Open Password – Monday August 9, 2021
#958
Libraries. Guide to the Future – The Editors – Erdmute Lapp – Silke Sewing – Renate Zimmermann – Willi Bredemeier – The Authors – Central Library of the Jülich Research Center – Bochum University Library – Berlin State Library – Journal Database – German National Library – German Music Archive – Technical School for Libraries “Erich Weinert” – Suhl General Scientific Library – Meiningen City and District Library – Marzahn-Hellersdorf City Library – Writing Workshop – Ruhr University Bochum – University of Bremen – Westfälische Rundschau – European Commission – Federal Ministry of Economics – Password – Open Password – Richard D. Lankes – Future of Information Science –
Streaming – Broadcaster – Netflix – Prime Video – Netflix – Public broadcasters – News portals – Kerstin Niederauer- Kopf – AGF Videoforschung – Kantar – Bild.de – Spiegel.de – Lockdown – Amazon Prime Video – Disney+ – Dazn – Magenta TV – Big Screen – YouTube – Smartphone – Media libraries – Children – Homeschooling – Institute for Competitive Intelligence – Fundamental Certificate – AI – Music industry – Deloitte – Music streaming services – Ralf Esser – Compositions – Virtual musicians – Adaptive music – Production – Mastering process – Findability – Journalism – Data availability – Media Consumer Survey – Klaus Böhm – Creativity, emotion and gut feeling
Cover story
Newly published: Libraries. Guide to the future –
Projects and examples – The editors – The authors
II.
Streaming: Broadcasters’ online offerings are overtaking Netflix overall – Netflix is stagnating at a high level for the first time – Prime Video is growing significantly
III.
InfoPros: Fundamental Certificate in Competitive Intelligencve for 7,000 euros
AI in the music industry: Between gimmicks and industry revolution
Newly published
Libraries. Guide to the future
projects and examples
The editors
Dr. Erdmute Lapp
Libraries. Guide to the Future – The Editors – Erdmute Lapp – Silke Sewing – Renate Zimmermann – Willi Bredemeier – The Authors – Central Library of the Jülich Research Center – Bochum University Library – Berlin State Library – Journal Database – German National Library – German Music Archive – Technical School for Libraries “Erich Weinert” – Suhl General Scientific Library – Meiningen City and District Library – Marzahn-Hellersdorf City Library – Writing Workshop – Ruhr University Bochum – University of Bremen – Westfälische Rundschau – European Commission – Federal Ministry of Economics – Password – Open Password – Richard D. Lankes – Future of Information Science –
Streaming – Broadcaster – Netflix – Prime Video – Netflix – Public broadcasters – News portals – Kerstin Niederauer- Kopf – AGF Videoforschung – Kantar – Bild.de – Spiegel.de – Lockdown – Amazon Prime Video – Disney+ – Dazn – Magenta TV – Big Screen – YouTube – Smartphone – Media libraries – Children – Homeschooling
Cover story:
. Erdmute Lapp
Dr. Erdmute Lapp, linguist (Slavic, English, American studies), librarian; At the beginning of her career, she worked on information-related library projects at a time when projects in libraries were generally not acceptable; Special library and management experience in the usage department of the central library of the Research Center Jülich; Director of the Bochum University Library since the turn of the millennium, i.e. since the time when it became clear that university libraries had to be user-oriented like special libraries. At the Bochum University Library, she organized the construction of a modern library that focuses on project work, innovative library services, customer orientation and international exchange. The library is particularly important to her as a place of learning, a maker space, an event center, and an international cultural meeting place – unfortunately these library activities have been interrupted by Corona. She is also a translator from English and Russian; a translation from Croatian is still an unfulfilled wish.
Silke Sewing
Silke Sewing
Silke Sewing is head of library services for the periodicals database at the Berlin State Library. She worked at the German National Library until 2010, most recently as deputy head of the German Music Archive. She is convinced that the library landscape will change significantly in the coming years and that innovation will arise in the areas of artificial intelligence, open science and citizen science.
Renate Zimmermann
Renate Zimmermann was born in Meiningen/Thuringia in 1959 and, after completing agricultural vocational training with a high school diploma, completed a distance learning course to become a qualified librarian at the “Erich Weinert” technical school for librarians in Leipzig. After working as a librarian in the Suhl General Scientific Library and the Meiningen City and District Library, she moved to Berlin in 1988 and has since worked in the Marzahn-Hellersdorf City Library as a librarian and media educator and is responsible for online marketing. In addition, she has been successfully running a writing workshop for young people since 2010, whose various projects have resulted in numerous publications.
The following books have been published before her by Simon-Verlag für Bibliothekswissen: “Cheerful things from everyday library life” (2010), “Expulsion for a pea” (2011), “Hello, do you have any books?” (2013), “Fireworks of Imagination (2014).
Willi Bredemeier
Willi Bredemeier
Dr. After a career as an insurance salesman, Willi Bredemeier completed his high school diploma at the Dortmund evening high school. He studied social sciences at the Ruhr University in Bochum and received his doctorate in economic policy on collective bargaining in the Federal Republic at the University of Bremen. After four years as a newspaper editor at the Westfälische Rundschau (Dortmund) and after 14 years of research and technology transfer at the universities of Bochum, Freiburg and Münster, he became self-employed and became involved in the areas of journalism and market research (with later major projects, for example for the European Commission and the Federal Ministry of Economics) and public relations (which over the years led to collaboration with almost all well-known information providers). Over thirty years since 1986, he has developed his specialist magazine “Password” into the information organ of the information industry. In 2016 he converted the print organ into an online publication based on the open access model (“Open Password”). After many non-fiction books, he published a novel, which was published in a revised 2nd edition in 2020 under the title “The Other Homeland Novel”. Bredemeier was involved in two precursors to this book, in the translation of Richard D. Lankes, “Expect More – Demanding Better Libraries for Today’s Complex World” and as editor of the reader “Future of the Information Economy – Does the Information Economy have a Future?”
Newly published (2):
Libraries. Guide to the future.
Projects and examples
The authors*
Ursula Arning is Head of Open Access / Digital Long-Term Archiving at ZB MED – Life Sciences Information Center.
Sören Auer is director of the Hanover Technical Information Library.
Irene Barbers is the head of literature acquisition at the central library of the Research Center Jülich.
Jens Bemme works at the Saxon State Library – Dresden State and University Library in the area of citizen science.
Lisa Beutelspacher is a research assistant at the Krefeld Mediothek.
Petra Böhler is head of the Olsberg city library.
Michael Bosnjak is director of the Leibniz Center for Psychological Information and Documentation.
Markus Brantl is deputy head of the Bavarian State Library and is responsible for digital libraries and long-term archiving.
Evelyn Buchholtz is the director of the Krefeld media library.
Anne Christensen was director of the Leuphania University of Lüneburg and now works as a project manager and consultant at effective webwork.
Arkadiusz Danszczyk is deputy director of the Martin Opitz Library.
Bastian Drees is a research assistant at the Hanover Technical Information Library.
Konrad Förstner heads the “Data Science and Services” program area at the ZB MED Center for Life Sciences.
Benjamin Flämig is Head of E-Services/Digital Services at the Central and University Library (ZHB) Lucerne.
Sylvia Gramann is head of the “Anna Seghers” city and district library in Meiningen.
Ursula Hartwieg heads the coordination office for the preservation of written cultural assets in the Prussian Cultural Occupation Foundation – Berlin State Library.
Annika Heikes is a consultant for cultural education at the Gütersloh Cultural Secretariat.
Bernd Jeucken is head of the Hattingen city library.
Klaus Kempf is head of the Bavarian State Library.
Nicole Krüger is a research assistant at the Central Library for Economic Sciences (ZEW) – Leibniz Information Center for Economics
Marvin Lanczek is responsible for further education and training offers for academic libraries at the Center for Library and Information Science Continuing Education (ZBIW).
Erdmute Lapp is director of the university library at the Ruhr University Bochum.
Birte Lindstädt is head of research data management at ZB MED – Information Center for Life Sciences.
Anja Paola Meyer works at the Paderborn City Library.
Thomas Meiers works at the Heinrich Hertz Institute of the Fraunhofer Institute for Telecommunications.
Bernhard Mittermeier is head of the central library at the Research Center Jülich.
Martin Munke works at the Saxon State Library – Dresden State and University Library in the area of citizen science.
Dietrich Nelle has since been interim director of the ZB MED – Information Center for Life Sciences and, as ministerial director in the Federal Ministry of Education and Research, is responsible for fundamental issues relating to innovation and transfer.
Clemens Neudecker is a research officer at the Prussian Cultural Heritage Foundation / Berlin State Library.
Tamara Pianos is head of information provision at the Central Library for Economic Sciences (ZEW) – Leibniz Information Center for Economics
Margret Plank is head of the competence center for non-textual materials at the Hanover Technical Information Library
Frank Raumel is head of the media and information center at the Biberach city library.
Dietrich Rebholz-Schuhmann is scientific director of ZB MED – Information Center for Life Sciences.
Oliver Renn is head of the Chemistry Information Center | Biology | Pharmacy at ETH Zurich.
Anna Sophia Rosenhayn is a consultant for cultural education at the Cultural Secretariat NRW Gütersloh.
Tom Rosmann is head of research literacy at the Leibniz Center for Psychological Information and Documentation.
Dagmar Schnittker is head of the Ibbenbüren city library.
Frank Seeliger is head of the university library at TH Wildau.
Silke Sewing is responsible for library services at the Prussian Cultural Heritage Foundation – Berlin State Library.
Annette Strauch is responsible for research data management at the university library at the University of Hildesheim.
Kathrin Stroth is head of the Paderborn city library.
Hans-Jakob Tebarth is director of the Martin Opitz Library.
Michael Vogel works at the Saxon State Library – Dresden State and University Library in the area of “Preservation of Written Cultural Assets”.
Hannelore Vogt is director of the Cologne City Library.
Bianca Weber is a research associate for marketing and public relations at the Leibniz Center for Psychological Information and Documentation.
Erich Weichselgartner is a research associate for archiving and publication services at the Leibniz Center for Psychological Information and Documentation
.
Alexa Werner is responsible for public relations and digital strategies at the Cultural Secretariat NRW Gütersloh.
Thomas Wolf works in the Bavarian State Library.
Renate Zimmermann is a librarian at the “Mark Twain” District Central Library in the Marzahn-Hellersdorf district of Berlin.
*including interview partners and speakers at the “Future of Academic Libraries?!” conference sponsored by ZB MED and Open Password
Streaming
Overall, online offerings from broadcasters are overtaking Netflix
Prime Video is growing significantly
Netflix is stagnating at a high level for the first time
(AGF) Streaming offers with corresponding content are benefiting from the high interest in news during the corona pandemic. The public broadcasters’ online video offerings were used by significantly more people at the beginning of 2021 than in autumn 2020. The use of videos on news portals has also increased significantly. These are results of the 2021-I platform study. “The increased interest in information is driving the use of moving images overall,” says Kerstin Niederauer- Kopf, chairwoman of the board of AGF Videoforschung.
Almost a third (30 percent) of those surveyed for the study by the market research institute Kantar on behalf of the AGF stated during the survey period that they had used offers from public broadcasters in the last four weeks that, in addition to the information content during the survey period, also contained successful fictional formats had the media libraries. In the previous wave 2020-II it was 23 percent. Accordingly, the overall use of broadcasters’ offerings increased significantly, from 29.5 percent to 36 percent. This means that these offers in total are higher than Netflix (32 percent) for the first time.
The increase in videos on news portals such as Bild.de and Spiegel.de, which are increasingly incorporating videos, is similarly strong. 21.5 percent of those surveyed used this (2020-II: 16.4 percent). “The course of the pandemic is reflected in the numbers: The first lockdown in spring 2020 was followed by an almost ‘normal’ summer with only a few restrictions in public life. The second lockdown from November 2020, on the other hand, was associated with high levels of uncertainty and significant restrictions for the Trade, schools and the catering industry are connected. These also lasted much longer than the restrictions in spring 2020. This situation has most likely led to higher consumption of moving images and, in particular, news,” says Kerstin Niederauer- Kopf. __________________________________________________________________________________
Amazon Prime Video is starting to catch up
__________________________________________________________________________________
After Netflix was able to grow noticeably in the previous two waves, usage is now falling slightly by just under one percentage point to 32.3 percent. In the current wave 2021-I, Prime Video is shifting up a gear: 24 percent, or almost one in four, said they had used Amazon’s streaming service in the last four weeks. This shortens the gap to Netflix significantly. The Prime Video increase corresponds to the overall increase in Amazon Prime customer numbers for the online retailer, which has benefited from the lack of physical shopping options in recent months. In addition, the constant expansion of the Prime Video offering is likely to be positively reflected in the usage figures.
Disney+ is also on a growth path. Of those surveyed, 8.6 percent said they had used Disney+ in the last four weeks (2020-II: 6.6 percent). Overall, the number of streaming offers used on average increased from 1.3 to 1.5.
This picture is also reflected in usage over the last three months. Netflix also had no gains during this period for the first time (33.4 percent). In contrast, Prime Video (25.3 percent), Disney+ (9.8 percent) and Dazn (3.6 percent) grew. Megathek Magenta TV is in the top 5 for the first time with 2.7 percent.
__________________________________________________________________________________
Use takes place on the big screen, YouTube is impressive on smartphones .
__________________________________________________________________________________
The proportion of households that have at least one television connected to the Internet has increased to 47 percent (2020-II: 42 percent). “In the last three years, the proportion has almost doubled,” says Kerstin Niederauer- Kopf.
Streaming offers and media libraries are then also often used on the big screen, this applies in particular to offers from TV broadcasters: 64 percent of those surveyed stated that online offers from broadcasters, especially the widely distributed and freely available public broadcasters, like to see on the big screen. Netflix (76 percent), Prime Video (76 percent) and Disney+ (67) also have a high level of Smart TV usage. Disney+ also has the highest usage on gaming consoles (12 percent).
YouTube, on the other hand, is the leader on smartphones. While smart TV usage is 29 percent, smartphone usage is 71 percent. YouTube’s offering on this device is far ahead of all other streaming offerings. However, videos on news portals also reach a similarly high level at 71 percent.
__________________________________________________________________________________
Internet use by children remains at a high level
__________________________________________________________________________________
Internet usage among children aged 3 to 13, which rose sharply in wave 2020-II, remains at a high level of 76 percent. Homeschooling and a lack of leisure activities are reflected here. The easing and the return to everyday school life only began after the survey for wave 2021-I. “It remains exciting to see whether this is a short-term change caused by the pandemic or whether internet use by children and pre-teens will remain permanently at this high level,” says Niederauer- Kopf.
The platform study survey serves the AGF to supplement its measurement. To do this, Kantar surveys the video and media usage of the German-speaking population aged 14 and over in TV households twice a year in computer-assisted personal interviews (CAPI).
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AI in the music industry
Between gimmicks and industry revolution
- From recommendations to marketing to composition: the potential of artificial intelligence for the
music industry is large and diverse.
- Critics fear that algorithms could increase the trend towards mainstream music.
- AI needs data, but many consumers are concerned about sharing their usage data. The
music industry needs data protection concepts that promote trust.
(Deloitte) The fields of application of artificial intelligence (AI) have long since spread across all possible industries. But how well do machine learning, natural language processing, deep learning and music, which is closely linked to deeply human characteristics such as creativity and emotionality, fit together? “The fact is, AI has long since arrived in the music industry: Anyone who uses music streaming services is already familiar with song recommendations that an algorithm has selected. But the potential of the technology is surprisingly diverse,” explains Ralf Esser, Head of Industry Insights at Deloitte. “In our current sector briefing, we took a closer look at the topic and identified areas of application and key success factors for artificial intelligence in the music industry.”
The relevant fields of application of AI in the music industry can be divided into three categories:
- Composition and production. Artists are already using AI in the creative process; for example, “virtual musicians” can create music independently with the help of deep learning. AI also offers exciting possibilities in the area of “adaptive music”, i.e. music that adapts to the respective context. For example, the soundtrack of a game changes depending on the behavior and health of the character. During production, intelligent software based on machine learning can, for example, support the mastering process.
- Discoverability and marketing. In addition to creating playlists and relevant music recommendations for streaming, AI can also help labels find new hits by searching for specific characteristics in the countless songs uploaded to online platforms every day.
- Communication and journalism. As is already the case with financial news today, AI can also support editors in the area of music journalism by scanning enormous amounts of information and automatically identifying and providing relevant data points. Editors can then use the time gained in this way for more complex research.
Data availability as a success factor. The availability of relevant data is essential for the implementation of AI applications. Two factors are crucial for this: the regulatory environment and the receptiveness of media users to making their data available so that the AI can learn. According to the current “Media Consumer Survey by Deloitte,” German users are more reluctant: across all ages, 37% of those surveyed are willing to share their data for better content recommendations. At the same time, the proportion of those who are fundamentally skeptical about sharing remains high. Nevertheless, the willingness to share data has increased significantly and continuously over the past six years.
“Artificial intelligence will continue to become established in the music industry in the coming years, as many branches of the industry can benefit from the technology,” summarizes Klaus Böhm, Head of Media & Entertainment at Deloitte. “However, as in all creative industries, it is important to implement AI solutions with sensitivity. It will be important that existing concerns do not lead to a pronounced refusal attitude or rigid regulatory steps that block progress. Because music has always thrived on change. AI follows the long tradition of phonographs, synthesizers and mp3. In addition, even in times of artificial intelligence, human creativity, emotion and gut feeling remain essential for music.”
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