How much is 'smarter' worth?

Seth Godin

Smarter about the process, about the effects, about planning. Smarter about leadership, about management, about measurement.

How much is smarter worth?

In my experience, smarter is almost always a bargain, something you can buy for a lot less than it's worth.

 

A Few Words About That Ten-Million-Dollar Serial Comma

The New Yorker's Culture Desk:

Nothing, but nothing—profanity, transgender pronouns, apostrophe abuse—excites the passion of grammar geeks more than the serial, or Oxford, comma. People love it or hate it, and they are equally ferocious on both sides of the debate. Individual publications have guidelines that sink deep into the psyches of editors and writers. The Times, like most newspapers, does without the serial comma. At The New Yorker, it is a copy editor’s duty to deploy the serial comma, along with lots of other lip-smacking bits of punctuation, as a bulwark against barbarianism.

While advocates of the serial comma are happy for the truck drivers’ victory, it was actually the lack of said comma that won the day. Here are the facts of the case, for those who may have been pinned under a semicolon. According to Maine state law, workers are not entitled to overtime pay for the following activities: “The canning, processing, preserving, freezing, drying, marketing, storing, packing for shipment or distribution of: (1) Agricultural produce; (2) Meat and fish products; and (3) Perishable foods.”

The issue is that, without a comma after “shipment,” the “packing for shipment or distribution” is a single activity. Truck drivers do not pack food, either for shipment or for distribution; they drive trucks and deliver it. Therefore, these exemptions do not apply to drivers, and Oakhurst Dairy owes them some ten million dollars.

 

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Antonio Ortiz

Antonio Ortiz has always been an autodidact with an eclectic array of interests. Fascinated with technology, advertising and culture he has forged a career that combines them all. In 1991 Antonio developed one of the very first websites to market the arts. It was text based, only available to computer scientists, and increased attendance to the Rutgers Arts Center where he had truly begun his professional career. Since then Antonio has been an early adopter and innovator merging technology and marketing with his passion for art, culture and entertainment. For a more in-depth look at those passions, visit SmarterCreativity.com.

Time To Fix Patents

The Economist on innovation

Patents are supposed to spread knowledge, by obliging holders to lay out their innovation for all to see; they often fail, because patent-lawyers are masters of obfuscation. Instead, the system has created a parasitic ecology of trolls and defensive patent-holders, who aim to block innovation, or at least to stand in its way unless they can grab a share of the spoils. An early study found that newcomers to the semiconductor business had to buy licences from incumbents for as much as $200m. Patents should spur bursts of innovation; instead, they are used to lock in incumbents’ advantages.
The patent system is expensive. A decade-old study reckons that in 2005, without the temporary monopoly patents bestow, America might have saved three-quarters of its $210 billion bill for prescription drugs. The expense would be worth it if patents brought innovation and prosperity. They don’t.
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Antonio Ortiz

Antonio Ortiz has always been an autodidact with an eclectic array of interests. Fascinated with technology, advertising and culture he has forged a career that combines them all. In 1991 Antonio developed one of the very first websites to market the arts. It was text based, only available to computer scientists, and increased attendance to the Rutgers Arts Center where he had truly begun his professional career. Since then Antonio has been an early adopter and innovator merging technology and marketing with his passion for art, culture and entertainment. For a more in-depth look at those passions, visit SmarterCreativity.com.

The Man Who Broke the Music Business

One Saturday in 1994, Bennie Lydell Glover, a temporary employee at the PolyGram compact-disk manufacturing plant in Kings Mountain, North Carolina, went to a party at the house of a co-worker. He was angling for a permanent position, and the party was a chance to network with his managers. Late in the evening, the host put on music to get people dancing. Glover, a fixture at clubs in Charlotte, an hour away, had never heard any of the songs before, even though many of them were by artists whose work he enjoyed.
Later, Glover realized that the host had been d.j.’ing with music that had been smuggled out of the plant. He was surprised. Plant policy required all permanent employees to sign a “No Theft Tolerated” agreement. He knew that the plant managers were concerned about leaking, and he’d heard of employees being arrested for embezzling inventory. But at the party, even in front of the supervisors, it seemed clear that the disks had been getting out. In time, Glover became aware of a far-reaching underground trade in pre-release disks. “We’d run them in the plant in the week, and they’d have them in the flea markets on the weekend,” he said. “It was a real leaky plant.”

And that's how Stephen Witt's The New Yorker profile of Glover begins. Then it goes on to describe how Glover became the source of much of the music downloaded by the masses via Napster in the nineties. The article was the precursor to Witt's book How Music Got Free: The End of an Industry, the Turn of the Century, and the Patient Zero of Piracy.

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Antonio Ortiz

Antonio Ortiz has always been an autodidact with an eclectic array of interests. Fascinated with technology, advertising and culture he has forged a career that combines them all. In 1991 Antonio developed one of the very first websites to market the arts. It was text based, only available to computer scientists, and increased attendance to the Rutgers Arts Center where he had truly begun his professional career. Since then Antonio has been an early adopter and innovator merging technology and marketing with his passion for art, culture and entertainment. For a more in-depth look at those passions, visit SmarterCreativity.com.

Google And The Right To Be Forgotten

Jeffrey Toobin, in The New Yorker, on the challenges of implementing the right to be forgotten law in Europe:

In 1998, a Spanish newspaper called La Vanguardia published two small notices stating that certain property owned by a lawyer named Mario Costeja González was going to be auctioned to pay off his debts. Costeja cleared up the financial difficulties, but the newspaper records continued to surface whenever anyone Googled his name. In 2010, Costeja went to Spanish authorities to demand that the newspaper remove the items from its Web site and that Google remove the links from searches for his name. The Spanish Data Protection Agency, which is the local representative of a Continent-wide network of computer-privacy regulators, denied the claim against La Vanguardia but granted the claim against Google. This spring, the European Court of Justice, which operates as a kind of Supreme Court for the twenty-eight members of the European Union, affirmed the Spanish agency’s decisions. La Vanguardia could leave the Costeja items up on its Web site, but Google was prohibited from linking to them on any searches relating to Costeja’s name. The Court went on to say, in a broadly worded directive, that all individuals in the countries within its jurisdiction had the right to prohibit Google from linking to items that were “inadequate, irrelevant or no longer relevant, or excessive in relation to the purposes for which they were processed and in the light of the time that has elapsed.”
The consequences of the Court’s decision are just beginning to be understood. Google has fielded about a hundred and twenty thousand requests for deletions and granted roughly half of them. Other search engines that provide service in Europe, like Microsoft’s Bing, have set up similar systems. Public reaction to the decision, especially in the United States and Great Britain, has been largely critical. An editorial in the New York Times declared that it “could undermine press freedoms and freedom of speech.” The risk, according to the Times and others, is that aggrieved individuals could use the decision to hide or suppress information of public importance, including links about elected officials. A recent report by a committee of the House of Lords called the decision “misguided in principle and unworkable in practice.”
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Antonio Ortiz

Antonio Ortiz has always been an autodidact with an eclectic array of interests. Fascinated with technology, advertising and culture he has forged a career that combines them all. In 1991 Antonio developed one of the very first websites to market the arts. It was text based, only available to computer scientists, and increased attendance to the Rutgers Arts Center where he had truly begun his professional career. Since then Antonio has been an early adopter and innovator merging technology and marketing with his passion for art, culture and entertainment. For a more in-depth look at those passions, visit SmarterCreativity.com.