Categories
AV Related Interactive Media

Current.TV and an ‘expansion of the pie’

From “Q&A With Current TV Futurist Robin Sloan” (Robin was one of the duo behind EPIC2014).

How has the increased popularity of video affected Current? Do more people contribute to Current?

Well, Current was ahead of the curve on Internet video, so really it just means now there’s more competition for both viewers and producers. A lot more competition.That said, Current is really looking for a different breed of contributor than other sites. Most of them are about exactly what Current isn’t: music videos, titillation, geysers of Coke and Mentos. Our standards are higher. So in many ways the rise of YouTube and its ilk is complementary, not competitive, to what we’re doing.

I mean, bottom line, the more people producing video and strengthening that set of skills the better.

Categories
Interactive Media

Flash periodic table

This is a really neat Flash-based visualisation of the periodic table of elements – Popsci Periodic Table (via Core77)

It looks like quite a few elements have been added since I did chemistry!

Being slightly critical I do wonder why they didn’t do this with layers/DHTML.

Categories
Interactive Media Web 2.0

Content management systems and museums

Eric, ex-Walker Art Center points to this interesting piece called Redefining content management by Keith Robinson from Vitamin.

Eric built custom systems for the Walker and in my discussions with museums around Australia a common question is “hey, why doesn’t the Powerhouse Museum use a content management system?”. I always answer this by saying we do have content management systems (plural), but that for the collection content it made more sense to use our collection management system for that area of content and blogging engines in other parts. This gives us flexibility and a sense of ‘fit for purpose’ that, from our experience with other large scale projects, a proprietary content management system never can give. Just think if all those ‘installation and customisation’ fees were spent in-house on building in-house development, programming and support skills?

Now, as Keith Robinson points out, developers now can call upon powerful but easy to use developlment frameworks to build customised solutions rather than try for the impossible catch-all out-of-the-box solution.

. . . the case could be made for always building a custom solution (not necessarily a CMS) to suit the needs of the particular content, people and processes your working with.

It sounds daunting, but this is where I think the true promise of a technical content management solution lies. With frameworks like Django, CakePHP, Ruby on Rails and the like we can create custom solutions and construct custom systems that are extendable and much more flexible than most of what’s available today.

I don’t want to trivialize the development of these solutions. Building a custom CMS from scratch, for example, would be very difficult. However, it’s important to note the current costs and effort involved with most pre-built CMSs out there. They’re usually really expensive and already requires tons of work to implement in most cases. It’s going to cost you regardless. Doesn’t it make sense to put that money, time and effort into a true custom solution?

I think so. I mean, yes, you’d need specialized resources for development, but it seems as if you need those most times anyway. I know I’d rather offer my clients resources working toward a custom solution than learning yet another proprietary system.

So you could look at a development framework, as opposed to a canned system. That way instead of “hacking” you could “develop.”

Also with a framework, you can extend beyond Web publishing and build specific tools to help the process. An interactive editorial calendar comes to mind, or brainstorming tools. Of course, if you avoid the “one CMS as as a product” mentality, you could probably find lots of smaller, more specific, products that when pulled together are much more enabling than any bloated, proprietary CMS full of features your people will never actually use.

Categories
Copyright/OCL Interactive Media Social networking

Copyright issues of the digital era hits Second Life

It was bound to happen.

Nick Carr posts about a fascinating development in SecondLife.

Apparently a SL user has created a tool that allows for direct replication of SL objects from within the game. Where many real people and organisations have started to make money from selling unique objects (themselves often virtual copies of real life objects), this new tool allows anyone to replicate, exactly, these virtual objects – in an instant turning the economy based on selling objects into one of endless abundance rather that scarcity, upside down.

As an irate Caliandras Pendragon writes at Second Life Insider, “Those people who are living the dream that is promoted in every article, of earning a RL [real life] income from SL creations, are now living a nightmare in which their source of income may soon be worthless. That’s not to speak of big commercial companies who have paid anything up to 1,000,000 dollars to have their product reproduced in loving detail, who will discover that every Tom, Dick or Harriet may rip off their creation for nothing – and then sell it as their own … If someone wanted to destroy the economy of SL I don’t think they could have found a better way.”

The furor took an ugly turn late last night when, according to the Second Life Herald, a “seething mob” surrounded a CopyBot operation run by Second Life resident GeForce Go. The mob shouted that Go was “ruining their Second Life.” Fearing for her safety, Go closed down her shop and sold her land. In a subsequent “tumultous meeting with dozens of angry and fearful residents all talking at once,” Second Life official Robin Linden “sought to allay fears of any further concern about mass copyright violations.”

Now officially banned by Linden Lab, the company that operates Second Life, CopyBot was, according to reporter Adam Reuters of Reuters’ Second Life bureau, “originally created by libsecondlife, a Linden Lab-supported open source project to reverse engineer the Second Life software … Amid increasing criticism, the group moved to pull the Copybot source code, but on Monday evening Copybot was put up for sale on the online marketplace SLExchange, raising the prospect that it could become widespread.” The resident who is selling the bot, Prim Revolution, demonstrated the machine’s ability by making a precise clone of Adam Reuters himself. Revolution defended the use of CopyBot, saying, “I think the idea of clones and bots is very cool, and I’ll be adding more new features for things like automated go-go dancers at clubs.”

Categories
Interactive Media Web 2.0

Riya’s new visual search

Riya, a serious contender to Flickr with face recognition, has just launched their Like: Visual Search. Now whilst this is currently limited to browsing accessories worn by celebrities, the implications for this sort of engine and museum collections is obvious. Have a play and you will be excited.

Categories
Interactive Media Social networking

Critical cultural history of the iPod

A fantastic think piece on the iPod from Alternet (via the inimitable kPunk) and the impact of portable audio which has interesting ripple effects for how our audiences increasingly expect to be able to engage with our content – on their terms, in their space, right now.

Some quotes of particular relevance to museums.

It is impossible to make sense of the contemporary culture industry without putting the iPod center stage. Even those music lovers who have no interest in using one, either because they are unsatisfied with its limited fidelity or because they aren’t interested in mobility, must confront the fact that the choices available to them are constrained by the iPod’s influence on the market. Indeed, the very existence of traditional audiophiles is threatened, since the criteria they use for rating both equipment and recording are no longer a high priority for most listeners. Frequency response, the accuracy of microphones, the virtuosity of musicians — the bread and butter of “serious” music magazines from the late 1940s until the popularization of the MP3 format — have become secondary or tertiary considerations in a context where the most important thing is not how good the music sounds, but how readily it is available to you.

In the various workshops and papers I’ve been doing around the country recently I’ve been talking a lot about the atomisation of content – the freeing up of content from pre-built packages – allowing users/audiences to assemble and reconstruct narratives in their own ways. One of the side effects of atomisation is the loss of an authoritative narrative (the voice of the curator) who would have previously assembled a structured path through a collection for an audience. I usually use the example of music now being consumed as tracks rather than albums – albums being the signature of ‘serious’ rock music. Notice that I say ‘tracks’ and not ‘singles’. If you look at the patterns of music consumption now it is the audiences, consumers who are choosing their favourite tracks by an artist – rather than accepting the predictions of a record company who chooses what to put out as a single. Singles were always chosen by record company executives applying market logic to a musician’s output – what is going to be the ‘hit’? will the hit single help sell the ‘album’?

By building on a longstanding belief that music is tightly bound to identity — you are the music you hear — Apple was able to imbue the iPod with the aura of home itself. If the rumbling bass of an SUV blasting hip-hop breaks down the invisible walls that divvy up our personal space in the public sphere, the iPod does exactly the opposite, building new barriers between us. Music may “know no boundaries,” but the purpose of the iPod is to protect them. As anyone who has spent some time sitting in a Star-bucks can tell you, the customers who work there use iPods to minimize the possibility for social interaction.

Categories
Interactive Media Social networking Web 2.0

New Last.fm – Flash radio player

As a regular user of the fabulous Last.fm I hardly got excited when their latest update happened. Being a subscriber to the serivce I get to try out the beta versions of any changes so I get advance notice. Sure, you can now visually see how ‘close’ your taste in music is to other users and friends, but I’d skipped over the feature that everyone else seems to be gagging over – the Flash player for the personal radio feature.

The Flash player feature is a big deal mainly because it eliminates the need to download the Last.fm player application – although you’ll still need to install the Last.fm software or equivalent to ‘scrobble’ the music you play on your computer – which is essential to get the most out of Last.fm.

The Flash player means that you can effectively use Last.fm as your radio at work and just ‘tune’ in to anyone’s selection, or any artist’s similar/related music as a continuous stream. You can skip tracks, mark them as ‘loved’, tag them, or tell it ‘never to play that one again’. Being in Flash means that it gets around nasty things like browser incompatibilities, most corporate IT lockdowns and firewalls.

Also they have added location sensitive artist information – namely live shows. This will be an interesting path towards further monetising of the service as Last.fm will be aligning with ticketing agencies and resellers much in the same way they have signed up so many independent labels to stream their music.

If you are curious as to what music I listen to then you can tune to my personal radio now (from my account page) without needing to download anything!

Several other museum web folk are on Last.fm as well and we all have pretty diverse tastes – just browse through ‘friends’ and check them out – and listen to what they listen to!

Last.fm was a big driver for the museum’s team in applying personalisation and taste aggregation concepts to our collection database – possibly more so than other sites that might be more traditionally aligned with a museum.

Categories
Interactive Media Web 2.0

WordPress MU

Wordpress has finally released their multi-user version, WordPress MU. It is open source, like WordPress, and allows you to host stacks of blogs on the one box and manage users across them.

We are yet to consider moving to this version (despite now having 5 public blogs on our sites!) – mainly because of our current reliance on IIS/Windows – but those who have a little more flexibility with their chosen hosting platforms would be wise to consider moving to the multi-user version.

Categories
Digitisation Interactive Media

Computer game history

Fascinating archive project from venerable US gaming magazine Computer Gaming World puts archives of issue 1 (1981) through to 1992 online as PDFs. It has obviously been an enormous scanning and digitisation project.

This is a great trip down memory lane and is an insight into not only how games have developed, but also how computer game audiences and advertising has changed, along with criticism and review.

Issue 1 has an amusing piece of the future of gaming – will 16K of memory be enough?

I hope they continue to release back issues for 1992-2006 at a later date.

Categories
AV Related Interactive Media

Outsourcing video hosting to YouTube may mean losing users

In a rather sensational piece on unsavoury content on YouTube in the Sydney Morning Herald today there is this little tidbit of note.

The site was impossible to access at public schools, an Education Department spokesman said.

“[The department] urges parents to monitor their children’s use of the internet at home as this is the most likely place from which students view and download material posted to these types of internet sites,” the spokesman said.

This has interesting implications for organisations considering hosting their streaming video on YouTube. Now you might consider using YouTube (or its competitors) to host video for you because –

a) your user base is already using and is familiar with YouTube
b) it solves (by outsourcing) some of the hosting issues around video in terms of bandwidth and delivery formats

But it is worth bearing in mind the consequences in terms of specific audience groups ability to access your content.