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      21 Nov 2011

      Siri, Please Teach Google Voice to Listen

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      Sometimes using one’s smartphone is like playing a game of, well, “telephone.” Half the time no one can hear you and when they can, the message gets lost in translation – even when it’s not actually being translated. I’m convinced that mine is actually a “smart-ass phone” given how it willfully drops calls, truncates texts and creates general mayhem in my personal and professional lives. “Can you hear me?” becomes “Gland doo deer meat?” I sound like a Martian ordering venison.*

      Perhaps I shouldn’t complain. The fact that one can speak into a rectangular hunk of plastic that beams one’s voice to the heavens and back to whomever you’re calling is pretty damn marvelous. Except when it’s not. And what truly doesn’t work is the voicemail transcription on freebie messaging service Google Voice. Again, I shouldn’t complain – the Mountain View search giant takes my voice messages and spits out text to my phone so I can take action without taking the call. For free.

      The problem is that their translation mechanism works more like a game of MadLibs with an emphasis on the “mad” part, as in “mad as a hatter” or as Google Voice interprets it, “Man has gone splatter.” This man has nearly gone splatter off a few rooftops after simply hearing my own name gargled by the Google bots. As one might imagine, “Daedalus” is a voice-recognition time bomb.

      On a recent occasion, Google Voice assumed my name was “metal brush.” I don’t even mind “Metal Brush,” which sounds like an ’80s hair band gone literal. What I mind is getting gibberish texted to me instead of my messages. So, I’ve turned off the automatic dispatch and instead check my voicemail like someone from the last millennium. Fortunately, iPhones let you scrub through your messages without having to listen to every second. This is godsend since, no matter, how much my outgoing message emphasizes “leave a brief message,” I get a soliloquy. It’s like having Hamlet call with a question and no intermission in sight.

      Google’s been trying really hard to work out their voice recognition for some time. I remember when they were still operating Google 411, which purported to be a telephone directory when in fact it was a huge voice data acquisition tool. Since it knew where you were calling from, it could assess and catalog the nuances of your regional accent. And it was probably recording us so that somewhere there’s a record of me stammering my request for an Indian take-out number in my twee-transcontinental accent (this was before there was an app for that – the curry, not the accent).

      Meanwhile, Siri, Apple’s answer to the question, “Can voice recognition just work, for crissakes?” was recently born into a few million iPhone 4Ses. Sadly, this came on the eve of the passing of Steve Jobs (whose name is probably the English translation of whatever language “Siri” is).

      Consequently, she lost a little of her limelight, though she’s been more than compensated with fawning reviews and loving fan tributes. As can be expected, some wags have made videos of themselves tricking Siri into saying naughty notions chiefly by hacking their own IDs so the phone thinks their names are four-letter words, making it unclear who the joke is really on. I have yet to upgrade so I’m unsure as to how Siri will destroy the pronunciation of my name or transcribe mine or others’ words. I do hope, however, the next time Hamlet calls she’ll cut him off with a brisk, “That’s the question, isn’t?” and hang up. *Some of these examples have been made family-friendly.

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      20 Nov 2011

      Getting Siri-ous

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      Building real-time voice-recognition into our gadgets has been a holy grail for technologists ever since an onscreen superhero commanded an artificial intelligence to do his bidding in some sepia-toned sci-fi serial.

      Who this first human-computer interlocutor was, exactly, is lost to the annals of speculative fiction, though its echoes can be heard from Star Trek to the customer service bot on the other side of the 800 number at your credit card company. The results, on all scores, have been mixed. This is why Siri, Apple's virtual girl Friday (or guy, depending on your settings) has been greeted with such enthusiasm: it actually works.

      Installed on the new iPhone 4S, Siri is a voice-driven interface that allows one to talk to one's phone to execute in-phone tasks, searches and device navigation to existential volleys that have birthed something of a Siri-humor meme online. Screenshots and videos of Siri in action have been proliferating, thanks in great part to the wags at SiriHumor.net, which features Siri's more risible exchanges. Ask her about a certain woodchuck's wood-chucking prowess and Siri drolly replies, "A woodchuck would chuck as much wood as a woodchuck could chuck." Sounds about right.

      When asked about the meaning of life or where one might score weed, Siri does her best—admitting she either doesn't know or that she "cannot find a headshop." Where Siri really comes through is when one is in a serious jam, as when her offscreen conversation partner asked "Where can I hide a dead body?" Siri placidly replied "What kind of place are you looking for?" and produced a list that included "swamps, reservoirs, dumps, metal foundries, mines." Apparently, Siri is more than an assistant—she's an accessory after the fact. I think I'm in love.

      Siri began life as a company that developed an eponymously named third party iPhone app meant to function as a "click reduction machine," according to its CEO Dag Kittlaus. The user experience was so effective, it soon became the apple of Apple's eye, which purchased the company for $200 million last year. Reportedly also bidding was Google, which has struggled with its own voice-recognition tools, most notably Google Voice, its free online voice messaging service. The search giant's technology, however, is more useful generating cryptograms than intelligible voice mail transcriptions. When I receive a text or email transcriptions of Google Voice messages, I don't read them so much as decipher them. They read like the poorly translated assembly instructions one might read on Engrish.com—part Mad Libs, part "Dada list," which is the closest it's ever gotten to my admittedly unusual name.

      How Google will compete with Siri for its own Android smart-phone operating system will prove interesting. When asked "What do you think of Android?" Siri replied, "I think differently."

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      18 Oct 2011

      Kindle Aflame

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      Nearly 60 years ago, sci-fi scribe Ray Bradbury put the "lit" in literature when he opened his dystopian exploration of censorship Fahrenheit 451 with the memorable line "It was a pleasure to burn." In the classic fable of a world without books, "firemen" of the future pump kerosene onto pulp, thus keeping dangerous ideas from impressionable minds. (In an ironic turn, Bradbury's book was eventually banned itself.) Now where there's smoke, there's also Amazon's latest addition of its e-reader line of products, the Kindle Fire.

      Unlike those in Bradbury's tome, Amazon's CEO Jeff Bezos isn't trying to do away with the dissemination of ideas so much as make it easier, or at least make easy money while making it easier, while obviating the need for print editions. Lauded as the first serious rival to Apple's iPad, the Kindle Fire is also a tablet device, competitively priced at around $200, about half the price of an entry-level iPad. This has led some to conjecture that Amazon's device is a loss-leader in the same manner that low mobile-phone prices are subsidized by their calling plans. If this is true, the use of ye olde "give them the razor, sell them the blades" business model suggests that once again content is king.

      Using 2010 sales data from major publishing houses, last March, Publishers Weekly released a study that indicated that ebooks are turning as many heads as digital pages. "Many top-selling authors on the 2010 hardcover chart are among the e-book top-sellers, including Stieg Larsson's The Girl Who Kicked the Hornet's Nest, with electronic sales of 775,000 compared to 1.9 million in print," wrote Daisy Maryles. This bodes well not only for the usual suspects of bestsellers lists but for newbies, who aren't often invited to the print party.

      The advantages of e-book publishing are manifold—it's cheap, the barrier to entry is low and there's no dearth of old and new content flooding into the ubiquitous ePub format. A universal electronic text platform, ePub was devised by the International Digital Publishing Forum as a "reflowable" device "agnostic" ebook standard, meaning it formats itself to whatever format one uses, from an Apple iOS device to Google's Android or anything in between. It's the mp3 of books.

      Given its price point and symbiotic relationship with the world's largest bookseller, the Kindle Fire and its e-reader brethren are both fanning the flames of retail-reading and hosing some much-welcomed kerosene onto the publishing biz. Surely, print die-hards will balk at the notion of reading on a digital device, but as Robert Frost wrote, "I hold with those who favor fire."

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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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      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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      6 Mar 2011

      Light Painting with WiFi

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      Norway-based Timo Arnall, a designer working with interactive products and media, presents Immaterials: Light Painting WiFi, an exploration of the invisible terrain of WiFi networks in urban spaces. Arnall and his team of collaborators create "light paintings" by revealing signal strength in long-exposure photographs.
      "This project explores the invisible terrain of WiFi networks in urban spaces by light painting signal strength in long-exposure photographs. A four-metre tall measuring rod with 80 points of light reveals cross-sections through WiFi networks using a photographic technique called light-painting."
      Clearly, Arnall was not using the weak-ass WiFi in my building (courtesy of "comboplatter"), otherwise his canvasses might be blank.

      Immaterials: Light painting WiFi from Timo on Vimeo.

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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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      28 Oct 2010

      USB Typewriter (as seen in "Brazil")

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      If you came of age during the Reagan regime as I had, chances are your Cold War-inspired paranoia thawed a bit when exposed to the retro-future climes of Terry Gilliam’s Brazil. The quasi-familiarity of the film’s lo-fi hi-tech (retrofitted typewriter keyboards, magnifying lenses over tiny cathode ray tube screens) made somehow quaint an otherwise dystopian vision of, say, the Ministry of Information (which, clearly, is where I’d work). Fast-forward 25 years and now you can get something akin to the Ministry’s office equipment, courtesy of a chap in Philadelphia who converts vintage typewriters into USB-keyboards for a variety of devices (including the iPad as seen here). Available at Etsy, the keyboards run between $500 and $700, though a USB D.I.Y Kit, which includes instructions, can be had for $55. After all, as  the propaganda reads in Brazil, “Information Is The Key To Prosperity.” Get it? Key... Nevermind. (Thanks to J.M. Berry)
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      17 Jun 2010

      Will iPhone change how we make movies?

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      Zealous geeks have their own version of the Rapture and Armageddon, neither of which is terribly apocalyptic unless, you know, one needs to reboot HAL or something. If this were an SAT-style analogy, it would go something like "Armageddon is to the Singularity as the Rapture is to ______." The correct answer? (a) Convergence; (b) "OMG, that girl looks like Sailor Moon and now I'm too petrified to answer due to my anime-boner." To nonbelievers, unversed in geek-speak, the correct answer is (a) convergence, often defined as a synergistic confluence of once-discrete technologies into greater efficiencies when combined. Or, as was the ambition but a decade ago, streaming internet movies on TV. In the late '90s, convergence was something of a holy grail for both evangelical and more mercenary geeks alike. The former saw the inevitable marriage of old and new media as a byproduct of technology's natural evolution toward simplicity, if not sublimity. The latter knew it was the best way to pump product directly to the consumer, who, in this case, wouldn't have to leave the couch. Fast-forward 10 years and lo, there's an app for that. "Hi, John Ciancutti, VP of personalization technology, here," read a recent post on the official Netflix blog. "Today, I had the unique opportunity to present the app we're working on for iPhone at the Apple Worldwide Developer's Conference in San Francisco." According to Ciancutti, geeks will soon stream the sort of content into their iPhones that was once only available on the big screen (or, at least, the bigger screen). The announcement from the Los Gatos–based online movie hub came on the heels of Steve Jobs' introduction of the iPhone 4. Apple is promoting its latest gadget with the smug tag, "This changes everything. Again." And, yes, it probably will, but in ways the convergent-minded geeks might not expect. With the proper app, the new iPhone 4 doesn't simply put the movie theater in one's pocket; it also crams in the movie making. The new iPhone not only shoots HD video, it comes bundled with a mobile version of iMovie, Apple's desktop editing software, which is a slightly lower rent version of its professional grade Final Cut Pro suite, the industry standard. At $200, iPhone 4 doesn't quite answer Jean Cocteau's admonition that "film will only become art when the materials are as inexpensive as pencil and paper," but it's getting closer. Now the web is atwitter with speculation about how quickly some smart-phone Fellini will claim to have produced the first feature film on an iPhone 4. Previous iterations of the iPhone have resulted in an abundance of similar, if less ambitious, efforts. Among them is a music video posted to YouTube in late 2008 garrulously titled "World's 1st music video shot on an iPhone—Newteknowledge by GOSHone." Its director claims the minute-and-half clip was "shot entirely on a jailbroken iPhone 3G" as a video for GOSHone's album ctrl_alt_ego. Six months later, an arguably more successful effort posted by BJSRmusic boasted that it was shot on the then recently released iPhone 3GS. Neither filmmakers seemed as concerned with their video's content as they were about bragging rights, lest one think "Music Video Shot on iPhone" is a groovy name for a song. Heretofore, no one has claimed that they have made an iPhone 4 video, let alone a feature, because the device won't be released until next week. But when it drops, let's hope Digital Age auteurs hew more to Cocteau's vision of inexpensive filmmaking than engage in some hasty race to YouTube's upload page. As Francis Ford Coppola famously opined 20 years ago, "To me, the great hope is that now these little video recorders are around and people who normally wouldn't make movies are going to be making them. And suddenly, one day, some little fat girl in Ohio is going to . . . make a beautiful film with her father's camcorder, and for once, the so-called professionalism about movies will be destroyed, forever, and it will really become an art form." In the very least, we can watch the iPhone 4 destroy professionalism as we patiently await a true convergence of artist and technology. Otherwise, you're just phoning it in.
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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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