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Exploring disruptive storytelling technology in theory and practice.

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      10 Jul 2011

      Phone Drones: Virtual Agents Answer Customer Service Call of Duty

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      That a large portion of one’s customer service call are outsourced to India or other exotic locales is old news. We’ve all been patched through to a phone bank half a planet away to speak with someone trained to suppress their native accent and make references to your local weather and high school sports rivalries. Some fast food chains even outsource your drive-up burger order to countries like India where eating cow is verboten to a substantial portion of population. Lately, tax breaks and a surfeit of college-educated English speakers have attracted blue chip companies like IBM, Shell and Hershey to the Philippines, creating a customer service economy that, due to the 9-hour time difference from its American customers, operates predominately at night. Companies like MyCyberTwin, however, are anticipating yet another shift in customer service outsourcing – one that won’t require a legion of nighthawks in Manila, nor pretending to be American – just human. Thanks to advances in artificial intelligence, avatars (or, “virtual agents,” to use industry parlance) can answer complex questions and use rational and logical thinking. Think “Spock in a Box.” “By combining sophisticated ‘brain’ technology with state-of-the-art animation, MyCyberTwin brings a distinct and advanced virtual specialty to businesses,” explains CEO Liesl Capper. The secret sauce behind “brain technology” is the virtual agents’ ability to learn as they go, “allowing them to consistently get smarter and function at a higher level as time moves on,” Capper adds. NASA has recently implemented the technology suggesting a real-life HAL might not be far behind. Chat bots have existed in various forms since the mid-60s. MIT’s Joseph Weizenbaum is credited with creating one of the first, ELIZA, a program that used a primitive form of natural language processing to simulate a real conversation with its interlocutor via text-based exchanges. Thousands of so-called “chatterbots” have spawned since with customer service implementations facilitating millions of monthly “conversations” (San Francisco-based VirtuOz claims12 million such interactions a month for clients in the Fortune 1000). But can a virtual agent pass the Turing Test? Developed in 1950 by researcher Alan Turing, the test was originally devised to answer the question “Can machines think?” and uses natural language conversation with a human as its principle gauge. Though the test has been criticized by such heavy weights as philosopher John Searle for conflating rhetorical manipulation for cognition, the test remains something of a gold standard if only for proving the fallibility of an artificial intelligence’s human interlocutor. The goal of companies like MyCyberTwin isn’t to fool people into thinking their product is human but rather improve the customer experience but interfacing with them in a manner they’re most accustomed – like humans. As online insurer Esurance proclaims in its current ad campaign “People when you want them, Technology when you don’t.” Ultimately, however, most consumers would prefer not to have to communicate with customer service at all, whether that be in Manila or on with HAL on some customer service odyssey. The virtual agent will surely learn this long before the companies who employ -- but then again, they can't hear you scream in virtual space.
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      24 Jun 2011

      Why Do Men Put Their Penises Online?

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      Penis-online
      “To tweet or not to tweet?” – that should have been the question for former U.S. representative Anthony Weiner whose infamous social media snafu made him and his briefs-ensconced boner a household name synonymous with “moron.” Not only did Weiner’s foray into softcore porn (and subsequent revelations about “sexting” with numerous women) provide a wide berth for dick jokes and puns of every stripe (which he’s probably endured since grammar school on account of his name), it cost him his career in politics.

      The argument that what one does in one’s private life is should not be subject to public scrutiny went out the window when Weiner made his privates public by inadvertently posting them into his Twitter stream rather than as a direct message to 21-year-old Washington state woman.

      It begs the question, “Why do men put their penises online?” Respond to any ad on Craigslist and, as many can attest, one stands a one in five chance of receiving a poorly-lit jpeg of some dude’s cock. It’s a wonder that no one has started an amateur porn site called “Craig’s Dicks” comprised exclusively of prick pics culled from the personal ads juggernaut. Chatroulette, the video chat service that randomly pairs participants in two-way tet-a-tets is notorious as veritable museum of male masturbation.The site rapidly cycles through chat pairings with either user given the option to hit “next” and move on to another chat – usually within seconds. After cycling through eight live images of users in front of their web cams – Bingo! – a crotch shot at the ready.

      In the pantheon of paraphilias, exhibitionism is perhaps the most benign though clinicians describe it as “coercive” since it usually involves forcibly imposing one’s genitalia into another line of sight without their consent. The notion of an old-school trench coat-clad flasher is damn near quaint compared to the lone gunman taking aim at a webcam.

      Albeit, confronting an exhibitionist in the flesh is surely a harrowing experience, however, it does permit one the ability to express one’s revulsion, reciprocate with bodily harm or perhaps even flash back (any of which, may or may not be the offenders goal). The online penis parader, however, uses social media to broadcast their exhibitionism from the comfort of their own homes. It combines the privacy end-users of porn expect from direct delivery of content to their laptops (no more embarrassing visits to the “adult” section of the video store – hell, for that matter, no more video stores!) with the inversely proportionate ability to broadcast oneself freely, cheaply and nakedly to millions with relative anonymity and without retribution.

      This is perhaps one reason that everyone from media pundits to House minority leader Nancy Pelosi came down so, um, hard on Anthony’s weiner. It was if he received the aggregate slap back awaiting all the faceless exhibitionists lurking on the Internet. Consider his monkey spanked. To gauge the size of your "e-penis" click this humorous if NSFW link, which uses your Twitter handle to measure your size online.

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      9 Jun 2011

      iCloudius: Apple's Man in the Sky

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      When it rains it pours for Apple CEO Steve Jobs. The lauded gadget guru qua rainmaker came out of medical leave to formally introduce attendees of Apple’s World Wide Developers Conference to a bevy of new products, among them the much anticipated announcement of the iCloud. Apple’s own spin on so-called cloud-computing, which, sans the weather whimsy, simply refers to information stored in remote servers and accessible via your device of choice anywhere there is a decent Internet connection. Though the concept isn’t new (telephone companies once used the metaphor to describe their early forays into “virtual private networks”) its implementation in tech quarters gained real momentum in 2006 when Amazon introduced its Elastic Compute Cloud, a service that obviated the need for expensive server systems and paved the way for a bevy of start-ups. It was Google, however, that brought the cloud to civilians with its suite of document creation tools (aimed squarely at Microsoft’s bread and butter). Now, with iCloud, Apple has also entered the consumer cloud market, touting synchonization of one’s digital data – docs, email, calendars, iTunes library, videos and plans for world domination, between one’s MacBook, iPad, iPhone and beyond. And it’s free. Heretofore, one’s computer was like the sun in a private digital solar system around which all other devices orbited and depended for data (through increasingly arcane syncronization rituals). Conceptually, iCloud collapses this solar system into a single celestial body accessible, anywhere, anytime by whatever piece of gear happens to be in your hand. It’s as if you’re opening a wormhole into the fabric of your virtual universe andt hough other companies offer aspects this “unified field theory of your stuff online,” including Amazon’s “Cloud Drive” and Google’s Gmail inbox (sort of), none offers total integration of everything in a single service that’s hardware-agnostic. This is the crux of Jobs’ plan, “demoting” the “PC” and even his own company’s iconic Mac line to mere, as he explained, “devices.” Of course, to those who’ve eluded induction into the cult of Apple, the company’s products have always been mere devices. For true believers, however, they’re tantamount to religious talismans that signify belief in a higher being – namely Jobs. His conceptual downgrading of his stock and trade might prove as revelatory a moment in the history of personal computing as Macintosh did for user-experience in the early 80s. It takes the way we deal with data, the ones and zeroes that comprise much of our quotidian experience not to mention whole flanks of our self-concept and moves them from the concrete to the abstract, from “there” to “everywhere,” in a manner analogous to going from the corporeal to the spiritual (which, by some accounts, Jobs might be soon doing). The device, like the body, is but a vessel. “We’re going to move the digital hub, the center of your digital life, into the cloud,” Jobs beamed. It’s not hard to imagine him hovering there too – lightning bolt in hand.
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      21 May 2011

      Venture Capital: Start Me Up

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      Money makes the world go around—really, really fast—which is why one's head tends to spin with each new billion-dollar valuation and smug twenty-something on a magazine cover. This isn't anything new; it's even something of a Bay Area tradition. Or at least that's the impression one might get watching Something Ventured, Daniel Geller and Dayna Goldfine's documentary exploring the history of venture capital and the men who first saw dollar signs in Silicon Valley. "We start at the back, and if the numbers are big, we look at the front to see what kind of business it is," laughs the dapper Tom Perkins, early in the film. Perkins is the gimlet-eyed partner of Kleiner Perkins Caufield & Byers, who successfully funded companies like Google, Amazon and Genentech. The film, which screened earlier this month at the San Francisco International Film Festival, serves to remind that not only did these swaggering money men make possible companies like Apple, Atari, Cisco and Intel, but they're responsible for recasting the American dream with a geek sensibility. At the Founder Conference in Mountain View last week, the geeks were in full force, attending panels and seminars with titles like "Can You Really Raise Angel Money with One Email in 2011?" (I wasn't able to get the answer.) Presented by Foundrs.com—that's not a typo, but rather a spelling both predicated on the availability of domain names and a hip, post-dot-com disregard for vowels (think "Flickr")—the conference was crammed. According to its romance copy, organizers promised a "simple alternative to incorporating for Web 2.0 startups," which came in the form of meet-ups and some order of "virtual company product." Whichever way companies surely sprang from the event, it was evident that cash was flowing. The numbers, it's worth noting, were not in the obscene, let's-buy-a-foosball-table amounts of last decade, but rather sober seedlings of cash that almost seemed quaint. I overheard a sharp-dressed man talking loudly on a mobile phone, insisting to his interlocutor that he "can get you $50,000 in seed money right now, if that's all you want. People love the concept—you're a candlemaker in Marin!" Sure, candlemaking might not be Facebook material, but here was a guy in a suit obviously excited about the notion. This is what the Bay Area does best—it takes little ideas, infuses them with passion, smarts and drive, and turns them into big ideas. Even my toddler son seemed to get the bug. He filched a penny from my coat pocket and promptly threw it in the fountain—a small investment that turned an otherwise banal water feature into a wishing well.
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      29 Apr 2011

      Publish Your Goddamn Book Already

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      Publishing is dead. Long live publishing. Or at least, self-publishing, which, thanks to a plethora of services and a general de-stigmatization of the so-called vanity press could be entering something of a golden era. So where are the literary breakouts? The through-line from Gutenberg's invention of movable type to the desktop publishing revolution of the mid-'80s to our present social-media megaphones, which permit instantaneous publishing of any thought to traverse from one's temporal lobe to one's fingertips, can be graphed with a zigzag darting between the authors and publishers and whoever thinks who is in charge at any moment. Turns out, the author has always been in charge. Moreover, the social acceptance of blogging and other forms of essentially self-published writing has fomented a sea change in the minds of authors who once fretted whether their work was legitimate or not if it hadn't passed through the hands of a third party. Remarkably, until the 20th century, most literary works were author-published, an MO that seems to be returning thanks to a myriad of new publishing solutions that have emerged in the past decade. Besides the ubiquity of print-on-demand services like CreateSpace and Xlibris that provide an a la carte menu of services to escort one's work from a manuscript file to a printed paperback, the burgeoning eBook phenomenon is rapidly becoming where one is most likely to find the next Jonathan Franzen or Sarah Vowell. Electronic readers are approaching market ubiquity. At present writing, at a cafe, three of the four people reading on the patio are doing so on electronic devices—two Kindles and one iPad; the lone analog holdout is reading a yellowed, dog-eared paperback that looks as if it were rescued from a recycle bin. Apple's online iBook store, Amazon's Kindle Store and Barnes & Nobles' Nook store are among the throng of new venues for the written word now available to authors. Pushing written content to readers online has been here since day one of the internet. But the ability of readers to push real dollars back up the pipe to the author, conveniently, safely and instantly is something else entirely. New companies are springing up to facilitate these transactions and deliver "creator-owned" content (as they say in the indie comics trade) into your digital devices. Among them is independent music stalwart CD Baby, which took its music marketing model (they aid direct-to-consumer music sales for bands via downloads and on-demand CD delivery) and retooled it for authors. Book Baby is among the latest ventures serving this emerging market, helping authors place their creations on iPads and alike for a nominal fee. It's high time the would-be literati exhume their treatises and tracts, tell-alls and tomes from the virtual drawers of their laptops and begin the next renaissance in letters. The sound the next literary lion makes won't be a roar so much as a click.
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      15 Apr 2011

      QR is PR: How QR Codes are changing the media landscape

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      They look like the bastard offspring of a crossword puzzle and a crop circle. QR codes, also known as "quick response" or "quick read" codes, are often seen lingering on the corner of magazine ads, clothing tags or band fliers as a bridge for our digital and terrestrial worlds through the aid of one's smartphone. Though nearly 20 years old, the technology, which was originally devised to track auto-parts for Japanese auto manufacturers, has only recently penetrated American consciousness since being appropriated as an advertising gimmick. However, it seems the codes will eventually transcend marketing as artists and others embrace the technology—in fact, the Bohemian itself themed its recent Best Of issue around QR codes that linked to editorial videos. The process is simple: download any of a dozen free QR code reader apps to your camera-equipped smartphone, and tap into a world of info that would otherwise be inscrutable. QR codes take the "Easter egg" concept of sequestering content in obscure places within a game environment or DVD and apply it to reality. Google has been issuing such codes with its "Google Places" initiative as a means of muscling into Yelp territory. Stroll by hip ROE Nightclub in San Francisco and stuck to the corner of a window is a QR code that, when read, links to a half-off lunch coupon to present to your server. Conference badges now boast QR codes for the facile swapping of contact information. Indie-music service CD Baby's Kevin Breuner recently posted a blog and video about using QR codes to promote one's band. The little iconic square is becoming ubiquitous. "Pick up any magazine, go walk around the city, go up to a hotel—it's all over the place, and, in general, in Asia and Europe, it's much more accepted. We are very far behind with the QR code here in the U.S.," observes Peter Philip Wingsoe, CEO of Entertainment Fusion Group, which has produced QR marketing campaigns for Guess and Neuro Beverages, among others. Though his company has used QR codes for five years, he's only seen an up-tick in requests for QR-related campaigns this year. Wingsoe suggests the relatively slow acceptance of QR codes in America is because the software to read them is not preloaded on our smartphones, as it is in Asia and Europe. "We're seeing a huge pick up, and I think that in the near future we're going to see a lot more, and you can start doing more with the QR codes," says Wingsoe. "We're actually making the codes look like logos." Of course, it's only a matter of time before logos themselves become encoded with secret information—as if they aren't already.
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      30 Mar 2011

      Cut the Cord

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      “Cut the cord” has become the rallying cry for those interested in abandoning cable television in favor of streaming online video to their phones, tablets, desktops and – forsooth! – televisions. It’s an apt phrase, not merely for its echoes of severing the umbilical cord in the delivery room but for its metaphoric reach into that almond-shaped space in the Venn diagram between baptismal rebirth and outright renaissance. There are variations, of course. Google indicates that “cut the cable” is a fraternal twin. It also brings up a blogger who simply calls himself “John,” who launched Cut-the-Cable.com two years ago. John matter-of-factly identifies his online effort as “the anti-COMCAST blog and resource site” and admits to having a “chip on my shoulder” due to the layoff that affords him the free time to take on the “fat bastards,” which presumably no longer fits his budget. Though his posts are sporadic, they are typically vitriolic and directed at discrediting and defaming the cable giant. Among them is a relatively recent analysis of a Houston news site story headlined “Comcast Contractor Accused of Raping a Child,” replete with a mug shot. Whether or not John’s informative if pungent tirades are justified (and they are to anyone who has ever made a phone call to Comcast’s customer service), they’re a bellwether of sorts and he’s not alone. Crystal Collins, the discount doyenne behind TheThriftyMama.com, doesn’t cast cable providers as evildoers, she does provide a gleeful step-by-step guide to cutting the cable, which, depending on your cable consumption needs, she claims can save one upwards of $600 a year. Lifehacker.com also show how to slice and dice one’s media diet, with additional info on where to stream your favorite live television feed. With all this blogging and flogging of cable companies, cutting their core product might seem to be grassroots movement. However, one should keep in mind the fact that broadcast networks themselves have stoked much of the fervor by streaming their content directly to consumers via their respective websites, effectively sidestepping cable – their one-time rival turned overlord (adjust a pair of rabbit ears lately? Yeah, didn’t think so). Moreover, Hulu is a consortium of a several networks – NBC, itself owns over a 30 percent stake. This is ironic given the fact that Comcast now owns NBCUniversal (the merged version of the network and the studio). However, the Department of Justice mandated as part of Comcast’s acquisition, it “must relinquish its management rights in Hulu” lest it “interfere with the management of Hulu, and, in particular, the development of products that compete with Comcast’s video service.” Comcast isn’t crying since they dominate much of the broadband market (at least locally). To wit, the cable behemoth still profits by the umbilical link through which the data that is, say, Parks and Recreation, comes tumbling. In fact, it’s a completely vertically-integrated strategy.  The revolution is being televised on the Internet, brought to you by the very entity against which you’re in revolt. Sort of like cutting off cable’s nose to stream its face.
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      12 Mar 2011

      Blade Runner's Sequel Sickness

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      Certain films are so singular in vision, so spectacular in their realization that they're fundamentally immune to the disease of sequel-itis, or its often more virulent form, prequel-itis. Among those in this rarified canon are Citizen Kane (of course), Casablanca (duh) and, until last week, Blade Runner. Whether or not one agrees that the futuristic depiction of dystopian Los Angeles circa 2019 belongs in the company of Welles' and Curtiz's respective masterpieces is subject to debate (mind you, it made the American Film Institute's Top 100 list), but what's not is that, to a certain generation, Blade Runner is something of a holy relic. And now it's getting some cinematic siblings. Original Blade Runner producer Bud Yorkin, who retained the rights to the 1982 flick starring Harrison Ford as a hardboiled detective on the trail of a band of rogue bio-engineered androids, is concluding negotiations for both a prequel and a sequel with Alcon Entertainment, a 13-year-old company perhaps best known for the Sandra Bullock weeper The Blind Side and The Sisterhood of the Traveling Pants. The film deal, reports online industry rag The Wrap, also has a provision for "other projects," which suggests possible spillover into television (paging J. J. Abrams) and video games. The original film is an adaptation of sci-fi author Philip K. Dick's Do Androids Dream of Electric Sheep?, penned for the screen by Hampton Fancher and David Peoples, who, like Dick, has some Bay Area provenance. Who will write the sequel? A computer, perhaps? Meanwhile, producers are said to be shopping for an auteur of similar gravitas to Ridley Scott, who delivered the original in three different edits, no less. Batman rebooter Christopher Nolan has been mentioned in the trades as a candidate. Nolan's possible participation makes the notion a bit more palatable; as a card-carrying Gen X-er, he should have a native appreciation for cyberpunk and an understanding that, to many, Blade Runner is as profound a statement of existential yearning as Picasso's Guernica is about the horrors of war. But Guernica 2: Horse Returns is not coming to a museum near you, so why trifle with an icon like Blade Runner? In a statement released to the media, Alcon co-CEOs Broderick Johnson and Andrew Kosove explained, "We recognize the responsibility we have to do justice to the memory of the original with any prequel or sequel we produce. We have long-term goals for the franchise, and are exploring multiplatform concepts, not just limiting ourselves to one medium only." But do they know they're replicants? Here's our tribute to the films of 1982...  
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      23 Feb 2011

      Gaming the Story | Insights from The Art of Immersion by Frank Rose

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      A ringing cake. Sure, it reads like a lost lyric from “MacArthur Park” but it’s actually a key moment in the history of media, marketing and perhaps even marzipan. As recounted by Wired Magazine contributing editor Frank Rose in his recently released tome, The Art of Immersion – How the Digital Generation Is Remaking Hollywood, Madison Avenue, and the Way We Tell Stories, the cake was part of an alternative reality game qua marketing campaign to promote the last Batman flick The Dark Knight, featuring Heath Ledger as the Joker. How a Boston couple found themselves in a bakery asking for a package that contained the cake (and a phone number scrawled upon in icing) is too elaborate to relay, suffice it to say, they (and hundreds of thousands of other participants, online and elsewhere) were enthralled. When the couple dialed the number, a mobile phone that was stashed inside the cake began to ring. Such was the fiendish genius of the game architects at Pasadena-based 42 Entertainment and precisely the kind of touch the Joker himself might employ. Instructions followed and the couple and several others who’d enjoyed similar interactions with the game eventually went on to a private teaser screening. Throughout, a legion of fans followed and aided the unlocking of various clues online, which drew them further into the narrative of not only the game but the Batman flick as well. Participatory campaigns, though not yet par for the course, are frequently being baked in, as it were, to extend narrative experiences beyond our screens and into our daily lives. Throughout his book, Rose examines dozens of such immersive entertainments and makes a compelling case that the best way to enjoy a story is perhaps from within. The inadvertent Zen notwithstanding (mine not Rose’s), one way to reach an audience and have them truly internalize a story (and perhaps develop an addictive need to pony up for its various permutations) is to intrude it into their external reality. Or their toilet stall – that’s what Nine Inch Nails brain trust Trent Reznor did to promote his mid-aughts album Year Zero. A USB drive containing information germane to a post-apocalyptic puzzle that expounded upon the album’s themes was left in a venue’s restroom during a live concert. A young woman discovered the drive and realized it contained an unreleased track, which she uploaded to the web where it went viral. Moreover, the metadata of the track itself was strewn with clues to Reznor’s cryptic vision. At first blanch, the notion of tracking all the curios and red herrings embedded in these projects might seem exhausting or perhaps only the province of those with OCD. To a rabid fan, however, it’s a portal to a parallel universe wherein they can revel in the creation of their favorite artists, characters and stories. Prior to this shift to transmedia-driven engagement, fan fiction (the unsanctioned continuation of narratives by die-hards) was where acolytes and authors shared an uneasy pas de deux. Now, some content creators pre-figure the audience’s desire for to be “in-world” in their earliest conceptions. Like a vampire, however, this can only be achieved through invitation. Fans willingly subsume themselves to the narrative and its myriad points of interactivity (which, increasingly, unfold in a nonlinear manner) such that they essentially become co-authors of the story, motoring it along from rabbit hole to rabbit hole – uncovering clues and delivering their revelations to their online brethren. “Stories become games; games become stories,” writes Rose. What’s fundamental and a likely motivator for much of the activity that swarms around TV series like Lost, video games like Halo and pretty much anything under banner “anime,” is a propensity not just to actively indulge in a fictional universe but to indulge in it with others. As Rose later explains, “Stripped of the apparatus of advanced civilization and pecuniary gain – stripped of Hollywood and television and publishing – storytelling is a simple act of sharing.” So, don’t be surprised when someone invites you to share some confectionery creative content with them – like perhaps a slice of ringing cake.
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      10 Feb 2011

      The Daily: Murdoch's iPad Newspaper Can't Wrap a Fish

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      For a media magnate whose empire first began to bubble in vats of newspaper ink, one might think launching the first of its kind iPad-only newspaper app would not be in their best interests. Unless, of course, the magnate is Rupert Murdoch of News Corp. whose vats runneth over – and now with ones and zeroes. Led by veteran newspaperman and editor-in-chief Jesse Angelo (late of the New’s Corp-owned New York Post), The Daily is being billed in-house as “a category first: a tablet-native national news brand built from the ground up to publish original content exclusively for the iPad.” This one can glean from the new apps’s website (even apps have websites apparently) but that’s essentially where the new venture’s relationship with the web essentially ends. The Daily is meant to be consumed entirely within the sleek interface of Apple’s tablet phenom as a discrete standalone experience forged from words, images, video, infomatics and animations baked fresh daily and delivered piping hot direct to your iPad. Sentimentalists wax fondly that “newspapers are a daily miracle” (or in some cases, a weekly miracle), however, The Daily, for all its journalistic aspirations, serves more to remind how miraculous the iPad is. If ever there was a proof that there exists a unified field theory of media delivery – supplanting television, radio, print, cinema and daily newspapers in its wake – this is it. That said, Murdoch’s quotidian quota of bleeding leads and the sundry other tropes squeezed from ye olde printing press is quite impressive – not least of which for sinking $30 million in development (and $500,000 in weekly expenses) into what amounts to a video game with news. “My first impression is very positive,” said Roger Fidler, program director for digital publishing at the Reynolds Journalism Institute who also oversees the Digital Publishing Alliance, which brings together media industry leaders and innovators, including the New York Times, the Los Angeles Times and the Wall Street Journal. “Team Murdoch has done what I’ve always hoped newspapers would do with their tablet editions – create an interactive hybrid of print and web that is visually rich and enjoyable to read. It clearly demonstrates the value of involving publication designers in the production process.” For Fidler, The Daily has been a longtime coming. Internationally recognized as a new media pioneer, Fidler first envisioned tablets and digital newspapers back in the 1980’s. Now that they’ve arrived bundled as The Daily for a mere 99 cents a week, or $39.99 a year, they might just save newspapers. “The app has a lot of advantages, one I think simplicity for people, more of a feeling of being a curated package of information with a beginning and an end,” observed Fidler. Or perhaps, The Daily is a so-called “killer app” that will actually destroy newspapers but in so doing free their spirits to live in the Digital Age. Sure, the app might not save all newspapers but it will certainly help Murdoch’s newspaper holdings eventually transition into the light. “I think newspapers have to realize that the publications being developed for the iPad may, in fact, become the dominant forum for reading news content in the not too distant future,” said Fidler. “We clearly are seeing a steady trend of declining leadership of printed newspapers and of steady migration to digital.” “Digital” is an abstract concept, the iPad is $600 of cold, hard cash in the midst of a recession. At that price point, will Murdoch’s new format find the ubiquity of the traditional media upon which his empire has previously relied? “You know, people felt the same way about television when it first emerged in the 1940s and 50s, that only rich people would have it,” said Fidler. “Now they have people with television sets in almost every room of their house and it’s become the common medium. My sense is that the tablet will evolve intro a common reading device and media device for education, for business, for a host of applications and that reading newspapers on it will be just one other important use for that device.”
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  • FMRL Blog

    Writer and producer at FMRL where we explore new ways of making media for fans and brands.

    Columns: Bohemian.com | SonomaNews.com

    My latest:
    "I Heart Sonoma: How to Live & Drink in Wine Country" available now at an eBookstore near you.

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