Aug 24
Other voices on the Apple earnings
Posted by admin in Uncategorized on 08 24th, 2010| | No Comments »

Apple has transformed itself from a computing company to a personal digital devices company, seemingly overnight. In this quarter, a front-rank mobile phone company clearly emerged. The GAAP numbers show it. The non-GAAP numbers show it even more.
–Tom Steinert-Threlkeld, Between the Lines

No one actually believes Apple’s “guidance.” For years, it’s been shown to lowball the actual number so it can surprise Wall Street, a maneuver that no longer surprises anyone. This has reduced Apple’s quarterly earnings call to an exercise in which its chief financial officer pretends he’s not lying, and bank analysts pretend they believe him. No wonder Apple CEO Steve Jobs avoids the charade altogether.
–Owen Thomas, Valleywag

Wired.com cited analysts who said Apple is particularly vulnerable to a recession because its computers generally come with pretty high price tags, writing:

When Steve Jobs got on the phone to answer Wall Street’s questions Tuesday afternoon during Apple’s earnings call, it was a signal that Apple knows investors are scared. The last time I recall the Apple CEO doing that was eight years ago, when Apple missed its numbers in one of the first signs that the dot-com bust would hammer Silicon Valley.
–Jon Fortt, Fortune

Tech reporters were quick to weigh in with their two cents on Apple’s earnings report, maybe the most surprising part of which was the rare appearance of CEO Steve Jobs on the call.

Steinert-Threlkeld also has a nice breakdown of why the fact that Apple reported both GAAP and non-GAAP numbers matters.

There will be a lot of people looking at a lot of stuff at the Apple Store, and they’ll probably come out with [iPod] nanos or shuffles,” Endpoint Technologies analyst Roger Kay told Wired. “That’s what people are going to feel like they’re going to afford this year.”
–Brian X. Chen, Epicenter

Here’s what a few of them had to say:

With $25 billion in cash and short-term securities stored away on its balance sheet, Apple is in a uniquely comfortable position from which to weather the econaclypse. And perhaps a uniquely opportunistic one, as well. Could this mean that Apple is considering an acquisition–a major acquisition? It’s hard to say, but the fact that Jobs dropped such a hint at all is certainly interesting. Perhaps it’s time for that long-rumored merger with Adobe.
–John Paczkowski, All Things Digital

Aug 24

Internet economics are changing other creative endeavors: music, photography, and writing. The graphic-design field is also in turmoil, and it needs not just new tools, but also new systems.


Aviary is still in private beta testing, but the first 200 people to sign up here can get priority access to the tools. Note that you must click this link from Webware.

After the graphics applications get some traction, the team plans to ship video and audio editors as well.

Who needs software? This is a layer-based image-editing application running in a browser window. It's pretty snappy, too.

There are two goals driving Aviary’s development. The first is Muchnick’s belief that design tools need to be more collaborative. He’s trying to build a Google Docs for designers, it appears. While you can’t yet do simultaneous editing in Aviary applications, the fact that all the files are stored online, along with all the raw graphics materials that went into them, can greatly simplify the games of “Photoshop tennis” that designers, artists, and their clients have to deal with during the design-and-review process.

Aviary is an ambitious project to create a full suite of online applications for creative professionals. The first application, the image editor Phoenix, is now in private beta (read to the end of this post to get an early invitation). The second, pattern maker called Peacock, was recently added.

Everybody who sees the Aviary product calls it ambitious. But the ambition to build a Flash-based competitor to Adobe’s tools is only half the story–and half the ambition. Muchnick is trying to enable a new economic system for creative professionals. I think that he’s onto something and that he’s reflecting the reality of creative work today, rather than trying to ram through his own utopian vision.

Coming up after these applications will be Toucan, a color swatch program for designers (like Kuler on steroids), a 3D-sketching program and modeler, a vector-based editor, and a smart image resizer.

I finally got a chance to catch up with Avi Muchnick, the CEO of Flash software maker Aviary and of the art contest site it spun out of, Worth1000 (a Webware 100 winner).

Previous coverage: Flash apps are taking over. Phoenix is proof.

(Credit:
Rafe Needleman / CNET)

The second is economics. Muchnick is trying to bring Photoshop-quality tools to all designers. He points out that the high price of Photoshop–the Design version of
Creative Suite 3 retails for $1,799–is “not fair” for freelance designers, most of whom make less than $35,000 a year. Also, the wikilike versioning and revisioning capabilities built into the Aviary suite will enable all contributors to a media project to get their due credit and, if appropriate, to get their share of revenues from a project.

Aug 24

Tell us about your injury. How did it happen?
We were doing a tribute to Evel Knievel for our takeover (of MTV) this Saturday. During the filming, I decided I could back-flip a motorcycle. They had to let out the clutch for me. No one thought I could even make it to the ramp. I didn’t the first time but I did it four other times.

It hit me right on the rim and tore my urethra. No long-term damage, though.

The last time I hit the ramp and let go of the bike and it goes 15 to 20 feet above my head and comes down when I was laying spread eagle and it breaks the handle bar off between my legs.

But is the Internet ready for you guys on a regular basis? Is Viacom (MTV’s parent company) ready for you?
Viacom left us alone. They’ve been very supportive in all this. It’s fun, man, having this outlet, you don’t have to wait for months to have something come out. You can just shoot it and get it up and be on to something else…like productivity in the a**hole department is going to be up 73 percent, you know what I mean?

Why not just keep doing the movies? Why move to the Web?

To promote the official launch of Jackassworld.com, the Internet site jointly run by Knoxville and MTV, the cable network is allowing Knoxville, Bam Margera, Steve-O, and the rest of the Jackass crew to take over programming for an entire day, starting Saturday.

You going to be OK?
The prognosis is great. I’m a man again.

Now the actor, comedian, and co-creator of the Jackass movies, known for wince-inducing stunts, will try his luck on the Web.

A still intact Johnny Knoxville recoups.

Knoxville, who suffered a groin injury while filming a tribute to the late Evel Knievel for the February 23 MTV show, spoke with CNET News.com on Thursday.

The Web site, which will feature the same bet-you-wouldn’t-do-this spectacles as the movies, is an example of how MTV is banking on dozens of Web sites that target a separate demographic group or fan base for each of its shows. The idea is to make it easier for people to find and interact with shows and their casts.

The more dangerous–and pointless–the dare, the happier Johnny Knoxville is. Whether it’s being gored by a bull or electrocuted by a taser, or starring in a remake of the Dukes of Hazzard, Knoxville is game.

(Credit:
Naomi Nelson)

On Jackassworld.com, it’s like an R-rated film. You can show whatever you want and it’s immediate. When you’re filming a TV show it takes a couple of weeks to get to air, and a movie takes months to get to air. I can film a bit last night and it can be up today. That’s pretty great because we’re all hot to film again.

Aug 24
Hands-on with the MacBook Air
Posted by admin in Uncategorized on 08 24th, 2010| | No Comments »

You can get the full hands-on experience by watching my First Look video of the MacBook Air at CNET TV.

These data can’t really convey the MacBook Air’s wow factor–thus the envelope trick. Yet even with that visual I wasn’t quite prepared for how very slender this laptop would be. When I picked it up, my mind took a few seconds to get past the incongruity of such a broad, bright 13.3-inch display in a package the weight and thickness of a Dr. Seuss hardcover.

MacBook Air: I've eaten thicker slices of pizza.

Say what you will about Steve Jobs, but when he pulled Apple’s latest laptop out of a standard inter-office envelope I stood in awe–of both his showmanship and of the laptop’s remarkably slim design. Though the MacBook Air is not quite the thinnest laptop ever, it is among the thinnest we’ve seen (the Fujistu LifeBook Q2010 and Toshiba Portege R500 both measure 0.8 inch thick, but neither tapers to 0.16 inch like the Air).

(Credit:
CNET Networks)

The multitouch trackpad uses gestures similar to the iPhone.

(Credit:
CNET Networks)

Once I put it down and started working, I was extremely pleased with the new multitouch trackpad, which incorporates a range of gesture controls that will be familiar to
iPhone users. It’s a smart move on Apple’s part; not only are the gestures easy to learn, but they’re difficult to forget, making it far more likely that users will stick with Apple products once they’ve become used to the interface. Writers and students will be pleased as well with the MacBook Air’s keyboard, which is full size and similar to that of the standard MacBook. (It actually feels the same as the keyboard found on regular MacBooks, but I couldn’t quite be sure without a direct side-by-side comparison.) In terms of interaction, the MacBook Air is probably the first 3-pound notebook that hasn’t asked users to make some kind of compromise.

That’s not to say users won’t have to compromise at all. Everyone around me seems to have a different take on the MacBook Air’s missing features. For example, I don’t care about the optical drive but bemoan the lack of Ethernet and cellular connections, while my video team is shocked that the laptop lacks FireWire and my business-minded friends can’t believe there’s no expansion slot. But in my mind the MacBook Air is hard to beat if you’re primarily looking for an eye-catching, extremely portable laptop that’s (relatively) competitively priced.

Aug 24

CBS Interactive, the media giant’s digital division, has announced the opening of a Silicon Valley office and an executive reshuffling to focus on growth, President Quincy Smith announced Thursday.

Anthony Soohoo, who joined CBS Interactive when it acquired celebrity gossip site Dotspotter, will oversee CBS Interactive’s entertainment unit–the Audience Network, Wallstrip and Moblogic, CBS.com, and forthcoming original programming ventures. CBSSports.com’s Jason Kint will also manage CBSNews.com, Jeff Sellinger will remain at the helm of CBS Interactive’s mobile operations, and Last.fm’s founding team will remain intact.

The CBS Interactive satellite office in Menlo Park, Calif., has opened, with its eye on tech partnerships and acquisitions. The Valley branch will “allow the company to better facilitate existing partnerships in the area, and future ones as well,” a release from CBS explained.

CBS Interactive encompasses CBS.com, CBSSports.com, CBSNews.com, the CBS Audience Network video syndication service, the CBS EyeLab site, a number of mobile properties, and digital-media acquisitions like music service Last.fm and video series Wallstrip (along with its sibling show, Moblogic.tv, which launched after the CBS acquisition).

In conjunction with the new Valley digs, CBS Interactive restructured its management: Bryon Rubin, formerly a senior executive in CBS’s corporate development and mergers and acquisitions group, will become CBS Interactive’s chief financial officer; Yahoo veteran Michael Marquez has been promoted to executive vice president of strategy and corporate development; and a number of senior employees have been named general managers.

Smith is himself a Valley veteran, with a mergers-and-acquisitions background that involved the sale of Delicious to Yahoo, and Netscape to AOL. CBS hired him after his stint at investment bank Allen & Co.

Aug 24

Yet, Harding has earned a modest level of international celebrity from his videos. Fans showed up to dance with Harding in places like Seoul, Lisbon, and Tel Aviv. He said more than 2,000 people in total (Madrid saw the biggest turnout, with 200).

Harding only had good things to say about the camera’s durability and ease of use. The hard disk drive camera did have one drawback, but it’s one that only someone like Harding is going to encounter.

“There is a way to force high quality into YouTube’s embed,” Harding said. “I felt a little bad about doing it.”

Harding’s real significance is that he’s one of the best examples of how YouTube enables anyone to communicate with audiences across the globe. And what’s the message Harding is trying to communicate?

A safety feature prevents the camera from writing to the hard drive anytime it senses the camera is falling. This proved to be an obstacle when Harding was flying above Nellis Airspace, Nev., during a weightlessness exercise.

Here’s something else that Harding was sheepish about talking about. In addition to YouTube, he posted the clip to Vimeo, a YouTube competitor. He says if people want to watch the video in the highest quality, they should watch it there. “Vimeo’s video looks phenomenal,” he said.

A screen shot of Harding's video as it appears on YouTube.

In an interview with CNET News, Harding, a former video-game developer, describes himself as a tech enthusiast and credits software, gadgets, and the Internet with helping to turn his videos into blockbusters.

For example, go to Wherethehellismatt.com and check out how much better the YouTube embeddable player appears on his site than it does at YouTube. Harding doesn’t like to talk about it but he went online and found a piece of script that improved the quality of YouTube’s embeddable player.

A screen shot of Matt Harding's Web site. The dancing videographer found a way to "force quality" into YouTube's embeddable player

Sure, the YouTube video “Where the Hell is Matt 2008″ is clever and maybe even inspirational, but what’s been overlooked in all the hoopla over the clip is how technology contributed to its popularity.

“Some people will probably accuse me of spreading humanist propaganda,” Harding said. “Everybody knows that we can all be small-minded and petty. But we also like to be reminded once and a while about what we can be at our best.”

In less than a month, the video has been viewed more than 5 million times.

To this end, Harding upgraded his camera for this world tour. He shot his original 4-minute clip with a point-and-shoot camera, the Canon Powershot SD500. He loved that it was small and easy to carry. This time, however, Harding decided to pay $800 for a Sony Handycam HDR-SR8.

“The camera always thought it was falling and wouldn’t record,” Harding said. “I had to go up again with a solid-state memory card and we recorded with that.”

Aside from the gadgets, technology’s most important contribution, of course, was turning someone like Harding into star in the first place. He’s a former video-game developer from Connecticut. He’s neither a trained filmmaker nor dancer (that won’t surprise anyone who’s seen him dance).

Who can blame him for being less than loyal to YouTube? He danced his ass off for 14 months in 46 countries (4 didn’t make the final movie) and shot everything in high definition. Don’t all filmmakers want to showcase their work in the best possible quality?

That may not sound like a lot, but Harding didn’t do much advertising other than announce on his blog where and when he was showing up.

(Credit:
Wherethehellismatt.com)

(Credit:
YouTube)

While much of the mainstream press is just discovering Harding, he has been well known among the early adopter crowd for some time. His first installment of “Where The Hell Is Matt” was one of YouTube’s earliest viral-video blockbusters.

Matt Harding first earned fame two years ago by filming himself dancing in exotic locales all over the world and posting the video montage to YouTube. Everyone from the The New York Times to National Public Radio has swooned over Harding’s latest clip since it first appeared on YouTube three weeks ago.

Aug 24

I suppose the big news for me today, as an Alfresco employee, should be that we just closed a $9 million Series C round with SAP Ventures leading the round. But since we didn’t need the money (not even remotely) and I didn’t want the dilution, it’s not my favorite news of the day. Let’s just say that companies don’t always raise money for the money.

So here’s Intel, which apparently owes its existence to Microsoft, and SAP has gone on the record over and over in downplaying open source’s significance, both funding the open-source revolution. Money speaks more loudly than words do. SAP and Intel clearly think there’s something to this open-source thing, even if one accepts the argument that financial investments are separate from their strategic product directions.

commentary

I was actually much more intrigued to see Zenoss add $11 million in Series B funding. Or Intel Capital’s Series A investment in REvolution Computing, which provides an open-source statistical tool with commercial support and leverages parallelism.

SAP and Intel invest to make money, right?

Perhaps the big story out of the Alfresco and REvolution investments is the activity of Intel and SAP in financing open-source companies.

Exactly.

Intel Capital has funded Red Hat, SuSE Linux, JBoss, MySQL, Zend Technologies, Fonality, CollabNet, and Black Duck. SAP Ventures? Black Duck, JasperSoft, Intalio, Groundwork, MySQL, Ping Identity, SocialText, Zend, Red Hat, and Sistina. These two companies have funded a large swath of open source’s top companies. Not all by any stretch, but many.

Not always. Both companies use their venture arms to place strategic bets. If I’m an industry observer, it’s evident that both companies are placing big bets on open source. What does this mean you should be investing in?

Aug 24

At first, she suggested, people were mainly tagging photos to add context about themselves. Then, gradually, they added context about other people, and then found ways to express shared experiences through their tags.

In the end, Srivastava’s talk didn’t break new ground, but it did illustrate the ways that Flickr sees its users explaining the world around them through the use of tags. The concept itself may not be news, but tying it together and thinking about the many ways tagging on a site as popular as Flickr adds meaning is a worthy exercise.

This graph shows how, over time, Flickr users have continued to add a tremendous number of tags to the photos on the service, a rate that continues to grow.

(Credit:
Daniel Terdiman/CNET News.com)

The best example of that–though more complex than what most people get involved in–is Flickr’s The Commons project.

For example, she pointed out that traditionally, “Popemobile” wasn’t a very common tag. But all of a sudden, she said, it was being used by a lot of people in the Washington, D.C., area, and by virtue of that, it was possible to see that something was going on around the Pope’s recent visit to the United States.

That’s how at least some at Flickr feel, according to Kakul Srivastava, the service’s director of product management said in her talk, “The next generation of tagging: Searching and discovering a better user experience,” at the Web 2.0 Expo here Thursday.

And no wonder: The sheer amount of tags users have added over the four years the service has been operating is breathtaking: according to Srivastava, if you took the average text size of all the tags added to Flickr photos and laid them out, it would line the floors of 14 Wal-Marts.

Where the Flickr user community’s participation in The Commons project is useful is in bringing personal context to images that previously had none.

Still, it was an interesting presentation, particularly because Srivastava talked about some of the ways that Flickr has evolved over the years, and what it’s possible to learn based on how it’s grown.

SAN FRANCISCO–In return for the huge amount of work Flickr users do to tag photos on the popular photo-sharing site, they should get the benefit of the algorithms the service uses to bring meaning to the data.

The idea behind that theory is that as Flickr users proactively add tags to countless millions of photos stored on the site, the service is able to draw some very specific conclusions about the behavior of those users and the things that are happening around them.

Unfortunately, I would have to say that the talk didn’t deliver on its title: Srivastava didn’t share anything particularly new with the audience, discussing mainly things that were probably already well-understood by most in the room.

(Credit:
Daniel Terdiman/CNET News.com)

One of the most notable changes has been what she termed the increasing sophistication in the way Flickr users tag photos.

For Srivastava, that kind of comment is deeply important because it adds significant cultural meaning to a photo that otherwise was just another in a large collection.

Another notable emergent behavior on Flickr, she said, is the ability to determine when some sort of newsworthy event is going on, simply because of the use of a tag.

This is a project that launched in January with the U.S. Library of Congress as a pilot partner. The idea was that the Library of Congress provided a large collection of archival photos for the Flickr community to add tags to for additional context.

Within the first hour after the Library of Congress photos went up, Flickr users had added 150 tags to them. Within 24 hours, users added 11,000 tags.

Beyond that, Flickr users were able to add all kinds of contextual comments to the photos. Srivastava pointed to one such photo, a picture of a stream of dock workers leaving work at the end of the day, which had several user comments appended to it.

Flickr’s The Commons project is an example of how the site’s users can bring useful context to information from a single source, in this case the Library of Congress.

“Looks like ‘quittin’ time’ was a segregated as the rest of life,” the user commented.

“It’s an incredible amount of content to parse, to reveal, and to take the meaning of,” Srivastava said.

The reach of the Flickr community was immediately obvious, she suggested. The project launched with no tags, and within an hour, users had added 150 tags. Within three hours, the number was 767 and by the end of 24 hours, fully 11,000 tags.

One of them was quite striking. The user noticed that all the African Americans in the photo were on one side of the stream, while the whites were on the other.

(Credit:
Daniel Terdiman/CNET News.com)

(Credit:
Daniel Terdiman/CNET News.com)

Aug 24

Here are the rankings (last year’s ranking in parentheses):

Who has the best soccer team on the planet? At least, at the national level (since we all know Arsenal is the best club on this planet). Argentina.

Arsenal? They’ve got players on all of those national teams except for Italy (Sorry, Fabrizio, but Arsenal can’t afford to put its fans to sleep with Italian football!) and Portugal.

As for the US? Well, it barely scraped #20.

1. (1) Argentina
2. (2) Brazil
3. (3) Italy
4. (4) Spain
5. (5) Germany
6. (6) Czech Republic
7. (7) France
8. (8) Portugal
9. (9) Netherlands
10. (10) Croatia

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Aug 24
Back to the future for MySQL
Posted by admin in Uncategorized on 08 24th, 2010| | No Comments »

So for those of us that get caught up in MySQL’s decision to keep some extensions closed to paid subscribers, perhaps a refresher course in MySQL history will make it seem a bit less shocking. (Also be sure to check out the early 2001 brouhaha over trademark violations surrounding MySQL.org. Fascinating stuff.)

It’s not as if the grass is brilliantly green on the commercialization side of the fence, either, as my friend goes on to point out:

This is the crux of the MySQL/Sun commercialization problem: They can’t make the enterprise version diverge or they lose the adoption benefit, and enterprise sales are still long, high ceremony and costly.

commentary

Commercializing open source is a tricky balancing act, as open-source Funambol’s name suggests (It means “tightrope walker”). For MySQL, it’s a “tightrope” it has been walking for more than 10 years, which decade has seen the company on both sides of the open source/proprietary divide.

The question, however, remains for all open-source projects: Is it fair or productive to close off the code after open source has made it popular?

His take on Monty’s reasoning is a bit strong, and I don’t agree that MySQL had been ignored, but still he has a point: Open sourcing one’s code can lead to far greater adoption in a short period of time than proprietary source.

As I’m occasionally reminded, MySQL didn’t start out as open source. In fact, MySQL’s original license was very similar to what it is trying to achieve today: Free for noncommercial use, but not-so-free for commercial use. It didn’t decide to go open source (GPL) until 1999.

Remember that Monty [co-founder of MySQL] chose to go open source only after the world totally ignored his work. There is a real value that goes along with being open source that lends itself well to adoption. If you have to pay, then that will deter adoption of immature products in ways that it won’t with free products.

Perhaps a little empathy, rather than blame, is therefore in order for the MySQL management team as they try to figure out how to trade in some of MySQL’s popularity for a bit more cash. It’s a fair desire but it’s by no means obvious that closing off some extensions will accomplish this. The MySQL team is experimenting, as they’ve said. Let’s cut them a little slack (while still remaining open-mouthed and open-minded).

With that said, there’s an ongoing tension between commercialization and adoption that MySQL (and all commercial open-source projects) have to manage. As a friend noted in an email to me yesterday:

Ultimately, the only thing we know is that Marten, Monty, Zack, and team mean well and generally do well. They seem to balance better than most.

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