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Exploring disruptive storytelling technology in theory and practice.

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      1 Oct 2011

      How to Use the Cloud as a Writer

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      Skywrite

      “Skywriting by Word of Mouth” was a posthumously published book of prose penned by John Lennon that I was gifted a quarter-century ago. It was writing born of an anarchic love of language that sufficed as depth when I was 14 and sometimes still haunts me. Well, at least its title haunts me.

      When general awareness of so-called “cloud” computing burst into media consciousness in recent years, I couldn’t help but think of Lennon’s book title and it’s reference to skywriting. Though the term is usually reserved for daredevils with an airplane, it’s become my personal metaphor for writing directly into the “cloud.” Whether that was with Google Docs, or ever increasingly, Evernote, the idea of putting words into some ephemeral-sounding digital mist appeals to me.

      Moreover, I can access it anywhere and on any device. Now, moments otherwise lost waiting for the train or between bouts with baristas for refills could be productive. I could “skywrite” my columns, my blogs, bits of books, scenes in screenplays when I would otherwise be twiddling my thumbs, or more likely, using my thumbs to scroll through the Facebook or in engaging some other digital distraction.

      Now, my thumbs are producers, world class hacks, hunting and pecking these very words you’re reading. What’s interesting to me is that writing to the cloud makes the creative act both incidental and opportunistic — with the right device in hand (an iPhone in this case), writing is like spackle filling the fissures in one’s schedule. Many a colleague might bristle that I’ve not ennobled the act of writing with it’s own appointment in my Google Calendar. Mind you, I do occasionally make a date with the muse but as a man with a toddler and a full-time career writing hokum on the clock, I have to let any “extracurricular” writing spring like weeds from the cracks in the concrete.

      Writing into the cloud allows me to do this into a single document, always waiting for me in the sky when inspiration strikes. Of course, the “cloud” is just a server farm in an air-conditioned warehouse but by the same token, one’s muse is more neurochemistry than a visitation from the divine but we can romance it all the same.

      Of course, I haven’t yet bothered to extend the cloud metaphor to its logical conclusions, namely the various forms of digital precipitation that might occur if Google flipped the wrong switch. Would words rain from the heavens? Not likely, but the waterworks would be real for me and thousands of other bawling scribes who entrusted their work to a couple of Stanford dropouts in Mountain View.

      This is where a healthy denial mechanism is useful. Having lost an opus or two to various snafus (I once watched the lone copy of a terrible play I’d written wash out to sea), one might think I’d reconsider my precious “skywriting” notion and commit everything to good old pen and ink. Try emailing a page from a notebook sometime. I try to keep about a hundred miles between me an my editors for safety’s sake, so emailing is the only option for deadline writers like myself. And if by some miracle particle physics I was able to email my handwritten scrawl it would be unintelligible anyway. My carefully-keyed missives are borderline as is, so I don’t want to push it. For now, I’ll keep putting my words in the sky and hope they don’t get lost amongst the Lucy’s and the diamonds.

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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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      4 Jun 2011

      The Filter Bubble: What the Internet is Hiding From You

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      When those of a certain generation first hear of the "Filter Bubble," they might reflect on that brief two weeks in the mid-'90s when the band Filter was kind of popular. These days, the Filter Bubble, according to former MoveOn.org executive director Eli Pariser, is the means by which the Information Superhighway functions more like a private driveway upon which only targeted and personalized information travels at the expense of the broader range of knowledge. This shift to personalization raises as many questions about one's online privacy as it does about censorship, whether it's intentional or the result of an algorithm trying to give you what it thinks you might like - or buy. As Pariser explains in his book, The Filter Bubble: What the Internet is Hiding From You, a personalized world is one that only serves to confirm our existing beliefs as determined by the digital breadcrumbs we've left along the way. When we only receive information aligned with our religious or social or political beliefs, "It's difficult to maintain perspective," suggests Pariser. Or, as he whimsically put it during a recent chat at Seattle's Town Hall Center for Civic Life, "When you step to the side for a new perspective, it's as if the world moves to meet your gaze." In an Amazon Q & A, in which Pariser credited the bookseller for its relative transparency as regards its product suggestions with the apropos example, "We're showing you Brave New World because you bought 1984," the Internet activist explained, "Research psychologists have known for a while that the media you consume shapes your identity. So when the media you consume is also shaped by your identity, you can slip into a weird feedback loop." "The technology is invisible. We don't know who it thinks we are, what it thinks we're actually interested in," Pariser said to The Atlantic. "It locks us into a set of check boxes of interest rather than the full kind of human experience." Of course, the Filter Bubble is more the unintended consequence of a business strategy than an insidious plot on the part of a gaggle of geeks in Silicon Valley to control your Internet experience and by extension your thinking. The fact is, in some cases, we're censoring it ourselves. As Pariser recently explained on KQED's Forum, "Because Facebook mainly uses how many people 'like' something as a means of figuring out what they should show other people, what that means is that you see well-liked news on Facebook." Google, however, has 57 different ingredients in its secret sauce. Even when logged out of your account, Google gleans signals from your online behavior and applies them to a profile that it uses to tailor results more to your liking. Consequently, like a fingerprint, no two search results are the same for different users. Try it - it's spooky. It should be noted that the sources for this piece came entirely from links presented through the various mechanisms Pariser describes, so it's likely only part of the story - the part the robots intended to be seen by someone in the media to be shared with those it knows are reading that media. When I asked him personally what content producers could do to override the algorithm, Pariser essentially said we're SOL: "Content creators are at its mercy." Time to crank the Filter.
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      17 Dec 2010

      Take Myspace, please

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      [caption id="attachment_3095" align="alignleft" width="300" caption="My Identity Crisis,"]
      Media_httpfmrlcomwpco_zaqyb
      [/caption] For sale: Social network, recently renovated, barely used. $580 million OBO. In 2005, Rupert Murdoch's News Corporation acquired the beleaguered Myspace for over half a billion dollars to complement a media empire comprising newspapers, a film studio and TV channels, including Fox News. News Corporation continued to spend millions on Myspace to capture a finicky youth market, only to find itself groping for relevancy as Facebook came to dominate the social space. One shouldn't expect Murdoch to understand kids these days, seeing as he hasn't been a teenager since 1950, which not only predates the notion of a mass "youth culture," but its original soundtrack, rock 'n' roll. But the site's current woes go beyond bridging a simple generation gap, and not for lack of trying. These days on Myspace, one is presently greeted by a video of the Black Eyed Peas pontificating about how they would "rock it" if they "hijacked" Myspace (Fergie is apparently into rainbows). This attempt by Myspace to lease some cred from the band diminishes both the reenvisioning of the site and the musicians themselves, who do their best to inject enthusiasm into the prospect of a "social entertainment" destination with little more substance than their own lyrics. The whole premise seems nebulous, which is underscored by the fact that the site doesn't even have its own name in the masthead. Rather, the page is helmed by "my_____," which invites the user to fill in the blank. You know, like Mad Libs. Perhaps Rupert's reads "my $580 Million Write-Off." With its "we beat Friendster" sheen long worn away by Murdoch's fretting fingerprints, Myspace, some speculate, is headed to the bargain bin. An acquisition, however, likely won't make much noise in a social space dominated by Facebook and Twitter. Big spenders like Google come to mind, though it's already in the social space (Orkut, right? No, wait, Google Wave? Um, Google Buzz?). Still smarting after being left at the altar by Microsoft, Yahoo isn't in a shopping mood but is working on its own Twitter clone, Yahoo! Meme. Theoretically, Microsoft could graft Myspace into its search initiative Bing so one could search for friends and find them, well, on Facebook. Perhaps the best possibility for Myspace is to be acquired by Elon Musk, cofounder of PayPal, electric carmaker Tesla Motors and SpaceX, the independent aeronautics company. Call it "MyspaceX," which would combine all of Musk's business pursuits into the first off-world colony. Recruit the outer-space colonists on Myspace (yes, that's why the sign-up is so damn inquisitive—they're gauging your space-worthiness) and catch a ride on a SpaceX rocket. The colony itself would be powered by Telsa Motors technology since, in space, there are no countries to exploit for natural resources (yet). Tickets would be paid for through Paypal, unless the underground hacker horde Anonymous launches another denial-of-service attack, which they unleashed upon the online payments site, as well as the respective sites of Visa and Mastercard, after the creditors rescinded service to Wikileaks in the wake of Cablegate. What's a denial-of-service attack? Ask the former chief security officer for News Corporation's digital properties, Hemu Nigam, who once ridded Myspace of pedophiles and warded off other online miscreants before splitting six months ago to start his own internet security consultancy. "If you are a home-computer user," Nigam says, "the only way denial-of-service attacks succeed is if the consumers are allowing their computers to be used as a zombie so that it wakes up and turns it into an army soldier at the command of a hacker out there." To prevent you computer from joining the undead, Nigam suggests you actually click "OK" the next time your computer suggests a security update. "A hacker group like Anonymous will go out there and find computers that are not updated, drop a little code in there that basically owns the computer and that sits there waiting for a command from the mother ship to these zombie computers, thousands of them in all parts of the country or the world, that says 'Wake up. It's your time.'" Perhaps this is Murdoch's evil plan for Myspace—he's using it to create an army of zombie machines to launch a massive attack on his many rivals. But isn't that what his Fox News is for? Originally published @ Bohemian.com
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      15 Oct 2010

      Minding the GAP

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      Media_httpfmrlcomwpco_joeix
      Much has been written about the Gap's logo gaff, wherein the San Francisco-based clothier attempted a logo switcheroo only to be shouted down by what seems to be the entire Internet. Not much, however, has been said about Laird+Partners, the NewYork-based agency that devised the rebranding FAIL. Their "About Us" page claims "In creating a unique identity for each of our clients, we provide the highest level of visual sophistication combined with an insightful marketing approach," to which one can only say, "You mean 'sophisticated' like using Helvetica and clip art from a Microsoft Office product?" It ends with some hokum about delivering "a consistent brand experience," which in the Gap's case means consistent disdain. The jean-maker relented within days and restored the original blue box logo. In a statement published on the corporate site of Gap, Inc., Marka Hansen, president of Gap Brand North America, said “We’ve learned a lot in this process. And we are clear that we did not go about this in the right way. We recognize that we missed the opportunity to engage with the online community.  This wasn’t the right project at the right time for crowd sourcing." Crowd sourcing? Um, yeah. The only contribution sourced from the crowd in this case was apparently ire. The source of the logo lambast was Laird+Partners (who should cash their check, like, asap!). In the meantime, I'm going to send Marka Here Comes Everybody by Clay Shirky as a primer on crowd sourcing and Laird+Partners a copy of Nancy Duarte's Slideology so they can brush up their PowerPoint-inspired aesthetic. For the record, our awesome labyrinth-themed logo was designed by Nubby Twiglet, who could totally take Laird+Partners in a schoolyard scrape... Just say'n. Follow the plight of the abandoned new logo –  @gaplogo.
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      14 Aug 2010

      The Wheel of 4Chan

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      Online community gets spin from Fox to Anonymous

      For some, like Fox News, the online community known as "4chan" is a terrorist training camp. For others, including a growing cadre of Sonoma County teens—particularly those who are male, live with their parents and are practiced in navigating the backwaters of the web—4chan is a graffiti-tagged playground where the proverbial soapboxes of free speech are stacked like an endless game of Jenga. "It depends on where you go," said an 18-year-old Sonoma man, who, like the de facto identity setting when one logs on to 4chan.org, prefers to remain anonymous. "Some places are the armpit of the internet; other places are a great place to share information, photos and generally waste time."
      Media_httpdhowellcomw_jrmhi
      In its current iteration, the board offers little more in the way of user interface than the assiduously utilitarian Craigslist. Though 4chan may look like a reliquary for ancient HTML code, it functions as the primordial soup from which many of the internet's memes erupt virally into public consciousness, from Rick-rolling (punking people with cloaked links to a certain Rick Astley video) to "LOL cats," photos of kitties captioned with poor grammar (and later the cornerstone of a media empire launched Ben Huh, who was featured here in May). Like much of the internet's quirkier mutations, 4chan was birthed in the bedroom of a 15-year-old high school student. It's putative father, the now 22-year-old Christopher Poole, who uses the online handle "moot," sought to create an American version of the popular Japanese board, Futaba Channel, which itself was an offshoot of 2channel, another Japanese site thought to be the largest online forum in the world. 4chan offers a bevy of forum topics, from Japanese culture and creative pursuits (origami, art criticism, fashion) to weapons and the paranormal and, predictably, most shades of pornography, animated and otherwise. As with any community, 4chan has its own culture and protocols with different permutations for each topic forum. It even has an orientation procedure of a sort. According to the Sonoma teen, most people begin their 4chan odyssey in a forum simply called "/B/." "If you're in /B/, you're probably an immature asshole. Most people who start out in /B/ are about between the ages of 11 and 18, like my age, and it can go higher and lower, but it doesn't really matter," the teen explained. "It's just the way it works—it's like your growing-up period. It's that stage of puberty." It follows then that one's online pubescence comes besotted with juvenile humor, especially as regards the use of one's identity. "If you put a name in the name field, you're called 'name fag,' which most users don't mind. They're usually not douche bags or people who are likely to get flamed," explained the Sonoman, who made ample apologies for the board's use of hate language. First timers are advised to "lurk," online parlance for lingering in a forum and absorbing its ethos before eventually daring to post something. The blowback for not respecting the culture of a board can result in an online tongue-lashing or worse. Some 4chan participants, under the loose moniker "Anonymous" (what else?), have allegedly organized campaigns of harassment against organizations and individuals that have raised its ire. Last month, the group virtually shut Gawker.com down, swamping the massive aggregate's servers. Last spring, Brian Mettenbrink of Nebraska was sentenced to a year in federal prison and ordered to pay $20,000 in restitution to the Church of Scientology after being convicted of participating in such cyber-attacks. Other allegations have been lobbed at the group, which isn't so much an organized body as a highly motivated evolutionary offshoot of crowd-sourcing. Perhaps someday their collective energies will further coalesce and spring new variations on activism, protest or even candidacy. Until then, as the Sonoman explained, "We're basically the quintessential geek culture, you know." But it's the geeks who shall inherit the earth.
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      21 May 2010

      I Can Has Creative Commons

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      An Interview with Cheezburger maven Ben Huh

      Media_httpdhowellcomw_uzacx
      Often when journalists go online, they merely turn their beats into blogs and continue churning the chum of bleeding leads. But for journalist Ben Huh, a different path beckoned. "There was this idea," he says, "about a cat website. "I had a job I didn't like and I wanted to leave. I might as well go jump in with the sharks," continues Huh, the 32-year-old founder of the Cheezburger Network, a blog-based enterprise perhaps best known for propagating the "lolcat" phenomenon, which usually manifests as a photo of a feline humorously captioned with intentionally poor grammar (the "lol" prefix is an net-borne acronym for "laugh out loud" or "lots of laughs"). Huh formally launched I Can Has Cheezburger, a site dedicated to lolcats that he acquired from its founder-blogger Eric Nakagawa in 2007 after a brief collaboration. "I figured that if I don't do well, there goes my career, and if I do well, there goes my career," Huh said during the Web 2.0 Conference, co-presented by Sebastopol's O'Reilly Media. At any given point, Huh operates over 40 sites, each representing a crash course in internet memetics and user-generated content. The sites receive over 19,000 submissions a day, which Huh and his staff of 42 individually comb for appropriateness and to spot trends. Throughout, Huh says he asks himself, "Is this a thing? "I've found that I'm no better a judge of what's going to work versus anyone else in the world. So we've made it into a numbers game," Huh says. "We make it as organic as possible. If users send in content that we see in large volume, we'll attack those first." Given the low cost of launching a site, Huh experiments with combinations of content and community until he has a hit. Some sites last only weeks, while others flourish and draw millions of eyeballs a day, which he monetizes through ad sales and by hawking related merchandise. And like porn sites, each has its own community of fetishists ready to share and revel within their particular niche. Take graphs, for example. Graph Jam, one of Huh's more esoteric sites, is devoted to "life and pop culture graphed for your inner geek" and consists of an ever-growing collection of pie-charts, bar graphs and sundry other illustrations positioned as observational humor. A recent submission graphed the "Motivation to Paddle Faster in a Canoe," with "Canoe rental time is almost up" and "To keep in control while negotiating rapids" represented as small slivers in a pie otherwise dominated by "You hear banjos." Deliverance meets PowerPoint—it's precisely the kind of cross-pitch that would have one thrown off a Hollywood lot that's the life blood of Huh's empire. It's also an indication that the way we both consume culture and create culture is changing. It's a Mulligan stew atop the hearth of the creative commons, but the question looms: Who owns it? The answer is fraught with implications for content creators of every stripe, particularly when they intersect in the cluttered byway of internet culture and traditional media. "There's been a recent example of a photo of a monkey that's frowning while riding on top of a kid who is swimming, and it looks like the monkey is drowning the kid. So one of our community members captioned it with 'Assassin Monkey Is Not Pleased with Its Dayjob.' This photo went around the internet for a long time, and a major comics house picked up the photo and said, 'We're going to build a character out of this.' And I thought, 'Well, that was created by one of our community members, and they're claiming it as their own,'" Huh says. What bristles Huh and others in his position is the lack of reciprocity between traditional media enterprises—those who leverage their copyrights and trademarks—and the world of user-generated content. If the community member in question posted images from the comic that poached Assassin Monkey, he would quickly be served with a cease and desist order, suggests Huh. "It's a very unfair relationship," he says. "They're drawing inspiration from a community of people who are putting it out there in the public domain. Therefore, there's some obligation for them to put it back into the public domain." The graph depicting the outcome has yet to be submitted, but one can assume it will make one laugh—or maybe cry.
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      24 Mar 2010

      Transmedia: From One Many

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      In the wrong hands, an emerging buzzword like “transmedia” could end up as Craigslist slang under either “auto parts” or “casual encounters,” especially for those who “like to watch.” A recent University of California, Los Angels and University of Southern California “industry symposium” attempted to clarify the term at a conference dubbed “Transmedia Hollywood: S/Telling the Story.” Despite its unfortunate title, which looks like something Roland Barthes might sneeze into, the conference put “top creators, producers, and executives from the entertainment industry” and “scholars pursuing the most current academic research on transmedia studies” in a collegial cage-match helmed by Henry Jenkins, Provost’s Professor of Communication, Journalism and Cinematic Arts, Annenberg School of Communication, USC. Jenkins is the author of Convergence Culture: Where Old and New Media Collide, in which he describes transmedia storytelling simply as “the art of world making.” You know, like God. Or George Lucas. “To fully experience a fictional world,” writes Jenkins, “consumers must assume the role of hunters and gatherers, chasing down bits of the story across media channels, comparing notes with each other via online discussion group, and collaborating to ensure that everyone who invests time and effort will come away with a richer entertainment experience.” This sounds like a lot of work for the couch potato of yore but at least it doesn’t sound like “gesamtkunstwerk,” the term Richard Wagner used to describe a comprehensive, all-encompassing artwork expressed across several media. Of course, in Wagner’s day, what was known as media could be sewn up in his 15-hour Ring cycle, arguably the first attempt at a transmedia experience despite the relative lack of interactivity (yawning doesn’t count). These days, entertainment (and its marketing) is often prefigured as a multiplatform franchise with toe-holds in cinema, graphic novels, video games and (gasp!) the written word. “Mythologies” are created that adhere to “bibles” that describe the law of fictional lands with an eye to creating an “aesthetic that is specific and archetypal simultaneously,” as Louisa Stein, head of the TV and film critical studies program at San Diego State University, put it during the conference. This, of course, is precisely what Lucas has done with myriad iterations of Star Wars (particularly those not tied to the screen) and what Tolkien et al accomplished with The Lord of the Rings, ditto the creators of Lost, Heroes and True Blood among others. Of course, not all content is appropriate for all media. Consider the sage words of director David Lynch, who, in a popular YouTube video packaged as an iPhone commercial parody, opined “Now, if you’re playing the movie on the telephone, you will never, in a million years, experience the film. You’ll think you have experienced it, but you will be cheated. It’s such a sadness that you think you’ve seen a film on your fucking telephone. Get real.” Sure, a lot of films, particularly David Lynch films, are not optimally viewed on a mobile device, or online, or sometimes anywhere. However, a two-minute short that expands and elaborates a subplot first launched in a longer format piece has synergistic value the thinking goes. As author David Kushner wrote in a Fast Company article last year, “In the analog era, such efforts might have fallen under the soulless rubric of ‘cross-promotion…’ The difference is that cross-promotion has nothing to do with developing or expanding an established narrative. A ‘Happy Days’ lunch box, in other words, does nothing to advance the story of Fonzie's personal journey.” Not that the Fonz had a personal journey worth charting but plenty of characters do upon whom real world dollars are spent creating fictional worlds for us to inhabit with them. Of course, the trend is not without its critics. As “badvegan” tweeted during the conference, “More shame, for sure. Seriously: I guess I have too much respect for 4th wall. It’s worked for millennia.” Sure, but could you imagine what Wagner could have done without it? Now, imagine what we could for you in this wild, woolen, new world... Let's chat.
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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

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