A simply entertaining and compelling way to illustrate the history of cameras through animation and pixels. Well done.
the camera collection (by antonio vicentini)
via: @hellofromcath > @MyDigitalVisual
OiPhilpot!
Head of Ed. Dev Multimedia and lover of joining the dots. Expect the unexpected and never underestimate cats.
![theatlantic:
Forget About It: Making the Internet More Like Our Brains
Snapchat is an iPhone app that, fascinatingly and maybe even usefully, lets you apply a time limit to the photos you share with friends. You can decide whether your recipient (or a group of recipients) sees a photo for 2 seconds, or 5, or 10 … before what they see disappears entirely. Think Path, with a focus on photos. Think Instagram, with an expiration date.
Since Snapchat allows users to send pictures to each other with slightly less fear of those pictures being seen by the wrong people, its most obvious use, Nick Bilton pointed out today, is — yep — sending suggestive photos. But the app’s blink-and-you-miss-it UI speaks, even more broadly, to a market for something much broader than just sexting. Snapchat is a silly entry in a burgeoning genre: products that harness the power not of memory, but of forgetting.
Anti-archival tools provide a countervailing force to one of the defining features of the Internet: that, with its nearly infinite space, “save all” is its default setting. Without even trying, the Internet remembers. And that doesn’t just mean that the comment you left on that Joss Whedon fan site that one time is still sitting there, emoticon-ed and gif-ed and captured for posterity within the all-knowing neurons of Google. It also means that the web, as a broad space, operates on both an assumption and an architecture of continuity. Within it, and all around it, archive is assumed. Even when we die … there, still, we are.
So when we talk about the Internet, we talk about feeds and flows and rivers and currents — things determined by their dynamism and their lack of obvious containers.
And: That’s great! It’s what makes the Internet the Internet! The only problem, however, is that constant flux-and-flow is not actually how we humans are programmed to move through the world. We live in fits and starts, in cycles and phases, and we divide our time not just socially, in shared minutes and hours, but physically. We wake. We sleep. We have beginnings. We have endings.
Read more. [Image: Snapchat]](http://25.media.tumblr.com/tumblr_m3pgi8AQxI1qcokc4o1_500.png)
Forget About It: Making the Internet More Like Our Brains
Snapchat is an iPhone app that, fascinatingly and maybe even usefully, lets you apply a time limit to the photos you share with friends. You can decide whether your recipient (or a group of recipients) sees a photo for 2 seconds, or 5, or 10 … before what they see disappears entirely. Think Path, with a focus on photos. Think Instagram, with an expiration date.
Since Snapchat allows users to send pictures to each other with slightly less fear of those pictures being seen by the wrong people, its most obvious use, Nick Bilton pointed out today, is — yep — sending suggestive photos. But the app’s blink-and-you-miss-it UI speaks, even more broadly, to a market for something much broader than just sexting. Snapchat is a silly entry in a burgeoning genre: products that harness the power not of memory, but of forgetting.
Anti-archival tools provide a countervailing force to one of the defining features of the Internet: that, with its nearly infinite space, “save all” is its default setting. Without even trying, the Internet remembers. And that doesn’t just mean that the comment you left on that Joss Whedon fan site that one time is still sitting there, emoticon-ed and gif-ed and captured for posterity within the all-knowing neurons of Google. It also means that the web, as a broad space, operates on both an assumption and an architecture of continuity. Within it, and all around it, archive is assumed. Even when we die … there, still, we are.
So when we talk about the Internet, we talk about feeds and flows and rivers and currents — things determined by their dynamism and their lack of obvious containers.
And: That’s great! It’s what makes the Internet the Internet! The only problem, however, is that constant flux-and-flow is not actually how we humans are programmed to move through the world. We live in fits and starts, in cycles and phases, and we divide our time not just socially, in shared minutes and hours, but physically. We wake. We sleep. We have beginnings. We have endings.
Read more. [Image: Snapchat]
Damn I’m crying at work again. Multimedia can evoke such emotion…
Powerful work from Béa, Nick, Soo-Jeong and Nancy. Amazing that this was one of the first time that Béa shot video. She naturally captured it with an eye of a still shooter but translated it successfully to video. We’ve had this in the queue for awhile and every time I’ve watched it, I still can’t help but tear up.
Spend some time with the entire series: The Vanishing Mind. Great work from all.
In Love and Loss
Michael French has frontotemporal dementia, for which there is no cure or treatment. As his condition deteriorated, his wife, Ruth, had to move him to a nursing home, where she spends most days.
by Béatrice de Géa, Nick Harbaugh, Soo-Jeong Kang and Nancy Donaldson
Transmogrify me: Newspapers don't need digital strategies
This really resonates. Content and Context are the new black everybody!
We need content strategies.
There is a difference, in the way the concept must be applied to the day-to-day business of disseminating information to people.
For many newspapers today, (especially smaller market newspapers like the one I work for), there is a pressing assumption we need to find…
Ben gets emotional at the end:
Let’s *frakin’* do it, I’m done…
Human-assisted Reporting
Ben Welsh from The LA Times at ISOJ 2012
NYT Digital Lessons | Monday Note
#1: Digital advertising is struggling, even for a major brand such as the New York Times.
…
This confirms a much feared trend. By and large, in a news context, the performance of digital advertising is on the decline. All indicators are now flashing red: CPM (cost per thousand impressions), cost per click, volumes, yields, etc. The cause is well-known, and way more acute for digital than for print: ads and news contents do compete for the same eyeballs. The more attractive and eye-catching the content is, the lesser the ad yields. Behavioral advertising won’t change that much — at least for hard core, high value-added news environment.
This decline also announces a major shift in the way ads are sold. The advertising flow is likely to split: premium ads such as well-placed special packages will still be sold for high prices by in-house teams. But the bulk of the inventory will shift downward to bazaars in which gazillions of pageviews will be dumped into real-time exchanges supposed to optimize prices. The bad news: such schemes are likely to fuel deflationary trends for remnant (i.e. sub-premium) inventories. The good news: media organizations such as online news outlets or pure players are likely to join such marketplaces and perhaps gain an operating role of sorts — assuming they are smart enough to cooperate (I’ll address this in an upcoming column).
Always sharp and because of that a bit painful.
Why it's not enough to produce Social Media, teaching it is now desirable
Why newspapers are hiring Social Media producers capable of spreading the knowledge…
The multimedia commissioning conundrum....
Good advice on the commissioning process for legacy publishers entering a rich media world
‘Surprise’ the only genuine requirement in narrative storytelling says Amy. I’m in total agreement however these themes, although relevant and important in todays connected world, are not new. Shakespeare was demonstrating exactly the same principle and his narrativer arc has been the basis for many a blockbuster.
Compelling cues have also been the rock of storytelling in all genre; news, drama, comedy etc but why should we drop them just because the web provides extra capability or interactivity. And why, if these elements are key to our experience do we perceive them as a lower form task i.e. a job for the ‘web monkey’
What’s really interesting here is the cue and the reward relationship and what makes people ‘care’. A brilliant watch.
Beyond the “Like” Button: Digitally Addictive Storytelling and the Brain
Her presentation discusses the brain and its relationship to immediate news. As a writer who crafts the online narrative of a story at the time the idea is conceived, she is uniquely skilled to speak to the power of social media in the news.
