He says that content in the cinema is not intrinsically better than on an iPhone. All art forms are different and incomparable. Star Wars was never meant to be watched on an iPhone, but that does not mean the iPhone is a worse medium. There simply has not been any mindblowing iPhone-specific content yet. Creators and audience need to approach the two differently.

Explains the advantages and disadvantages of the following technologies.

Absolute Positioning

• GPS
• Cell Positioning (mobile phone towers)
• WLAN Positioning
• Self-Reported Positioning

Proximity Recognition

• RFID
• Bluetooth
• Infrared Communication

Wireless Communication

• WLAN
• GPRS
• Bluetooth
• Infrared Communication

Virtual Content

• Triggered Content
• Augmented Reality
• Mobile Augmented Reality

37
IP allowed specific kinds of businesses to flourish.

38f
“As Alford (1995) discusses, China possessed no indigenous equivalent to concepts of “intellectual property”. Notions of individual creativity and ownership of ideas were not easily reconciled with Confucian concepts of creativity, knowledge and learning (Alford, 1995, p. 9). For these and various other reasons, the PRC remained without a copyright law until 1990.”
“The business models that dominated the global recorded music industry in the second half of the twentieth century were based around record labels providing artists with access to recording equipment, mass production and distribution channels, marketing and promotion services, and remunerating them on a royalty basis.
Legally enforceable intellectual property rights and physical technologies that made controlled mass production and distribution of music possible (Bettig, 1996) were key factors in the rise of a handful of highly integrated, transnational music corporations that accounted for 90% of gross sales of recorded music in 1994 (Burnett, 1995, p. 2). Although developments in physical technology, such as cassette tapes and recorders, presented challenges to the industry’s ability to control copying, these changes occurred after markets, industry structures, professional organizations and group collection infrastructures had become established. As a result, the industry was generally able to respond in a systematic way and incremental developments in analogue technologies of copying did little to disrupt its overall structure (Frith, 2002).
In China, on the other hand, technologies for mass reproduction and consumption of recorded music became available in the absence of copyright law, an organized domestic music industry, or clear legitimate channels for the distribution of most foreign content.”

39
“Not only are new technologies being adopted with enormous speed across the country, they are being embraced fastest by groups traditionally considered most likely to pay for music in other markets. Young, educated city-dwellers with relatively high disposable incomes are now the group most likely to have access to broadband connections, cheap MP3 players and next-generation mobile devices.”
“So [record labels] have gone from the frying pan into the fire. They hadn’t even put a dent in pirate physical copies before P2P and MP3 downloading came along.” Kaiser Kuo quoted by Montgomery.

40
“The dominance of a few developed nations in global trades in culture has led many to question the fairness of expanding global intellectual property system. According to UNESCO, developing countries account for less than 1% share of exports of cultural goods.”

41
“While the traditional record label model isn’t exactly going through a golden age in the west, it never even had a golden age in the Middle Kingdom.” originally from The Register ~ Music in China (04.12.2009)
“While major international labels have been unwilling to invest heavily in the promotion of international artists in a market where mass-scale returns are difficult to secure, local artists and labels have been actively working to develop business strategies capable of generating income in spite of very high levels of piracy. One strategy for doing this has been to rely on personal appearances by artists, which cannot be replicated. As a result, there is less emphasis on producing popular albums, and more emphasis on gaining popularity and profile through single hits that lead to lucrative product endorsement and live appearance or performance deals”

42
“In contrast to Western markets, where artist management and music are generally separate, in China assigning a record label with management rights is considered one of the most important aspects of an artist’s contract, forming a vital income source for domestic labels.”
“However, even for Chinese labels, relying on personal appearance and advertising revenue presents practical problems. Personal appearances have limited scalability. Neither advertising nor personal appearance fit well with the “long tail” approach, which, in other markets, allows back-catalogues to continue generating revenue for labels and artists long after the artist has been eclipsed by the latest trend.”
“China’s own capacity to capture commercial opportunities associated with music is increasing as media commercialization becomes more entrenched.”
“It is extremely difficult to make money by licensing copyright in China and gaining access to the market is expensive and difficult, so Western labels have devoted few resources to promoting their products to Chinese audiences.”

43
“In China [...] unauthorized networks for the distribution of physical copies of music are well established, independent monitoring agencies do not exist and users have demonstrated low levels of willingness to pay a premium for “legitimate” content.”

44
“Unlike ring-tones, which are generally stored on individual mobile phones, CRBT [caller ring-back-tones] services are managed centrally, through mobile service providers.”

45
“[Mobile phone] service providers, distributors, labels and music publishers share an initial ‘‘sign-up fee’’ when a subscriber first signs on to a CRBT package. After the initial sign-up fee has been divided between these parties, subsequent full monthly subscription fees are kept solely by China Mobile.”
“[Music] labels are in a position to connect artists with mobile operators, manage advertising deals and to ensure that publishing and performance licences are obtained – all key components of the music business in today’s China.” But very different from the western model of a music label.
“Although there have been some amazing stories of amateur musicians who have produced a hit ring-tone from their bedroom and made millions, commercial spaces are quickly being filled by large, vertically integrated content providers.”

46
“In the case of the music industry, it appears that cultural policies that make it harder to publish foreign content, strict regulations governing foreign investment in content industries, and low levels of copyright enforcement have worked together to provide Chinese media businesses with space to develop effectively.”
“the success of new music distribution technologies and a growing capacity to provide local content in forms that satisfy the demands of local consumers, in spite of very high levels of unauthorized copying and distribution of physical media, suggests that copyright has not been the key impediment to the success of international artists and labels in the Chinese market.”
“Rather than falling victim to globally dominant exporters of intellectual property, China’s domestic music industry is successfully developing a market for local content, alongside its own capacity to provide the content and services demanded by Chinese consumers.”
“Unwillingness to adapt to an environment where ownership of intellectual property rights cannot guarantee control over how music is used and distributed, and reluctance to explore alternative approaches to music distribution and licensing have [...] contributed to [the] lack of success [of major international record labels].”
“The apparent association between this distribution bottleneck and the growth of an organized, profitable commercial music industry in China highlights the continuing role of monopoly structures in the commercialization of culture in a digital age.” It’s true but I don’t like that.

20
“Live performances, advertising and personal appearances have emerged as important revenue sources for the domestic [music] industry.”

21
“Relying on personal appearance by artists limits scalability. Neither advertising nor personal appearance fit well with the ‘long tail’ approach, which, in other markets, allows back-catalogues to continue generating revenue for labels and artists long after the artist has been eclipsed by the latest trend.”

22f
“This paper began with an examination of the legal case for radical reformation of the copyright system. We then moved to consider the current economic theory for this case before exploring this specifically in the case of creative industries, from which we extracted three further arguments: global markets, re-use and value creation, and business model adaptation. We think these three factors have been widely overlooked, and that there (!) re-inclusion into the intellectual property value debate may be of value.”

22
strong IP encourages creation -> weak IP encourages re-use (remix?) -> they claim the benefits of re-use are way bigger than the benefits of creation (is that true?) -> weak IP is to be preferred
business models adapt to IP (not the other way round) -> businesses will always find a way to make money (which makes the economy grow which benefits the entire population) -> weak IP is to be preferred

Also see:
O’Reilly, T ~ Piracy is Progressive Taxation
The Register ~ Music in China

181
“In a pervasive game, we desire to make players feel that the game extends beyond the tiny screen, creating a world that is integrated with the ordinary world, and that the players are able to act in this world through their device interaction. Player and game world identification, player-to-player interaction, especially when the game supports the formation of communities, and many of the design strategies described later in the chapter enhance this sense of presence.”

182
“By making the player a game character, [...] games are able to create a strong relationship between the surrounding environment and what is shown on the screen of the phone.” Does this only apply to games? Games are but a part of an entertainment architecture.”

184
“[Player communities] tend to emerge in any game that is sufficiently successful for a longer period of time. [...] Once a player feels part of a community, she is likely to continue to play. [...] Being part of a game community extends the presence of the game outside play sessions. [...] A player does not have to interact actively with a community for the community to be meaningful. [...] An additional opportunity is to show traces of other players’ activities in the real world. [...] This way the players get the feeling that there are other active players, increasing their commitment to the game.”

187
“[...] Sometimes pushed messages feel like spam, they can be stressful when urging the player to go online when they cannot, and it can also incur high costs for the player or organizer.”
“An important issue is deciding what game events are communicated to the player. The basic rule is that the player should be notified about anything that would have caused her to act if she had been playing. However, the amount of messages should not be overwhelming because this can disturb the player or cause her to start ignoring messages.”

188
“[...] the player should never feel alone in the game [...], even if players might rarely be online at the same time.”