Microsoft is ready to pay Rupert Murdoch’s News Corp. to remove its news content from Google, according to the Financial Times. Microsoft has also approached other “big online publishers” with similar deals.
“One website publisher approached by Microsoft said that the plan ‘puts enormous value on content if search engines are prepared to pay us to index with them”,’ wrote the FT’s Matthew Garrahan. “ . . . Microsoft’s interest is being interpreted as a direct assault on Google because it puts pressure on the search engine to start paying for content.”
This he calls a “ray of light to the newspaper industry.”
Now, every site in Google is currently there by choice. As it could conceivably change its mind and shank Balldock and Murmer with fair use, let’s assume that they’re planning on exclusivity. End-user license agreements, paywalls, spider-blocking, that sort of thing. Maybe even encryption and plugins and other delights. Sayonara, RSS!
All I know is that Fox + Microsoft = Very Bad Shit.
The Library of Congress has decided to use Microsoft’s Silverlight to build their new website. LibraryThing has something to say about it:
Most disturbingly, users are locked in, too: anybody using an iPhone, an old version of Windows, any version of Linux, or any other operating system or device not supported by Silverlight will be unable to use the Library of Congress’ new website. How is that compatible with the principles of democracy or librarianship? It’s taxation without web presentation. And how exactly is that a quantum leap forward?
Linn Ullmann’s The Cold Song, her fifth novel, is built much like the house about which its story orbits: Mailund, a stately white mansion set in the Norwegian countryside a few hours drive from Oslo. The house, nestled into the. . .
Karel Schoeman’s Afrikaans novel, This Life, translated by Else Silke, falls into a genre maybe only noticed by the type of reader who tends toward Wittgenstein-type family resemblances. The essential resemblance is an elderly narrator, usually alone—or with one other. . .
In Joris-Karl Hyusmans’s most popular novel, À rebours (Against Nature or Against the Grain, depending on the which translated edition you’re reading), there is a famous scene where the protagonist, the decadent Jean des Esseintes, starts setting gemstones on the. . .
There are books that can only wisely be recommended to specific types of readers, where it is easy to know who the respective book won’t appeal to, and Kristiina Ehin’s Walker on Water is one these. What makes this neither. . .
Imagine the most baroque excesses of Goethe, Shakespeare, and Poe, blended together and poured into a single book: That is The Nightwatches of Bonaventura. Ophelia and Hamlet fall in love in a madhouse, suicidal young men deliver mournful and heartfelt. . .
In 1899, Maurice Ravel wrote “Pavane pour une infante défunte” (“Pavane for a Dead Princess”) for solo piano (a decade later, he published an orchestral version). The piece wasn’t written for a particular person; Ravel simply wanted to compose a. . .
Fiston Mwanza Mujila is an award-winning author, born in the Democratic Republic of Congo, who now, at 33, lives in Austria. From what I could find, much of his work is influenced by the Congo’s battle for independence and its. . .