CLink - Janos

Hello everyone!
My name is Janos Farkas, founder, and CEO of CLink Media, Inc. We have created a novel content link, CLink that we describe as “Content Link beyond hyperlink” (See topics). One of the unique features of CLink that it is linked to a registry. This is part of our effort to create a global, publicly accessible - human and machine readable - registry for web content that could be used to determine the attribution and the associated rights.

We posted an article Does the Blogosphere Need a Registry?

Feel free to reach out with any questions or inputs you may have.


He Janos, thanks for sharing this. Many initiatives around this topic popped up (also due to the hype of blockchain in the entertainment and media space). Looking at the license example on your website and the registry you offer: why not reuse building blocks already used on a global scale / adopted by many? I am thinking out loud here but ISNI to identify a person, CC for licensing (or similar ones where you can revoke rights), Wikidata as the centralized registry etc. Just a thought. Keep up the good work.

Hi Hessel, thank you for your response. Our registry is designed to be able to share existing building blocks, it is architected to accommodate the majority of existing identifiers for creations, rights, transactions or persons/entities (ISNI, ISRC, ISWC, DOI, EIDR, DDEX, ONIX, ISSN, etc.) and future identifiers regardless if those are traditional or blockchain based. This is one of its differentiating features; it is using the reference model of the Linked Content Coalition.

Being this said the majority of the existing identifiers (e.g. ISNI) charges a fee, which could be cost inhibitive for the users. We wanted to make our system free for personal, non-commercial use. The internet has provided free tools to publish content, in the meantime it has not provided free tools to claim attribution (credit) for content creators. We find this absurd.

Wikipedia is an encyclopedia of articles with a different purpose than a registry. The goal of the registry to track the information on the creations (meta data) and rights, so the attribution (credit) and monetary transactions can be efficiently facilitated. Here is a link for a video with helpful explanations from DDEX (our platform is designed to be interoperable with).

As far as licenses, we felt that those should be programmatic with the ability to be specific to the creations and parties. The technology exists today, we can keep the transactions within legal standards and customized as needed. On the other hand - since the system designed to be programmatic - it can apply licenses when customization is not needed or dedicate the creation to the public domain. In the meantime, it still can handle the attributions.

Was I able to address your feedback? Please, share your thoughts.

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He Janos, You did and you also addressed the issue of some of these standards not being free (as in money - ISNI - and as in freedom of choice - ISWC). The DDEX video (not your fault) has some flaws: all respected people from the music industry but not one who grew up as a digital native (so not addressing today’s consumer behavior) and my heart broke when I listened to that horrible stock music in the video. Who approved the final version? LOL. Thanks Janos.

Hi Hessel, how would you characterize todays consumer behavior and how different is that compared to what the people described in the video?

P.S. I am not affiliated with DDEX (neither my company) and have no insights on how the video was created.

Basically it comes down to 2 groups. The passive one absorbing content while doing 2 other things. The attention span is less than 10 sec before they swipe away or like it. Or it’s perceived as background music and there is no fandom or any relationship with the composer, lyricist, producer and performing artist. That’s not your typical audience willing to read the back of an album sleeve or research who the producer of the album was. To be honest, the concept of an album is a very old fashioned and somehow ridiculous idea theses days. Everything is digital, you can generate any format you want. Combine music with podcasts with video with audio stems with karaoke with interviews with interactive mashup apps. You can go creative as an artist. And what do most artists still talk about: “I am working on my new album release”. Interesting, right? I think I bought my last album more than 15 years ago.

The other more interesting one (growing) is the consumer who creates. TikTok, YouTube, podcast, Insta, Snapchat etc. They are digital natives, mobile comes first and for 4K 60FPS video a GoPro Hero or DJI Osmo is their weapon of choice. They use music to compliment their content but we have to grab their attention and persuade them to work with real (DIY) musicians and not the production libraries provided by the clever hardware/software companies targeting this audience. Not even mentioning the AI tools making more and more soulless music based on some keywords and analyzing video frames real time.

So although the heroes on camera for DDEX are very, very creditable they talk about a niche music industry losing ground. Should we stop the discussion about metadata? Absolutely not. But we have to realize that we only get a few seconds of attention from any producing entity. And “calling it sex” might not do the trick.

Hi Hessel, thank you for elaborating your thoughts. I see your points about the dramatic change on how users absorb music, the minimalist tendency in music related UI, the proliferation of digitally native content including DYI and the emergence of new technologies (like AI) in content creations.

From my point of view those trends underline the need to have a suitable infrastructure to support the attribution and monetary compensation of the creators. It is technically doable today. For example, taking the use case you described when a digital native (e.g. GoPro) video gets created and complemented by DYI music (with or without the use of AI technology) the licensing and payment arrangement could get processed (besides updating the metafiles) automatically when the video is created.

Exactly! So what’s really interesting from here on is to convince the video editing software people to participate. :+1:

Hi Hessel, I share your enthusiasm. :v: To make the concept work the video editing software needs to communicate with the meta and rights data (to be provided by the creators/rightsholders).