits, but the operating system bits and the application bits and the underlying machine description bits — and we take this X-ray image and we package it all up and hang onto that, put it wherever we need to, maybe multiple copies, hoping one of them will last maybe a period of time. So this snapshot idea is quite clever and it captures everything you need to know to reproduce the environment to interpret the picture. And that object, this digital object, is something that could be transported around [from one cloud to another cloud or another machine].
by Kevin Smith, M.L.S., J.D., Lisa A. Macklin, J.D.,M.L.S., Anne Gilliland, JD, MLS
thread Wk 1 – T2: Copyright: Shortened or Lengthened? – PART 1
Follow the money” was mentioned as a way to understand the concept of copyright and copyright law
Copyright lengths should be shortened. Term lengths like these rarely benefit actual people. They benefit corporations, be it publishers or things like Disney.
Karen Lightner: I can see the usefulness of bringing the US into line with the Berne Convention, so that we are in line with other nations’ laws. But the additional 20 years we have added for individuals and the incredibly long period for corporations goes against, I believe, what the founding fathers intended when they specified for a limited time.
Edwin A Quist: There are collections of so-called production music issued with licenses to be used for educational videos. We have at least two sets of these in our music library (in various styles: rock ,classical, world, electronic, etc.) — but don’t expect great art! Also WikiMedia Commons has some CC licensed music.
Brad Whitehead: I have no quarrel with protecting corporate trademarks — Disney characters or Nike swooshes, etc. — but maintaining monopolies on creative works for such extended periods primarily enriches publishers with no benefit to the creators.
Nicholas Theo: There are definitely works created where it can be next to impossible to find the owner, or their descendant 20 years after the creation of the work. I have also witnessed when you do track these people down that they want an exorbitant sum of money for permission to use their creation even when there has been absolutely no interest in it. In the end no deal is made. On the other hand I work with two small non profit organizations whose body of work is of value. The material is actively used, and the body of work is a core asset for the organization. What happens to each organization once the copyrights expire? One organization faces this reality in 2015. The Internet permits an environment where decades of work may be used, and in some instances in ways the original material was never intended to be used. For instance, written passages can be misquoted and there will no longer be a legal mechanism to halt this practice.
Karen Case: I would be curious to know if the Youtube video with Mozart would have been removed if the link was made private.
Susan Martel: I think about The Hobbit which was published in 1937. The author, Tolkien, died in 1973, and I remember his books being popular in the seventies and the eighties. It was fairly recently that movies were made based on his books. It seems fair (and I hope that it is the case) that he left a great legacy behind to his family so that they could continue to receive income from his work. If Tolkien’s works were in the public domain by the time the movies were made, it is just an easy way for those working in the movie industry to become even wealthier without having to pay anything to the author or his beneficiaries. Not all works have the kind of potential that Tolkien’s did, but without a crystal ball to predict the future it may be difficult to predict accurately what works will have continued success for generations and which will just be a flash in the pan.
Charles N. Norton: There is something called “Good Faith” effort that many archives hold to that tends to be the “standard” when trying to use copyrighted material for educational use, but it really only applies when you know who the copyright holder is and for whatever reason they simply do not respond to your requests. It does not remove the authors rights and, in fact, many times one does end up having to remove shared material after the fact because the copyright holders finally does get around to denying permission.
Lesli Moore: I’m glad to see some discussion about Open Access to works. Perhaps instead of shortening the term, creators can circumvent the terms by offering open access using Creative Commons.
Jef Gielen: There are pros and cons. Do we find it reasonable that heirs take benefit from a work they did not contribute to at all ? To me, this is not evident. On the other hand, the copyright can be in hand of foundations trying to continue the work of an author – e.g. by means of scholarships. That’s another story ..
Here is a complete list of all the suggested readings for the Copyright for Educations and Librarians Course. Click here for a downloadable PDF version of the Suggested Readings that contains the full URL links.
- The Copyright Law of the United States, Title 17 of the U.S. Code. Please scan the section headings to gain a general idea of the structure of the law.
- United States Copyright Office website, at http://copyright.gov/. Please read circular #1, “ Copyright Basics.”
- James Boyle, The Public Domain: Enclosing the Commons of the Mind (New Haven: Yale University Press, 2008. PDF book version. Please read Chapter One, “Why Intellectual Property?”
- Peter Hirtle, Emily Hudson & Andrew Kenyon, Copyright & Cultural Institutions: Guidelines for Digitization (Cornell University Library, 2009). Please read chapters 1 & 2.
- Kevin Smith & Lisa Macklin, Handout on “A Framework for Analyzing any Copyright Problem.”
- The Copyright Law of the United States, Title 17 of the U.S. Code. Please read sections 101 through 106 and section 109.
- United States Copyright Office website, at http://copyright.gov/. Please read circulars 9 (“Work Made for Hire under the 1976 Copyright Act“) and 21 (“Reproductions of Copyrighted Works by Educators and Librarian”).
- Peter Hirtle, “Copyright and the Public Domain in the United States,” online chart.
- Peter Hirtle, Emily Hudson & Andrew Kenyon, Copyright & Cultural Institutions: Guidelines for Digitization (Cornell University Library, 2009). Please read chapters 3 & 4.
- “Copyright Law & Public Domain,” a series of short essays from NOLO, Law for All, at.
- The Copyright Law of the United States, Title 17 of the U.S. Code. Available at http://www.copyright.gov/title17/. Please read sections 108 and 110.
- Peter Hirtle, Emily Hudson & Andrew Kenyon, Copyright & Cultural Institutions: Guidelines for Digitization (Cornell University Library, 2009). Please read chapter 6.
- Peggy Hoon, “The Original TEACH Act Toolkit.”
- Creative Commons website at . Please read the “Choose a license” page and “About the Licenses“.
- Copyright and Fair Use, Stanford University Libraries, “The Basics of Getting Permission” athttp://fairuse.stanford.edu/overview/introduction/getting-permission/.
- “Permissions,” Copyright Advisory Office, Columbia University Libraries.
- David R. Hansen, Copyright Reform Principles for Libraries, Archives, and Other Memory Institutions, 29 Berkeley Tech. L.J. (forthcoming 2014).
OPTIONAL – Resources on music copyright:
Sources for examples:
For the history behind the controversy over “The Lion Sleeps Tonight,” listen to these three YouTube videos: