Colleagues and I have a new paper on GDPR whose abstract has prompted a little Twitter heat. I’ll add my perspective, consisting mostly of cool water. 1/n @JanssenReb@reinholdkesler Michael Kummer nber.org/papers/w30028
GDPR aims to improve privacy in various ways, some of which are costly to app developers. As a result, GDPR induced a large number of apps to exit rather than face the costs of coming into compliance.
This exit spike is probably good news all around. The exiting apps had very little usage and, on top of that, were not compliant with privacy regulation. An extinction event, but for intrusive creatures.
Far more important for consumers, in the long run, is GDPR’s effect on app entry. To understand the possible effect of depressing entry, it’s important to step back to think about how innovation works.
Apps are “nobody knows anything” products. As with creative products and many others, it is very hard to predict which newly launched apps will eventually find favor with consumers.
In such contexts, society better finds more “winners” (valuable products) – along with a bunch of additional “losers” – when producers are able to take more draws from the innovative urn (i.e. when more new products enter).
Using this perspective in a 2018 paper, Luis Aguiar (@luisaguiarw) and I quantified the benefit of a digitization-fueled tripling in new music entry, finding that the welfare benefit is an order of magnitude larger than the standard “long tail” measures.
Back to GDPR: by reducing the number of new products entering, GDPR is like “digitization in reverse.” The number of new entering apps falls by roughly half, and – this is the important part – the number of new apps eventually garnering large numbers of users falls similarly.
It’s almost as if app success were entirely unpredictable. As a result, we calculate the long run effect of GDPR to be a substantial negative hit to the well being of app users in the conventional economic sense (consumer surplus).
Does this mean that GDPR is bad? No: Answering that question requires a quantification of GDPR’s benefits. Our point is just that, whatever the benefits of GDPR’s pro-privacy provisions, they come at a cost in foregone innovation. n/n
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Powerful platforms – and the possibility of bias - are on everyone’s mind these days. For example, Google got in hot water for favoring its own properties in search. How about bias at Spotify? 1/n
While not a GAFAM, Spotify is a powerful music industry platform, and there are reasons to wonder whether its playlist rankings favor songs on the major record labels holding substantial Spotify ownership stakes.
It's well-known that covid-19 has caused streaming video use to skyrocket. This is understandable: People have time on their hands, and they can use a diversion. cnn.com/2020/03/19/tec…
What about music listening? Research documents that music reduces stress, and maybe we should expect music listening to rise in hard-hit countries. blogs.psychcentral.com/nlp/2015/04/5-…
So, what's happening to music streaming as covid-19 cases and deaths mount? To look at this, we can compare this year's streams to the same day last year. Spotify music streaming has fallen off in Italy:
@ReimersImke and I are happy to share a new working paper comparing the welfare benefit of traditional vs digital sources of pre-purchase information. 1/n
The backdrop: Digitization has delivered tons of beneficial new creative products. Pre-purchase guidance, traditionally from professional reviewers, is useful with these experience goods. But the flood of new products strains reviewers’ capacity.
2/n
The good news: Digitization has also spawned crowd-based rating systems providing pre-purchase information on all products. How does the benefit from these new information sources – chiefly Amazon star ratings – compare with the benefit from traditional reviewers?
3/n
Here's a thread about my new paper asking how the inclusion of cuisine affects global patterns of cultural trade. Answer: a lot.
1/7
The US is viewed as a cultural imperialist, particular by European regulators, who protect and subsidize their domestic music and movie industries. Regulators’ fears have some basis in reality, as Hollywood accounts for the vast majority of world movie revenue. 2/7
As important as music and movies are, they are small potatoes compared with spending on another cultural product, cuisine, whose status as a cultural product is confirmed by UNESCO’s classification of French, Japanese, and Mexican cuisine as “intangible cultural assets.” 3/7