...Aspiring directors will be able to submit their idea for a short film at http://www.vimeo.com/nokia on a subject of their choice. Following a rigorous selection by a panel of judges, eight of the best submissions will be shortlisted for the semi-finals and their creators awarded a budget of 5,000 USD and two Nokia N8 smartphones to make their film. The winning film will be chosen by the panel of judges and will be screened at the Edinburgh International Film Festival in June 2011....
Thursday, March 31, 2011
Wednesday, March 30, 2011
Shared Story Worlds is a project created by Scott Walker.
Scott does not like typing in the third person, but he does enjoy exploring what he calls participatory entertainment, collaborative storytelling, and value co-creation. Anything that bridges audiences/fans/consumers with creatives is likely to spark his interest.
Scott has fueled his passion for participatory entertainment through his company, Brain Candy, LLC, which created the shared story world Runes of Gallidon. He is also an advocate of transmedia storytelling and a self-professed typing monkey.
Tuesday, March 29, 2011
Great Post from Gary Hayes: Navigating the World of Multi-Platform & Transmedia Rituals | PERSONALIZE MEDIA
This is AWESOME. I want to do this: Guy Hacks Times Square Video Screens With iPhone Video (Really. Watch this Vid.)
Excerpt from original post:
"...the TFI set out to create the new fund as a way of both funding new, interactive storytelling projects, and to produce and distribute them as a branded series of work "that will reach the audiences where they will have the most impact," Janson said.
The organization will accept submissions for the fund from April 4 through May 25. Grants will range from $50,000 to $100,000, though Janson said that TFI may be able to assist grantees with additional resources to ensure that they are able to complete and sustain their projects.
Janson said that there are no existing models for the kinds of projects the TFI is looking to fund. Ideally, she said, projects will have three "core elements": they will feature strong stories; they will be designed to bring in and welcome new audiences; and they will have the kind of impact that can "make real change in the human world...."
Data journalist and design whiz David McCandless’ Information is Beautiful blog is a treasure-trove of cool visualisations and mash-ups. His work has also been published in a bestselling book of the same name.
If someone, somewhere, is producing a great data visualisation or analysis, Nathan Yau’s blog will find it. Yau has an unerring ability to unearth the best data visualisations on the web. He also produces graphics, and is a regular poster to the Guardian Datastore Flickr group.
Canadian Patrick Cain is a ‘journalist who makes maps for the web’. Based in Toronto, Cain takes the city’s data and maps it – producing guides to everything from crime figures to World War I deaths and single parent families. A fan of open data, Cain has a record of demanding data from the city’s authorities using Freedom of Information laws.
If you’re looking for time series economic data – and a nifty way of creating a sophisticated, embeddable graphic – this is the place to come. Timetric updates thousands of datasets every day and provides an easy-to-use interface that makes it very simple to create your own.
Although a lot of the best data work is done in English, Paris-based OWNI is a collective of geeks and data freaks producing visualisations and apps that manage to be imaginative and innovative. The collective’s work on Wikileaks – which allowed people to interrogate the data – won a 2010 Online Journalism Award for General Excellence.
The Guardian and its Datablog publishes raw data behind the news every day, and encourages readers to visualise and work with it. The site publishes its data using Google spreadsheets and Google Fusion Tables, and allows readers to search thousands of government datasets around the world.
The big brains at Infochimps have come up with an innovative way to find, share and sell formatted data. Both users and the site’s own contributors collate and scrape datasets so that they’re easily accessible. With big plans for expansion and lots of intelligent developers onboard, it’s definitely one to watch.
This brand new site combines an innovative data search function with bright and imaginative visualisations. It also allows you to create your own, download them and put them in your PowerPoint presentation or company report.
It might be better known for its impact on the world of social media, but LinkedIn also has a hugely innovative approach to data. LinkedIn has made collating and using data a priority, with lead data scientists completely integrated into the commercial operation.
Governments around the globe are opening up their data, from data.gov in the US, via Australia, the UK, New Zealand and France. One of the best and most useful is the London Datastore. Created by the Greater London Authority, it publishes thousands of datasets with the emphasis on useful, live data, such as transport and economic numbers. Developers are using those figures to create interesting apps, such as Matthew Somerville’s live train map for the London Underground.More from this writer
"...Let’s imagine that next year is actually right now. So what does this present (formerly the future) look like?
- Each side recognizes each other as a partner – a critical partner – a partner that wants to inspire the other to the highest level of work and experience.
- Filmmakers recognize that completing their film is only half the work.
- They recognize that the other half of the job is both marketing their film and maintaining a dialogue with their audience.
- The filmmaker is taking responsibility for their work through the end (aka forever).
- They no longer entertain dreams of riches exchanged for rights.
- They no longer anticipate surrendering control of their film to distributors.
- The filmmaker now thinks of their ultimate creation as what will be their body of work. They no longer look at each movie as a stand-alone entity. They recognize it is all a continuum.
- They no longer see themselves contained with a single form of medium. They make long and short form work for different platforms and different audiences.
- They look at all their work as an ongoing dialogue with an evolving audience.
- The filmmaker has already established at least one platform from which to maintain an ongoing dialogue with their audience(s). This platform will be: Blogs and/or Social Networks. They maintain regular – daily or weekly – contact with their audience. They reward them, and visa versa...."
Read the full keynote on indieWire.com
Above is an excerpt from Ted Hope's "closing keynote address (as prepared and delivered to indieWIRE today) for the Arthouse Convergence, a gathering of exhibitors and others held this week in Salt Lake City prior to the Sundance Film Festival" on indieWire.
Read the full keynote for the most detailed breakdown of where we need to go.
Very Cool Site. Jeffrey Martin's 360º Panorama of the Strahov Library is the largest indoor Photo in the world as of March 2011.
"Martin’s panorama lets you examine the spines of the works in the Philosophical Hall’s 42,000 volumes, part of the monastery’s stunning collection of just about every important book available in central Europe at the end of the 18th century — more or less the sum total of human knowledge at the time."
Monday, March 28, 2011
Transmedia, Hollywood 2: Visual Culture and Design is a one-day public symposium exploring the role of transmedia franchises in today's entertainment industries. Transmedia, Hollywood 2 turns the spotlight on media creators, producers and executives and places them in critical dialogue with top researchers from across a wide spectrum of film, media and cultural studies to provide an interdisciplinary summit for the free interchange of insights about how transmedia works and what it means.
Co-hosted by Denise Mann and Henry Jenkins, from UCLA and USC, two of the most prominent film schools and media research centers in the nation, Transmedia, Hollywood 2 builds on the foundations established at last year's Transmedia, Hollywood: S/Telling the Story.
This year's topic: Transmedia, Hollywood: Visual Culture and Design will move from an abstract discussion of transmedia storytelling in all its permutations to a more concrete consideration of what is involved in designing for transmedia.
The symposium features a Worldbuilding panel moderated by event co-director Denise Mann, with an illustrious panel including 5D founder and renown production designer Rick Carter.
For more information:
Sunday, March 27, 2011
Excerpt from Liam Lacey's original article:
"...Lovebirds, a mix of animation and live action by Toronto company Starz Animation, is the showcase production of the Toronto-based 3D Film Innovation Consortium, a York University initiative that has brought academic researchers and filmmakers together to explore the burgeoning world of 3D filmmaking to achieve better results.
The movie, which unites new research into visual perception with the practical aspects of 3D filmmaking, is part of an attempt to boost the local film economy and improve the 3D viewing experience – with less nausea, eye strain and headaches.
The computer-generated animation portions were created by Starz (which did the 3D animation for the recent Disney feature Gnomeo and Juliet). The live action set was shot by York University professor Ali Kazimi using a LiDAR device (light detection and ranging, or laser radar) to create a 3D map of the set. The information was integrated into the software with the animated images to ensure accurate placement of the birds against the backdrop and to study depth perception..."
Saturday, March 26, 2011
Friday, March 25, 2011
From the site:
"About Think Quarterly
Like most companies, Google regularly communicates with our business customers via email newsletters, updates on our official blogs, and printed materials.
On this occasion, we've sent a short book about data, called Think Quarterly, to a small number of our UK partners and advertisers. You're now on the companion website, thinkquarterly.co.uk (also available at m.thinkquarterly.co.uk, if you're on the move).
We're flattered by the positive reaction but have no plans to start selling copies! Although Think Quarterly remains firmly aimed at Google's partners and advertisers, if you're interested in the subject of data then please feel free to read on..."
Navigating the World of Multi-Platform & Transmedia Rituals | Keynote From the Always Excellent Gary Hayes
Wednesday, March 23, 2011
That was quick: Four lines of code is all it takes for The New York Times’ paywall to come tumbling down » Nieman Journalism Lab » Pushing to the Future of Journalism
Excerpt from Joshua Benton's full article on niemanlab.org:
"... (Obligatory note: I think the Times is right to ask regular readers to pay, and I think their paywall is basically well designed. Me, I just became a print subscriber last week, using the Frank Rich Discount. Support your local journalist!)
And yet this workaround is so blindingly obvious to anyone who’s ever worked with code that it’s difficult to imagine it didn’t come up in the paywall planning process. The other major news paywalls — WSJ, FT, The Economist — don’t actually send the entire forbidden article to your browser, then try cover it up with a couple lines of easily reversible code. They just hit you with a message saying, in effect, “Sorry, pay up here” whenever you stray past the free zone.
And that leakiness is actually a defensible choice, I think, on the Times’ part. Imagine a Venn diagram with two circles. One represents all the people on the Internet who might be convinced to pay for nytimes.com. The other represents all the people on the Internet who (a) know how to install a bookmarklet or (b) have read a Cory Doctorow novel. Do you really see a big overlap between the two? If someone is absolutely certain to never pay for the NYT, then it makes sense to squeeze a little extra advertising revenue out of them on the rare occasions when a link sends them to nytimes.com...."
By SOHRAB VOSSOUGHI, originally post on fastdesign.com
Why empathy is a creative company’s most powerful tool.
[This post is a rebuttal to one previously written by Jens Martin Skibsted and Rasmus Bech Hansen, "User-Led Innovation Can't Create Breakthroughs; Just Ask Apple and Ikea." — Ed.]
User research has been a critical part of Ziba’s design process for more than 25 years, and we’re not alone. Long before the term User Centered Design (UCD) was coined in the 1980s, the world’s smartest companies have relied on insights gained from their customers to innovate....
Be the Target Market
Consider Zipcar. The world’s leading car-sharing service got its start 11 years ago in a Cambridge, MA cafe, when Antje Danielson described a concept she had seen in Berlin to fellow businesswoman Robin Chase. Chase recognized the opportunity immediately, because she was its target user. In 2003, she explained to the New York Times that there was “a huge demand for the service if it was positioned correctly--I knew because I was the market.”
The world is full of innovations that came from users...."
read the full post on fastdesign.com
If Councillor Giorgio Mammoliti gets his way, ferries full of sex-seekers will steam across the harbour to a Toronto Islands red light district.
Mammoliti has for years said Toronto should regulate and tax brothels, and made the establishment of a distinct prostitution zone a central plank in his aborted run for mayor last year.
Now part of Mayor Rob Ford’s inner circle, Mammoliti (Ward 7, York West) is renewing the push, along with the leafy islands as his top choice for location.
“It’s the political issue that nobody wants to touch,” Mammoliti, chair of the community development and recreation committee, said Tuesday after making his case in a radio interview...
...The sex zone, and hotels and other businesses it would draw, could put “hundreds of millions of dollars” in “sin taxes” into city coffers, he predicted. Get provincial permission for a casino on the islands and “we would have solved all of our problems at city hall without cutting and going crazy....”
Read the full article on Mammoliti's idiotic plan...
Tuesday, March 22, 2011
Norman Foster recreates Buckminster Fuller's Dymaxion Car from 30s| Metropolis POV | Metropolis Magazine
From the site:
"Chicago’s Empty Necklace
At the end of the 19th century plans were made to connect 7 major parks in Chicago with a network of 26 miles of boulevards. The boulevards and parks would wrap around the city creating a so-called Emerald Necklace. The plan was largely successful and is still visible from satellite photos today. But while the waterfront parkland and the parks along the necklace have been heavily invested in and used, the boulevards remain for the most part empty - 26 miles of uninterrupted empty.
In January 2011 Mas Studio announce a new competition that challenges designers to re-evaluate the Emerald Necklace and the boulevard system. In all likelihood the competition is to be flooded with proposals for continuous urban agriculture, looped tramlines, landscape urbanism post-city deconstructions, and renewable energy farms. DoUC also throw their hat in the ring...."
Read Christina Warren's full post on mashable.com:
"...Last year, Tribeca tested the digital waters by offering access to some of its films via digital platforms including the web and video on demand. For a set fee, users could get an all-access pass to various Tribeca features and shorts. Tribeca’s chief creative officer, Geoffrey Gilmore, tells us that the initiative didn’t go far enough. To really help rethink and redefine what an online film festival is required a different approach.
Rather than offering an “online pass,” users will be able to reserve free tickets for any of the six feature films that will be offered online via the new Tribeca (Online) Streaming Room. Films will have three to five screening windows and the number of “seats” per window will be limited — just like at the regular festival. Users can reserve a seat virtually at TribecaOnline.com. American Express card members can start reserving seats on April 12 and the general public will get access on April 18.
Each window lasts 24 hours, meaning the user has the freedom to tune in to the film at the time that best suits their needs. Films can be viewed in a web browser or on the iPhone or iPad. Tribeca is using HTTP adaptive streaming, which means that the better quality the connection, the better the stream will look on an iPhone or iPad...."
...LinkedIn, which launched in 2003, says that it is now being used in over 200 countries, with more than half of its users originating from outside the U.S. To be exact, the U.S. has 44 million LinkedIn members, and there are 56 million members outside of the U.S. Brazil is seeing the highest growth rate, with new user adoption rising 428 percent year-over-year. Mexico is also seeing major growth, with membership growing by 178 percent year-over-year...
Sunday, March 20, 2011
Saturday, March 19, 2011
Social networking sites are more popular with UK internet users than pornographic ones, according to new figures from Experian Hitwise.
The internet research company says that in January sites like Facebook accounted for 12.46% of all online traffic.
That's the equivalent of 2.4 billion hits or one eighth of all web visits.
In comparison entertainment websites, including pornographic ones, accounted for 12.18% of traffic.
March 17, 2011
The Socialistic Interview: Yury Lifshits on the Importance of Facebook “Likes”
The effects of social media on user engagement with news sites have become undeniable: Facebook and Twitter (and Reddit and Digg and many others…) have become major drivers of traffic for pretty much all content sites. So it’s become increasingly necessary to figure out what kinds of stories result in a flood of sharing and engagement, and which ones don’t.
A recent study by researcher Yury Lifshits, under the auspices of Yahoo Labs, looked at Facebook “like” stats for over 100,000 news articles published over three months, seeking to divine insights about the stickiness of content in social media. Socialistic caught up with Lifshits recently to talk about his findings, and what they might mean for content sites as well as social media marketers.
What were some of the key findings from your study of how “likes” affect traffic to online news sites? What are some of the major lessons for content creators?
I can not give well grounded advice here, as I only know the number of likes, not referral statistics from Facebook and Twitter. The feeling is that social referrals become a significant source of traffic. They may be around 1% for now, but can go to 10% or more. Social referrals play a bigger role than it might appear. Epidemic coverage on Twitter initiates secondary coverage in media and blogs. Without Twitter there will be much less of that. Clicks from various social clients are not always attributed back to social networks.
Lesson #1: measure your success in social networks. Lesson #2: work to improve your social success. Lesson #3: use social feedback to adjust your editorial policy. Focus more on subjects and forms that readers like most. But of course, you should preserve your voice and integrity.
Read the full interview on socialistic.com
Excerpt from Steven Rosenbaum's article on mashable.com
"...We don’t have an information shortage; we have an attention shortage,” Seth Godin said. “There’s always someone who’s going to supply you with information that you’re going to curate. The Guggenheim doesn’t have a shortage of art. They don’t pay you to hang paintings for a show — in fact you have to pay for the insurance. Why? Because the Guggenheim is doing a service to the person who’s in the museum and the artist who’s being displayed.”
As Godin sees it, power is shifting from content makers to content curators: “If we live in a world where information drives what we do, the information we get becomes the most important thing. The person who chooses that information has power....”
A timely piece as this is exactly! what I'm writing about today in the context of interactive documentaries. I'll be posting that later...
Read Rosenbaum's full article:
Microsoft Sites Jumps to Second Place in Video Content Ranking
RESTON, Va., March 17, 2011 /PRNewswire/ — comScore, Inc. (SCOR: 27.01 +0.62 +2.35%), a leader in measuring the digital world, today released data from the comScore Video Metrix service showing that 170 million U.S. Internet users watched online video content in February for an average of 13.6 hours per viewer. The total U.S. Internet audience engaged in more than 5.0 billion viewing sessions during the course of the month.
Top 10 Video Content Properties by Unique Viewers
Google Sites, driven primarily by video viewing at YouTube.com, ranked as the top online video content property in February with 141.1 million unique viewers. Microsoft Sites captured the #2 ranking (up from #7) with 48.8 million viewers, followed by Yahoo! Sites with 46.7 million viewers. Facebook.com came in fourth with nearly 46.7 million viewers, while VEVO ranked fifth with 45.9 million viewers. Google Sites had the highest number of viewing sessions with 1.8 billion, and average time spent per viewer at 262 minutes, or 4.4 hours.
Top U.S. Online Video Properties by Video Content Views
Ranked by Unique Video Viewers
Total U.S. – Home/Work/University Locations
Source: comScore Video Metrix
Total Unique Viewers (000)
Viewing Sessions (000)
Minutes per Viewer
Total Internet : Total Audience
*Facebook.com experienced a positive step-change in its data this month due to the inclusion of an additional video serving location that was not previously credited to Facebook.
Top 10 Video Ad Properties by Video Ads Viewed
Americans viewed 3.8 billion video ads in February, with Hulu generating the highest number of video ad impressions at more than 1.1 billion. Tremor Media Video Network ranked second overall (and highest among video ad networks) with 548.3 million ad views, followed by ADAP.TV (396 million) and SpotXchange Video Ad Network (343 million). Time spent watching videos ads totaled 1.7 billion minutes during the month, with Hulu delivering the highest duration of video ads at 454 million minutes. Video ads reached 42 percent of the total U.S. population an average of 30 times during the month. Hulu also delivered the highest frequency of video ads to its viewers with an average of 48 over the course of the month.
Top U.S. Online Video Properties by Video Ads* Viewed
Ranked by Video Ads Viewed
Total U.S. – Home/Work/University Locations
Source: comScore Video Metrix
Video Ads (000)
Total Ad Minutes (MM)
Frequency (Ads per Viewer)
% Reach Total U.S. Population
Total Internet : Total Audience
Tremor Media Video Network**
SpotXchange Video Ad Network**
BrightRoll Video Network** +
*Video ads include streaming-video advertising only and do not include other types of video monetization, such as overlays, branded players, matching banner ads, homepage ads, etc.
**Indicates video ad network
+BrightRoll Video Network reported an internal tagging error that led to a potential undercounting of their videos.
Other notable findings from February 2011 include:
- The top video ad networks in terms of their potential reach of the total U.S. population were: Tremor Media at 46.3 percent, BrightRoll Video Network at 37.3 percent and Break Media at 36.8 percent.
- 82.5 percent of the U.S. Internet audience viewed online video.
- The duration of the average online content video was 5.1 minutes, while the average online video ad was 0.4 minutes.
- Video ads accounted for 12.4 percent of all videos viewed and 1.2 percent of all minutes spent viewing video online.
comScore, Inc. (SCOR: 27.01 +0.62 +2.35%) is a global leader in measuring the digital world and preferred source of digital business analytics. For more information, please visit www.comscore.com/companyinfo.
SOURCE comScore, Inc.
Excerpt from original article by Carlye Adler:
"Ivan Wong struggled with his camera strap. It would whip through the air when he turned his lens, occasionally flapping into the frame and destroying the composition. It’s a common issue, but for Wong it was more than an annoyance—as a professional sports photographer, he depended on his ability to capture the perfect moment. A wayward strap could kill an entire assignment. Wong talked to some fellow photographers—his brother, Ben, and his friend Anne Bui, a product developer at Fox Racing. They agreed it was a problem. So they did what any modern maker would: They designed their own solution. The idea was to connect the strap to one point on the bottom of the camera—the threaded tripod mount—instead of two points on the top. That should keep the strap out of the shot and reduce tangling. They grabbed some nuts and bolts from a local workshop and hit Ivan and Ben’s parents’ garage. Their prototype wasn’t pretty, but it worked. They called it the C-Loop and began to think it might have commercial potential.
The team had some manufacturing experience, but they had no idea how to bring a product to market. And money? They didn’t have that either, and it would cost $15,000 to produce a minimum run of 500 C-Loops. They considered pooling their savings (including Ben’s college money) and taking out a loan, but nobody relished that idea.
Then they found Kickstarter, a website where people post descriptions of their projects and anyone can chip in to help fund them. Ben had discovered the site after hearing about a couple of guys who wanted to manufacture a tripod mount for the iPhone 4. Ivan pledged $20—in effect preordering one of the gizmos. “I thought, that could be us,” Ivan says. Using Kickstarter was an appealingly offbeat approach, and there was no risk. Even if they couldn’t raise the full amount, they’d build a following and win some free publicity...."
Read the excellent long article on Wired.com
A compendium and leading web resource of film and television title design from around the world. We honor the artists who design excellent title sequences. We discuss and display their work with a desire to foster more of it, via stills and video links, interviews, creator notes, and user comments.
Featuring opening title design for film and television from Croatia, New Zealand, Serbia, Russia, the United States, Brazil, England, France, India, Japan, Italy, Chile, Mexico, Yugoslavia and Egypt.
Ian Albinson Editor-in-chief | Founder
Alexander Ulloa Head Writer
Angel Tagudin Contributing Author
I'm agreeing with MG Siegler here:
"...Netflix has confirmed that they intend to pay for House of Cards a new show being produced by David Fincher (yes, he of Fight Club, The Social Network, etc) and starring Kevin Spacey (yes, he of The Usual Suspects, American Beauty, etc). Netflix is not paying for the full production of it, but instead they’re paying for the first-rights access to air it. In other words, they get the first “window” to show it to viewers.
And while the company is saying that this isn’t a shift in strategy, it could end up being potentially much more than that.
Up until now, Netflix has not had content in this first window. Instead, they’ve focused on the second or third or even fourth window. That is, they’ve shown content after it’s in theaters or on television for its initial run. And sometimes they don’t get content until after it’s been in theaters and then on television for quite some time. This catalog of content has been the service’s bread and butter.
But with House of Cards, the game changes. For the first time, they’re going to get people signing up to Netflix to get first access to content...."
Read Siegler's full post on TechCrunch.com
A Modest Proposal: Make an awesome web series. Then get people to pay for it. Hugh Hancock weighs in
"...I haven’t really checked up on the Rooster Teeth model, but to expand on what I was thinking of-
Let’s say you have show that puts out a 30 minute episode every other Monday- an episode every two weeks. You make it available for free- but you only get it in 5-minute chunks on a couple of days a week. Monday and Thursday, say.
Over the two week period between the release of one 30 minute show and the release of the next 30 minutes, you give away 20 free minutes- giving you a backlog of 10 minutes for freeviewers.
In the next two-week cycle, you produce another 30 minutes and you screen another 20 minutes for free.
You’re up to a 20 minute backlog.
Over two months you end up with (4x30min episodes=120mins of content) and (8x5mins freeview=40mins of freeview), leaving an 80 minute backlog of content to lure new paying customers.
Potential customers get to see your show in a cut-down trickle, while actual customers get it in it’s full glory- and all your site content is trumpeting what’s in the new show, and how big the archives are, and which are the most popular episodes (which may or may not be available to freeviewers, as they might be in the backlog limbo).
For sure, people might rip the content and torrent it, or dump it onto YouTube, or otherwise try to work around your distribution- that’s almost a given in the internet environment, though. The thing is, customers won’t have to torrent the files, or suffer the YouTube cuts- they can watch the show in bite-size chunks on your site for free, or subscribe and get it in more meaty portions.
Wait, that didn’t come out right. Anyway.
It’s a model that makes it convenient for content grazers, who just drop in twice a week to watch 5 minutes of programming. It’s convenient for new subscribers, who get access to that backlog and can binge. If it’s backed up by a solid community and extras (podcasts can be quick and easy to produce, commentary and behind-the-scenes content can be similar, shooting scripts and animatics can be shown, outtakes and cut scenes and whatnot), it’s a good investment for ongoing subscribers.
As an aside, kill advertising for paying customers, or make it an option (an upgraded account of some kind). They’ve paid you already- give them the content, not banners and those stupid video inserts that try and sell a car before watching a man get kicked in the dick on YouTube...."
Friday, March 18, 2011
From Wired UK:
"John Graham-Cumming is rebooting Babbage's Analytical Engine -- with its 1.7kB of memory.
Name: John Graham-Cumming
Occupation: Programmer and 3D modeller
Why he's important: He's building a missing part in the history of the PC
With more than 40,000 moving parts and at nearly five metres long, Charles Babbage's steam-powered Analytical Engine is regarded as one of the earliest examples of a programmable computer. Yet remarkably, since the British mathematician first described it in 1837, the machine has never been fully built -- the only existing part is its printing mechanism, pictured above..."
read the full post on WiredUK
From TechCrunch original post:
"So what is Gobbler? First it’s desktop software that keeps your media projects organized. Gobbler will locate all of your projects across your various internal and external hard drives, and then keep track of them. Even when you disconnect that external drive, Gobbler knows the project is there and keeps showing it in the file system. That alone makes Gobbler incredibly useful for people who keep grabbing new hard drives to store their terabytes of photo, video and audio projects. Do you even know where all your photos are? I don’t. A lot of them used to be on Flickr, but my pro account lapsed and Yahoo is holding them hostage until I pay up. But that’s another story.
Second, Gobbler will back up your projects to their cloud, powered by Amazon Web Services. And it’s also hyper intelligent. When a new version of a project is created, for example, Gobbler knows it only has to upload, and restore, the tiny number of files that were changed. In a multi-gigabyte project (as we regularly see for TechCrunch video projects), that’s a really big deal.
Finally, Gobbler lets people collaborate on project much more easily than before. FTP just isn’t a good solution for sending 5 gigabytes back and forth. It and other online solutions are so cumbersome that people often just fedex actual hard drives. It’s easier, and quicker...."
From the TechCrunch original post:
"At age 15, most normal people are going to high school, learning to drive, not listening to their parents, and doing things that they’ll later tell their kids not to do. Josh Buckley is not a normal teenager. At 15, he was selling his first company for just over six figures.
Today, the 18-year-old entrepreneur and angel investor has partnered with 17-year-old engineer Tyler Diaz to co-found MinoMonsters, a social game in which players collect and battle pet monsters....
....As for the game: MinoMonsters is basically what Pokemon would look like if it were started today. The company that Buckley sold when he was 15, Menewsha, was an online community that produced customizable avatars. MinoMonsters’ impressive graphics owe their style both to Buckley’s prior work with avatar animations as well as the renderings of Pokemon and Japanese anime...."
by Haydn Shaughnessy
"...The new naturalism is marked by a hard nosed interpretation of events, shorn of easy dreams. New naturalists draw on the natural world of ecosystems to explain the institutional world around them. They see decay and decline as well as growth and they are at ease with negatives because decline of some form is ‘natural’. To the new naturalist ideas, institutions, companies and people decline decay and die. And that’s all right.
Do the new naturalists belong to the creative class? No. Richard Florida’s creative class is a demographic with a broadly based skill-set where the new naturalist has a distinct frame of mind.
For those in the crocus revolution however the objective is to sidestep institutional decline and to aim for personal betterment. They will ally with other revolutionaries to achieve that. Therefore the recession has led to an uptick in websites where people help each other to access bargains and deals (and that’s why Groupon has been such a hit) or to share rides or even to share their car or to cook a meal or to lease out a spare room or let backpackers take the couch...".
read the full article on Forbes.com