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GigantiCo is the blog of,
CHRIS GRAYSON
Art Director, Design Director
New York City






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Sunday
28Jun

Who will buy Razorfish?

Two years ago Microsoft acquired aQuantive, a third-party-ad-server and digital media management firm. Previous to this aQuantive acquired Razorfish and merged it with their online advertising arm, Avenue A. The merged company had been operating under the name Avenue A | Razorfish, until earlier this year when it was announced that “Avenue A” would be dropped from the name. Though Avenue A was the acquiring firm, Razorfish has stronger brand equity in the industry. Many viewed this as a tell-tale sign that Microsoft was preparing to put it up on the block. Microsoft’s acquisition of aQuantive was made in response to Google’s acquisition of DoubleClick. aQuantive’s media management arm was Microsoft’s business unit of interest; the banner ad and website dev components of the Avenue A | Razorfish subsidiary simply came as part of the package and were widely expected to be spun off from the start. Since this time, Microsoft has rebranded aQuantive as “Microsoft Advertising”.

Spinning off Razorfish will allow Microsoft to pursue media accounts that could appear to be in conflict with Razorfish’s roster of clients or even direct competitors of Razorfish itself, and allow it to compete more aggressively with Google’s DoubleClick.

On Sunday evening The Financial Times reports that the sale of Razorfish is being handled by Morgan Stanley. Razorfish is a widely respected brand, and leader in digital innovation. Clients include Levis, Intel, Coca-Cola, Sony, Kraft, Visa and others.

Razorfish could be an attractive purchase for any of the major holding companies— The usual suspects include WPP, Publicis, Omnicom, MDC Partners, Havas, Dentsu or The Interpublic Group.

Of the major players, Interpublic has financial issues of its own that place it out of the running. Aside from that, Interpublic already owns R/GA, and therefore has much less incentive to jump at a Razorfish sale. WPP has been going through some trials of its own, as has it’s trophy agency, Ogilvy. WPP already walked away from a deal to buy Razorfish last year and it seems even less likely now.

The Financial Times article that broke the story makes much about a Friday announcement of a “strategic partnership” between Microsoft Advertising and Publicis business unit, VivaKi. I’m going to go out on a limb and say that the Financial Times are overplaying this development. Microsoft Advertising is currently trying to cut deals with all the major agencies and I see nothing significant about the timing of this particular deal. I also take note of the fact that, as of the time of this writing, VivaKi’s homepage, rather than publicizing anything about the Microsoft deal is instead boasting of their relationship with DoubleClick (Google’s ad-servering arm, and Microsoft Advertising’s #1 rival).

Omnicom powerhouse, BBDO just completed an internal merger of its major NY interactive shop, Atmosphere, with another of their global digital shops, Proximity. Their agency portfolio also includes Tribal DDB (the first digital shop to win Advertising Age Global Agency of the Year), and TBWA/Media Arts Lab (digital shop to Apple). Their digital portfolio is strong. My bet is they pass.

Havas CEO, Vincent Bolloré has been talking up acquisition in the press all month (as has Publicis). Bolloré is hunting for deals, and Razorfish would be quite a prize. Havas is in the game.

Some might consider MDC a long shot, and I have no idea of their cash position for such an acquisition, but with the high flying Crispin Porter + Bogusky in their general portfolio this gives them a pre-existing Microsoft relationship, and would also put Razorfish in very good company.

Tokyo based Dentsu has been shopping overseas for acquisitions, and recently snapped up hot independent New York shop McGarryBowen (and their upstart interactive arm, Continuity). If they’re still shopping for bargains and looking to further expand their portfolio outside of Japan, Razorfish would have to look enticing.

Though a very long-shot, I also wouldn’t rule out a suitor from outside of the advertising arena. Razorfish could very well be attractive to a technology/software company.

It could be Publicis, but I’m going to buck the conventional wisdom and say it could as likely be Havas, Dentsu or MDC Partners. I could even see a very competitive bidding war.

What do you think?



Full disclosure: Of the firms discussed in this article, in the past I have worked for WPP, Ogilvy, Havas, Omnicom, Atmosphere, Dentsu, McGarryBowen, Continuity, and I’m currently consulting for a subsidiary of Interpublic Group. Nothing in this article is derived from any insider information, and is entirely gleaned from reading the trade/business press together with my own personal insights. I have never worked for Razorfish.


Tuesday
23Jun

Augmented Reality Overview

Many of the links in this article are for video demos. Rather than having a string of 30+ videos cluttering and breaking up the article, I’ve chosen to set up a separate video page. When you click a video link, it will open a second window. You can view the related video as well as navigate all of the other videos from this window. If your monitor is large enough to permit, I would even suggest leaving the second window open for the videos to cue each video when needed, as you read through the article. To differentiate the video links from other links, links to videos are each followed by a “¤”. To open the window now, click here ¤.

While social media in general, and Facebook and Twitter specifically, have been monopolizing mainstream media’s coverage of online trends, augmented reality is getting a lot of inside-the-industry exposure, mostly for its undeniable wow factor. But that wow factor is a double edged sword, and advertising has a way of turning trends into fads, just before they move on to the next brand new thing. So for this article I wish to focus on practical applications and augmented reality with clear end user benefits. I’ve deliberately chosen not to address entertainment and gaming related executions as it is beyond the scope of this article and frankly merits dedicated attention all its own. And perhaps I’ll do just that in a future article.

Can it Save the Car?
The automotive industry was an early adopter. Due to the manufacturing process, the CAD models already exist and the technology is very well adaptive to showing off an automobile from a god’s eye view. Mini ¤ may have been first off the pole position, with Toyota ¤, Nissan ¤ and BMW ¤ tailgating close behind. Some implementation of AR will soon replace (or augment) the “car customizer” feature that is in some form standard on all automobile websites.

The kind of augmentation that is so applicable to automotive is also readily adaptable to many other forms of retail. Lego ¤ is experimenting with in store kiosks that feature the assembled kit when the respective box is held before the camera. Because legos are a “kit” the technology is very applicable in-store, however I find the eCommerce opportunities much more compelling. Ray-Ban ¤ has developed a “virtual mirror” that lets you try on virtual sunglasses from their website. Holition ¤ is marketing a similar implementation for jewelry and watches. HairArt is a virtual hairstyle simulator developed for FHI Heat ¤, maker of hair-care products and hairstyling tools. While demonstrating potential, some attempts are less successful ¤ than others (edit: I just learned of a better execution of an AR Dressing Room by Fraunhofer Institut). One of the most practical, useful implementations I’ve seen is for the US Post Office ¤— A flat rate shipping box simulator (best seen). These kind of demonstration and customization applications will soon be pervasive in the eCommerce space and in retail environments. TOK&STOK ¤, a major Brazilian furniture retailer, is using in-store kiosks to view furniture arrangements, though I personally find theirs to be a poor implementation. A better method would be to use the same symbol tags to place the AR objects right into your home, from the camera connected to your PC. And that’s just what one student creative team has proposed as an IKEA ¤ entry for their Future Lions submission at this years Cannes Lions Advertising Festival. A quite sophisticated version of this same concept has also been developed by Seac02 ¤ of Italy.

To Tag, or not to Tag?
A couple of years ago I wrote here about QR codes. A couple of weeks ago, while attending the Creativity and Technology Expo, I was given a private demo of Nokia’s Point & Find ¤. This is basically the same technology as QR codes, but uses a more advanced image recognition that doesn’t require the code. Candidly I wasn’t terribly impressed. The interface is poor and the implementation is so focused on selling to advertisers that they seemed oblivious to how people will actually want to use it, straightjacketing what could be a cool technology. Hopefully future versions will improve. Most implementations of augmented reality rely on one of two techniques— either a high degree of place-awareness, or some form of object recognition. Symbols similar to QR codes are most often used when the device is not place-aware, though some like Nokia’s Point & Find don’t require a symbol tag. Personally, even if the technology no longer requires it, I feel the symbol or tag-code is a better implementation when used for marketing. We are still far from a point where everything is tagged, so people won’t know to inspect if a tag-code is not present. Furthermore, the codes place around on posters and printed material help build awareness for the technology itself. Everything covered here thus far has been recognition based augmented reality.

Through the Looking Glass
Location-aware augmented reality usually refers to some form of navigational tool. This is particularly noteworthy with new applications coming to market for smartphones. As BlackBerry hits back at the iPhone, Android’s list of licensees grows and the Palm brings a genuine contender back to the table with the new Palm Pre, there is huge momentum in the smartphone market that not even the recession can slow down. I personally think the name “smartphone” is misleading as these devices are far beyond being a mere ‘phone’. Even a very smart one. They are full-on computers that, among many other features, happen to include a phone. In my prior article on augmented reality I focused on the iPhone’s addition of a magnetometer (digital compass). This gave the iPhone the final piece of spacial self-awareness needed to develop AR applications like those coming fast and furious to the Android platform. Think of it like this— The GPS makes the phone aware of its own longitudinal and latitudinal coordinates on the earth, the compass tells it which direction it is facing, and the accelerometer (digital level-meter) determines the phone’s degree from perpendicular to the ground (this is what lets the phone’s browser know whether to be in portrait or landscape mode). Through this combination of measures the device can determine precisely where in the world it is looking. There is already a fierce race to market in this highly competitive space. Applications like Mobilizy’s Wikitude ¤ (Android), Layar ¤ (Android) and other proof of concepts seeking funding like Enkin ¤ (Android) and SekaiCamera ¤ (iPhone) are jockeying for the mindshare of early adopters. Others have developed proprietary AR navigational apps such as IBM’s Seer ¤ (Android) for the 2009 Wimbledon games. Two months ago when Nine Inch Nails released their NIN Access ¤ iPhone app, there was no iPhone on the market with a built-in compass, so the capability for this level of augmentation was not yet available, but a look at the application’s “nearby” feature gives a hint at the kind of utility and community that could be built around a band or a brand using this kind of AR. View a demo of Loopt ¤, and only a little imagination is needed to see how social networking can be enhanced by place awareness, now add person-specific augmentation tied to a profile and the creepy stalker potential is brought to full fruition, depending on your perspective. And there are other well established players in the automotive navigation space that have a high potential for crossover. The addition of a compass to the iPhone paved the way for an app version of TomTom ¤. Not to be outdone, a Navigon ¤ press release has announced that they too have an iPhone app in development. How long before location-aware automotive navigation developers choose to enter the pedestrian navigation space?

Some Assembly Required
It seems everyone wants some AR business from IKEA. Another spec project by a student at the University of Singapore proposes an assembly instruction manual for IKEA ¤ furniture. In a more sophisticated application on the same line of thought, BMW ¤ is experimenting with augmented reality automotive maintenance and repair technology. Note in that video that he is not doing this in front of his laptop camera, nor is he holding his smartphone in front of his face. He’s wearing special AR eyewear. The potential for hands-free instruction and tutorial is as obvious as it is unlimited. Consider any product you purchase that comes with instructions (You do read the instructions, right?). A municipal construction crew repairing a broken water pipe could effectively have X-Ray vision, seeing where all the pipes are under the road, based on schematics supplied to their eyewear from city records.

Seeing is Believing
When it comes to Virtual Reality, I’ve had a mantra that none of this will really take off until we’re in there versus looking at there. I believe augmented reality will be the catalyst that pushes digital eyewear into the marketplace. Virtual World applications are, by their nature, not location dependent. In many ways that’s the point— you can be anywhere. And sitting at your computer or game console and looking at a screen is a well established all-purpose interface. Place-aware augmented reality, on the other hand, is location dependent— Walking down the street holding your smartphone in front of your face is not a long-term solution. In only a short couple of years, a bluetooth earpiece ¤ has gone from being the goofy guy walking down the street who looks like he’s talking to himself, to a common everyday accessory, even fashionable. What works for your ears is now coming to your eyes— a hands-free visual interface in the form of eyewear. Some variation of this concept has been around for a long time ¤. Slow to improve, even most contemporary models are less fashionable than a Geordi LaForge’s visor, but slowly they are improving.

vuzix eyewearThe Vuzix Wrap 920AV (at left), prototype premiered at the 2009 CES in Las Vegas, are the newest consumer class digital eyewear marketed for augmented reality applications. WIRED Magazine’s Gadget Lab feels their most significant feature, “comes from the fact that the company finally hired a designer aware of current aesthetic tastes.” Significant to the 920AV’s is that: A. They boast ‘see-thru’ video lens that readily lend themselves to augmented reality applications, and B. They are stereoscopic (meaning they have a district video channel for each eye, required for 3D). They are meant to hit the market in the Fall, and are being pushed as an iPhone compatible device. If they are smart, they will do a bundled play with a “killer app” such as SekaiCamera or similar product. They have the potential to be the ‘must have’ gift for the 2009 holiday season. Not to oversell them, I have not personally demoed them yet so I don’t know if they will deliver on the hype, but they look as though they will be first to market, and their product will be the leading contender in the immediate future. Here is a demonstration of a prior Vuzix model ¤ (behold the fashion statement). Using symbol-tag based augmented reality, this man places a yacht in his living room.

vuzix and lumus eyewearIf the quality of the user experience fails to live up to expectations, Vuzix has many pretenders to the crown. Fast followers like Lumus (at left) and others are trying to get products to market as well. Then there are MyVu, Carl Zeiss, i-O Display Systems and others who have video eyewear products and are likely candidates to come forward with AR offerings. Add to that a technical patent awarded to Apple last year for an AR eyewear solution of their own and it is clear this could quickly become a crowded and competitive product category. This video titled Future of Education ¤, while speculative, is a splendidly produced and rather accurate projection of where the technology is going.

Where to From Here?
We’re moving in this direction at exponential speed, the pace of progress is only going to keep moving faster. As we see the convergence of augmented reality with mobile and mobile with ear and eyewear, there are another set of convergences just over the horizon. We’re on the threshold of realtime language translation ¤. This is an ingredient technology and, like a spell-checker, will soon be baked in to all communications devices, first of which will be our phones. The Nintendo Wii brought motion capture into our homes, and technologies like Microsoft’s Project Natal ¤ are converging motion capture with three dimensional optical recognition, so no device is needed. And everything, both real and virtual, will soon be integrated into the semantic web. Intelligent agents will assist us with many tasks. While most of this intelligence will occur behind the curtain, as humans we like to personify our technology. It won’t be long before our personal digital assistant could be given the human touch. How human?





NOTE: In the references below, I’ve included a list of firms that have created some of the pieces shown here or the technologies used.

Tuesday
23Jun

H+ Magazine, Issue 3

I promised readers here they would be first to know, should anything come of my talks with H+ Magazine. Well, for issue #3 I received my first assignment. I’ve actually been a little tardy with my update— it’s been out for several weeks (I have been very busy).

I was asked to contribute an “Art” article. After considering various artists, and presenting Ken with some options, I eventually interviewed Christopher Conte (whose work some may recall I covered here once before at GigantiCo). We met over dinner at Yaffa, and at a later date I had the unique pleasure of photographing a couple of Mr. Conte’s pieces. A really swell guy too, I might add. I was given four pages to layout to my liking (only some minor font changes were made for the final edition, to better integrate my layout with the rest of the magazine).

Ken Goffman (aka. R.U. Sirius) has pulled together a great team and the whole process was a really good experience. I’m now discussing further assignments from H+ and hope to be an ongoing contributor.

Oh, and did I mention? They used one of my photos of a Christopher Conte sculpture for the cover.

You can download the Summer 2009 issue of H+ Magazine from here.

Tuesday
19May

Augmented Reality

Apple iPhone Apps reports on new iPhone features, attributing credit to an anonymous leak from inside Apple. I would like to focus on one specific feature. They report, with skepticism:

-Revolutionary combination of the camera, GPS, compass, orientation sensor, and Google maps

The camera will work with the GPS, compass, orientation sensor and Google maps to identify what building or location you have taken a picture of. We at first had difficulties believing this ability. However, such a “feature” is technically possible. If the next generation iPhone was to contain a compass then all of the components necessary to determine the actually plane in space for an image taken. The GPS would be used to determine the physical location of the device. The compass would be used to determine the direction the camera was facing. And the orientation sensor would be used to determine the orientation of the camera relative to the gravity. Additionally the focal length and focus of the camera could even assist is determining the distance of any focused objects in the picture. In other words, not only would the device know where you are, but it could determine how you are tilting it and hence it would know EXACTLY where in space your picture was composed. According to our source, Apple will use this information to introduce several groundbreaking features. For example, if you were to take a picture of the Staples Center in Los Angeles, you will be provided with a prompt directing you to information about the building, address, and/or area. This information will include sources such as wikipedia. This seems like quite an amazing service; and a little hard to believe, however while the complexity of such a service may be unrealistic, such is actually feasible with the sensors onboard the next generation iPhone.

And why “unrealistic”? Every piece of this technology already exists in the wild. This is not a great technological leap. This is merely smart convergence.

There are already two applications on the Google Android platform that have these features. One is a proof-of-concept called Enkin, developed by Max Braun and Rafael Spring (students of Computational Visualistics from Coblenz Germany, currently doing robotics research at Osaka University in Japan). The second, Wikitude by Mobilizy, is already in full-blown commercial release (an Austrian company, founded by Philip Breuss-Schneeweis and Martin Lechner).

WIKITUDE DEMONSTRATION:

ENKIN, PROOF-OF-CONCEPT:

It is only one short step further to let users geo-tag their photos. Many social photo/map applications available for the iPhone already incorporate such a feature. Building this into the realtime viewfinder would not be a great challenge. By example, the proof-of-concept for this already exists in the form of Microsoft’s Photosynth (silverlight browser plugin required).

Social Media apps could tap into this utility to network members in real space. At the most basic level, Facebook and/or LinkedIn apps could overlay member’s with their name and profile information.

The next logical extension of this will be to place the information directly into your field of vision.

The OOH marketing opportunities are immense. Recent campaigns for General Electric in the US, and the Mini Cooper in Germany show where this is going. Suddenly the work done by Wayne Piekarski at the University of South Australia’s Wearable Computer Lab is no longer so SciFi (now being commercialized as WorldViz). At January’s CES, Vuzix debuted their new 920AV Model of eyewear, which includes an optional stereoscopic camera attachment to combine virtual objects with your real environment. Originally scheduled for a Spring release, their ship-date has now been pushed back to Fall (their main competitor, MyVu, does not yet have an augmented reality model). If the trend finally takes, expect to see more partnerships with eyewear manufactures.

Initially through the viewfinder of your smartphone, and eventually through the lens of your eyewear, augmentation will be the point of convergence for mobile-web, local-search, social media, and geo-targeted marketing. Whether Apple makes the full leap in one gesture with the release of their Next-Gen iPhone, or gets there in smaller steps depends upon both the authenticity/acuracy of this leak, and the further initiative of third-party software and hardware developers to take advantage of it. Innovation and convergence will be the economic drivers that reboot our economy.




EDIT: The only capability Apple actually needs to add to the iPhone in order for this proposed augmented reality to be implemented is a magnetometer (digital compass). Google Android models already have this component. Charlie Sorrel of WIRED Magazine’s Gadget Lab has separately reported this feature through leaks of a developer screen shot, and on May 22nd Brian X. Chen, also reporting for WIRED Magazine’s Gadget Lab, put the probability of a magnetometer being included in the new iPhone at 90%. Once the iPhone has an onboard compass, augmented reality features will begin to appear, whether through Apple’s own implementation or from third party developers.

UPDATE: Since the time of this writing, the iPhone 3GS has been released, and it does indeed include an magnetometer.

Friday
08May

On Display

In the past six months both the blogsphere and the industry trade press have been stumbling over each other to write the obituary of the online display ad.

Naturally, I have an opinion.

In the most recent IAB report for 2008, based on spending, Display (collectively: rich media, digital video and banners) accounted for 31% of the online advertising market. And what was Display’s share in 2007? Again, the same 31%. This should not be interpreted that online display advertising spending has remained flat. Online marketing budgets overall grew by 10.6%. So we can extrapolate that spending on Display advertising also grew by 10.6%, merely maintaining a consistent portion of a growing pie.

So where does all the hoopla over the death of display ads come from? Most loudly from the voices of those who are competing for the same marketing dollars— search marketers and social media consultants wishing to woo those dollars over to their own budgets (Don’t get me wrong, I’m a believer. But I call ‘em like I see ‘em). So if not a reflection of trends in actual spending, what data are these dire predictions being based upon? “Click-through,” of course. Click-through performance is in decline, and therefore online display advertising is a failure.

Click Here Now!
Click-through is a very shallow metric for measuring the performance of online display advertising. It is largely measured because it is easy to measure, not because it is the best yardstick of performance. Fear not. The advertising trade press has declared the demise of click-through… in 1999. And again in 2000. And 2001. And every year up to today. And yet still, click-through remains the primary metric for judging the success of online display ads. This is mostly due to laziness. Other metrics are more difficult to measure and more complex to analyze. Click-through is easy. It is very hard to compete with easy.

Nevertheless, the consensus is that Online Display Advertising is broken. While the metric may be shallow, and the detractors may have an agenda, I won’t dispute that there is a problem that needs fixing.

DejaVu
We’ve been here before. The last time online advertising went through major upheaval, as the dot-com bubble began to burst, solutions for the declining performance of display advertising were also sought. A flurry of activity on the part of publishers, whose revenues were dropping from declining ad sales, led to the adoption of new display ad standards. In 2000 WIRED introduced the “Leaderboard” at 728x90 pixels and Cnet introduced the “MPU” (Messaging Plus Unit) at 336x280 pixels. These two unit, together with six others, comprised a list of eight standards that the Interactive Advertising Bureau (IAB) adopted in February of 2001. Early on, a competing standard to the 336x280 emmerged. As other sites began to accept the 336x280 unit, it became common practice to scale the unit down to 300x250 (exact same aspect ratio) until this slightly smaller bastard unit eventually superseded the original as the more common size (they are both now listed as AIB standards). Today the MPU, the Leaderboard and a third unit, the 160x600 pixel “Skyscraper” constitute 90% of all online display ads sold (anonymous source at Havas). When adopted in 2001 the initial download size for an MPU was 40k. Today the IAB’s recommended initial download size is still 40k.

Now let’s look at some numbers.


I wouldn’t be the first to call for larger ad sizes. But this is not nearly as significant as the lesser mentioned variable— K-Size. Larger media placements are worth nothing if not allocated enough “K” to do something with them. Lack of needed k-size kills more creative concepts than a client with a hangover. And if your concept does survive the k-size crunch it gets watered down like a cheap drink. A media spec with a low k-size will destroy production quality. Yet it rarely gets mentioned in this debate. K-size can be the difference between two or three static frames or smooth flowing animations, it’s the difference between crisp photographs or smudged and rutty image compression.


The chart above only tells part of the story. It would be one thing if the broadband pipe had opened wide but publishers had kept page-load low, optimizing for faster downloads. But this is precisely not the case. A quick perusal of major media outlet home-pages show page loads between 650k-900k. By now some may point out that there are sites that offer a larger K-size spec (though not typically). They are killed by the process.

The Real World
Most amazing about this debate is that it is taking place largely at the exclusion of those who actually make online display ads. So I’d like to discuss now how this process works, how it can work, and what industry changes are needed to make it work right.

The first question one may ask is, why I choose to single out the MPU. Those who work in media buying may be aware that this unit accounts for the smallest of the three largest units mentioned above, that together account for the bulk of online media inventory. Because for the creative department, this unit is the original. By this, I mean, this is the unit that creative is concepted against. In most cases, all other units are considered “resizes.” This part of the process, presenting internally, and pitching ideas to the client, is not unlike the process used to develop creative for any other media channel. What is different is that the concepts have to be executable in 40k. True, some publishes may offer more K, but it is rarely able to be developed against. This is a result of the way online media is purchased. Let’s have a look, shall we?


For media, that plan is fine. However, in the creative and production budget, that is one line item: a 300x250 banner, to be trafficked to six media outlets. There’s a 120k unit in there, but there will never be a 120k unit trafficked. Because a publisher that only accepts 40k cannot receive a 120k ad, but a publisher that has a 120k spec will accept a 40k ad. And the client isn’t paying the production costs of making multiple versions of what they view as one ad. So the agency can either develop six different versions, degrading in quality/functionality with each drop in K-size and eat the production costs (which they won’t). Or they can just develop one unit at the lowest common denominator spec and traffic it to all the different sites. This is the industry-wide practice. This is why, regardless of the publishers’ individual specs, in nearly all cases only 40k units ever get produced.

There was a time when all of this media was managed in-house, by the advertising agencies and digital boutiques who developed the creative. But over the past decade, as online media budgets grew enough to merit attention, the major holding companies spun the online media buying departments off from their individual agencies, and each consolidated them into one of their dedicated media buying subsidiaries. I can see how this seemed like a reasonable strategy at the time. The economies of scale work great for broadcast. From a media perspective, a 30 second spot, is a 30 second spot, is a 30 second spot. As a unit of media, they can be shuffled interchangeably. This is what is attempted with the IAB standards established in 2001. But those standards were established when about 90% of the US internet audience was on dial up, mostly on 800x600 monitors (followed by 640x480!). Even when some sites offer more bandwidth, all it takes is one site in the media buy with a lousy spec to ruin a campaign. One irony of this process is that the more the client spends on media, the the greater the chances that all of the media will be dumbed down. A smaller client will have a smaller media buy, possibly limited to only a couple of outlets. If there is a buy with a large k-size, they will be more likely to be able to take advantage of it in their creative development and production.

When media buying was done in house, there was a way to handle this. When a particular publisher had a more restrictive ad spec than others in the buy, a member of the creative team could walk down the hall and ask for help from their account’s media planner, who would then set up a call with the publisher. Knowing that the agency controlled the media dollars, publisher were much more cooperative. The decision would be escalated to a director level account manager on the publisher’s side who had the authority to overrule the standard ad spec.

Today the creative agencies no longer control these media dollars. While there is pressure from media buyers (and clients) for larger ad sizes, there is little pressure for more bandwidth/k-size. The full ramifications of k-size seem to be seldom understood by media buyers or clients, who are a few steps further removed from the actual process of making the ads.

On the exceedingly rare occasion that a call can be coordinated with a publisher to discuss accommodating a creative concept that is outside of the existing media spec, the agency now lacks any leverage at all over the publisher. Hence, they will no longer defer to a more Sr. level member of their ad sales team to make the decision. Instead they defer to the Web Master, or a Sr. member of the site development team. They have a different set of motivating criteria. While account management was previously motivated by the fear of loosing a piece of business, whether implied or explicit (“We’re already developing this ad unit to a more generous media spec for another site. If your site cannot accommodate this spec, we will have to remove you from the media plan.” I’ve heard an in-agency media planner say this to a publisher. It works.). The site-dev team at the publisher does not think this way. The publisher knows the agency has no other option but to grovel and beg. If it were any other case, they would not get deferred to a dev team. The development team will blame it on testing. The stereotypical response is, “Going outside of our existing [iron-clad, carved in stone] media spec would require additional testing. I’m afraid we have to say ‘no’.” The development team does not look at such a request in the context of their company’s revenue. To them, this is a testing and QA question, and frankly viewed as an annoying diversion from their main responsibility— building the publisher’s own website. When asked, the answer is “No.” Everytime “No,” always “No”.

Some might ask, why doesn’t the agency bring in their media counterpart to advocate for them on a joint conference call between agency, media and publisher? That only works on paper. In this scenario the creative department, working through account management, sets up a call with the media firm to coordinate setting up another call with the publisher. And the client will want to be in on both the agency/media call, and the subsequent agency/media/publisher call as well. That means coordinating multiple schedules between multiple individuals at multiple companies… twice, just to get the conversation started. All the while moving against the fast paced schedule of online campaigns that generally go from brief to traffic at about 10 times shorter schedule than they do for broadcast or print. The ball just moves too fast for that much bureaucracy. Furthermore, being on the same team or not, the media firm always views this sort of thing as an encroachment upon their “turf” by the agency side.

A good argument could be made that the networks need to foster tighter relationships between the agencies and media-buyers in their network. Deeper relationships than a monthly or quarterly director-level status meeting, and involve people that actually do the work, so they’re able to be more agile. But my money is against it— against the idea that they would ever do so, and against the notion that it would be successful if they did.

This is the way the industry actually works. Yes, it is broken.

My recommended solution would be to move online media planning back into the agencies. This is, of course, easier said than done. Billions of dollars are at stake, and the media buying firms view online as a long-term, high-growth piece of their business. They would not be cooperative about such a restructuring. But if agencies or perhaps some forward thinking clients decided to experiment on their own, it’s hard to fight against success. Perhaps it could be a model to emulate.

And it just might help save the publishers from themselves.



I have a lot more to say on this subject, including some recommendations on solving some of these problems, but this article has grown to a length that I feel is stretching the short attention spans of likely readers. So I’ll stop here, and write a follow-up, once I have some comments.

Friday
09Jan

H+ Magazine



In October Ken Goffman (aka. R.U. Sirius) launched a new venture. The cyberculture icon of Mondo 2000 fame has a new transhumanist magazine, H+. You won’t find this one on your newsstand yet, issue #1 of this quarterly publication has been released as a PDF only. You can download it here (and you should).

Transhumanism is a philosophy that explores/embraces the increasing integration of technology with the human race. In the words of the World Transhumanist Association — “The ethical use of technology to extend human capabilities.” H+ covers these issues technologically, biologically and philosophically — concerned with both the possible, and its implications for humanity.

I had held off covering this on GigantiCo, because I’ve been discussing with Ken a possible role for myself with the publication, and thus far none has precipitated. I had intended to cover the launch of the magazine in a more timely manner, with an announcement of my involvement. So far we are just talking. That’s not a bad thing, I hope the dialog will lead to something more. If it does, readers here will be first to know. Until then, keep an eye on H+.




EDIT: I am now working with H+. Details to come.




FURTHER READING:

San Francisco Weekly — Mondo 2000

Boing Boing — Bart Nagel’s Mondo 2000 collection

Coilhouse — Mondo 2000: Where Are they Now?

Temple of the Screaming Electron: A history of Mondo 2000

R.U. Sirius @ Maybe Logic

The R.U. Sirius Show

Wednesday
07Jan

Did You Know? 3.0



Did You Know? is making the rounds again, this time in an official 3.0 release.

The Story Behind the Video
In June 2006, Carl Fisch, the Director of Technology at Arapahoe High School in the Denver suburb of Littleton, Colorado, created a PowerPoint presentation called “Did You Know?” for his beginning of the semester faculty meeting. The presentation made an impression, and so he uploaded the files to his blog, to share it with others. After being picked up by the social-bookmarking website, delicious, the presentation became a viral meme that spread rapidly around the web. Fisch’s presentation was later uploaded to the video website YouTube (“Did You Know? 1.0”). Taking on a life of its own, it inspired many unofficial variations. The following year, with Carl’s permission, the info-graphic group, XPLANE, together with Scott McLeod, Associate Professor in the Department of Educational Leadership and Policy Studies at Iowa State University, created an updated version of the presentation, with new graphics. This video, also available on YouTube, was dubbed “Did You Know? 2.0”, and brought the presentation to an even larger audience. In 2008, Globalization & The Information Age revised the data for “Did You Know? 3.0”. This version was picked up by Sony BMG for their annual executive meeting, held this past October in Rome. The various versions have been translated into many languages and viewed now by millions of people. The 3.0 version in English is shown above.




OTHER RECOMMENDED VIEWING:

Kevin Kelly - 6,527 Days, from Web 2.0 Summit, November 2008

About Kevin Kelly
Kevin Kelly, founding Executive Editor of WIRED Magazine, and best selling author of Out of Control: The New Biology of Machines, Social Systems and the Economic World, has been honing this lecture since at least the 2007 TED Convention. The one given above is his latest.

Saturday
03Jan

New Year Endorsements

Putting a wrap on 2008, I set a goal to get my own online efforts organized. I had websites scattered across several different hosting providers. In conjunction with the launch of my new website, this was the right time to review my existing arrangements. Having done so, I’m now making some new year endorsements.

MediaTemple for Hosting
My research on hosting providers eventually led me to MediaTemple. So far I’m very pleased with their entry level Grid-Service package that includes hosting for 100 domains, 100 GB of storage, 1 TB of bandwidth and 1000 email addresses, for $20 a month or $200 a year. Their dashboard has the slickest interface I’ve seen in the business, and they also have a sweet iPhone version to manage your websites on the go. Their customer support has been impeccable. I actually got a recording that told me, “your approximate wait time is… one minute.” The other three times I’ve called a technician has answered on the first ring without even going into a queue!

GoDaddy for Domain Registrar
Several years ago I had a similar issue consolidating my domain registrations. I went with GoDaddy, and I’ve been pleased with the decision. The interface is well organized, and has plenty of automation tools to manage my domains. Though the up-sell e-commerce efforts on their website can sometimes be overbearing, their email and phone support are top notch. Amazingly, they’ve also managed to take a service which has, for all practical purposes, become a commodity and add premium value to their offer. They don’t do this to command a higher price— they do this all-the-while remaining one of the industry’s most price competitive vendors. It is no surprise that they remain the world’s #1 registrar. Their cheesy marketing efforts not withstanding, I chose to stick with GoDaddy.

Clicky for Site Analytics
The next service providers on my list to research were site traffic analytics tools. I was using a very dated stats service I’d been with since the 90s. I knew there were better products on the market, but stayed with them out a familiarity. After checking out many products in a very competitive market, I narrowed it down to two choices— Clicky and Mint. Clicky’s filtering tools and iPhone integration were persuasive, but its built in ability to track Flash events and file downloads was the deciding factor. It also doesn’t hurt their case that their interface is smart and slick and easy to get to the information I need quickly.

Squarespace for Blog Platform
There was no debating my choice to stick with Squarespace for my blog platform. I cannot evangelize their their product enough. My site here is but a tiny glimpse of the platform’s capabilities. If you haven’t yet had a look, take a peak at their homepage video demo. To call Squarespace a blog platform is almost an insult. It is a very robust content management platform with the best user interface and customization tools on the market anywhere at any price.

Viddler for Online Video
Earlier this year I switched to Viddler for all my video content needs. It produces better quality video, and less bug-prone uploading than YouTube, and the uploads are exponentially faster. There are also tools for book-marking the timeline, and other value added features, as well as a slicker interface and more professional looking video controller than YouTube. It also gives users the opportunity to monetize their video content with a commission on ad sales run with their video, and several parameters of control over what ads will be run with their content.

Tramsmit for FTP & AASync to Archive
These last two products I’m going to endorse are not web services, but I don’t want to neglect mentioning a couple of the support applications that I depend on to get work done. A hosting provider is useless without file transfer capabilities. For this I use Transmit. It was not a recent decision, I made the move a couple of years ago, but I did audit my options as part of my overhaul. Much like my recent step up the ladder with my stats platform, I had been using a legacy FTP app out of mere familiarity, and finally got around to upgrading to a top flight product. More recently I began using a very minimal backup application called AAsync to archive my files, including my websites, to an external drive. It isn’t a solution that I would expect to scale, but for a small operation like myself, it is very efficient for my needs. It has an intuitive interface that is super easy to use— I tell it what I want to back up (down to the level of individual folders), from which drive, to which drive. I set it on a timer, and don’t have to think about it again. If I’m not here and the computer is off, it will start up the computer itself, and run its backup routines completed automated.

So that wraps up my web service endorsements for the new year. I’ve never felt like I had my online efforts so buttoned up as I do today. Pretty much across the board, competition has driven improvements in quality. If you have not recently audited the offerings of your current providers against the competition, the new year could be the time to do so.




Art DirectorSHAMELESS SELF PROMOTION™
At that, I will segue back into the launch of my new website, the original impetus for this overhaul. There are still several more projects I need to load into the portfolio, and like every site, it will always be a work in progress. My next step is promoting the site, which I can start by inviting you to have a visit at: ChrisGrayson.com.

Applications used in the making of the new website include: PhotoShop, Illustrator, Flash, Swift 3D and BB Edit; as well as Pages, InDesign and Word for the downloadable PDFs and DOC file.

I owe a special thanks to my friends on Facebook who helped me bug test the new site. I’m on a Mac, and don’t have access to a PC in my home office. So I did a little experiment— I called on my Facebook friends to assist me in cross-browser/cross-platform bug testing, and a dozen or so jumped right in to lend a hand. A few glitches, that could have been embarrassing oversights, were found and addressed. Chalk another one up for crowd-sourcing.

Happy New Year, Everyone!

Sunday
21Dec

Kim Joon



Unlike in the West where tattoos have attained a level of contemporary pop-culture acceptance, In Kim Joon’s home country of South Korea, as in most of Far-East Asia, tattoos still carry a significant social stigma, perhaps because their origin hits closer to home. Or perhaps it is simply a more conservative culture.

While body marking of some type has known to exist in nearly all prehistoric cultures dating back to Neolithic and even Paleolithic times, the tattoo method we know of today — color embedded in the epidermis via needle and ink — originated in the Polynesian island cultures of the South Pacific. The word ‘tattoo’ is of Samoan origin (tatau) and entered the English language from British sailors in the 18th c. who adopted the practice.

Kim began to make art inspired by tattooing when he himself was a tattoo artist during his years in the Korean military, working in the Stick and Poke method.

Since that time, body art has been the dominant inspiration for his creative expression. Early works were more narrowly focused on a social analysis of body art itself, where his more current work has begun to use body art as a vehicle to analyze other social issues regarding self-identity, branding and mass culture.

Over the years Kim Joon’s technique has employed actual tattooing, body decals, body paint, projection and computer simulated post production methods. I’m not even certain of the technique employed in the works shown here.

Above is Louis Vuitton from 2007’s Party series. Below is Chrysler from 2008’s Bird Land series.

What draws me to Joon’s work is not the method or the message, but my appreciation for them on a purely aesthetic level. Many artists attempt to make social comment through their art. Social commentary is, by its very nature, relative to its time. I’ve always been of the mindset that for artwork to remain relevant it must first-and-foremost standup aesthetically. His vibrant use of color and pattern together with the human form, in unexpected composition and juxtaposition, are visually captivating. Sometimes shocking, other times whimsical, they standup on their own, transcending any commentary that may have been their inspiration.

Though most of his shows have been in his native Korea, Joon has shown in Miami, Paris and several times in Southern California. I have inquired as to whether he has any shows planned for New York City. If he has nothing in the works, I hope to bring his work to the attention of some New York galleries in the hopes of instigating a show here.



Wednesday
17Dec

Steve Albini



Steve Albini is a fellow I’ve never met, but I’ve followed his work from his time in the 80s, playing in Big Black. My initial interest in Big Black came from the involvement of Steve’s band-mate, Santiago Durango, who had previously been in the Chicago punk band, Naked Raygun. This is where Steve first came on my radar. Then in the late 80s I would hear of a band out of Boston being produced by Big Black’s Steve Albini— When I first heard Surfer Rosa, I instantly became a fan of The Pixies. Steve was no longer just that other guy in Big Black. Subsequently Steve went on to record Nirvana’s In Utero, and other legendary rock albums (though his album credit is often listed as “Producer”, Albini prefers the title, “Engineer”).

In the early 90s, Steve Albini made another great contribution to the lives of musicians— in a 1993 article in The Baffler, in the plainest terms, Albini showed how musicians get screwed by major labels. He didn’t do this with the usual emotionally charged rant, but by the numbers, showing where the money goes in a standard label contract. This article was later reprinted in Maximum Rock-N-Roll, issue #133, and is now widely distributed across the internet.

Several years ago I was pleased to stumble across a lecture by Steve Albini on the website of Middle Tennessee State University. At the time, I downloaded the movie file to my computer, in the event the video was ever removed. No great surprise, it was in fact taken down. The video is an hour and a half long, and I would speculate that it may have been removed due to the bandwidth demands its popularity placed on the University’s servers. Whatever the reason, as a service to other musicians and recording engineers who may benefit from Steve’s insight, or indy music aficionados who have an interest, I have now uploaded the video to Viddler, and it can be viewed above.

Today Steve Albini is the owner of the Chicago recording studio, Electrical Audio. His services are available as a Recording Engineer at a flat day rate (he currently charges $650). He refuses to accept royalties on the albums he records. Ever opinionated, he continues to be an outspoken advocate for musicians, and continues to earn my respect.

Wednesday
19Nov

Policing the Skies

Air Cops: A Personal History of Air Traffic Control, by Billy D. Robbins is a quick read. In a brief 89 pages it covers the evolution of air traffic control — from the early days of the US Postal Service’s Airmail and their use of bonfires, up through the highly automated/computerized system in place today, and all the various systems used in between. The explanations are technical enough for accuracy, yet plain-language enough to be easily understood by a non-technical audience. In the wrong hands, a book about the evolving systems of Air Traffic Control methods could have easily devolved into a mundane collection of standards and protocols. But AIR COPS is told within the context of Mr. Robbins’ own career, mixed with anecdotal stories of his life in the field. Each improvement introduces its own shortcomings, and the subsequent daily crisis management that Air Traffic Controllers employ to keep the planes in the sky. In one noteworthy example, an Air Traffic Control error caused a near miss over Florida between the planes of President John F. Kennedy and Vice President Lyndon B. Johnson. A rather extreme example of the kind of on-the-job stress that makes Air Traffic Controller the profession with the country’s highest suicide rate.

Over the last year I’ve been researching the life of my grandfather, Ralph Grayson. If I can find sufficient documentation, I hope to get a biography published. Short of that, I intend to get enough of his life’s accomplishments shared on the internet to see that his story gets told. My recent contact with his former friend and business colleague, Billy D. Robbins, led me to his book, wherein Ralph receives several noteworthy mentions.

The animation above was conceived of by D. Scott Hessels and Gabriel Dunne for the Celestial Mechanics project — visualizations of manmade aerial technologies. With animation programmed by Gabriel Dunne, Eric Keller, Aaron Koblin, and Jarrett Quon. FAA data was parsed and plotted using the Processing programming environment. The frames were composited with Adobe After Effects and/or Maya.[1]



ADDITIONAL RESOURCES:

Live Feed of Air Traffic Control @ LiveATC.net

National Air Traffic Controllers Association

Air Traffic Control Association

Federal Aviation Administration

Monday
17Nov

Contact

A DIFFERENT KIND OF ALIEN IMMIGRATION POLICY


Left to Right: Rev. Jose Gabriel Funes; President Elect, Barack Obama; Alien; Former President, Bill Clinton; Former White House Chief of Staff & co-chair of Barack Obama’s transition team, John Podesta.

It seems UFO/space-alien stories rise to the surface of our popular culture about once a decade. Perhaps we are simply at the crest of this decade’s wave. The new spin is in the number of voices coming from inside the establishment.

In the past year several former NASA Astronauts have come forward to rather adamantly insist that alien spacecraft have visited Earth and various governments have been covering this up. Most outspokenly, Apollo 14 Astronaut, Edgar Mitchell (see video below), and Mercury-Atlas 9 / Gemini 5 Astronaut, C. Gordon Cooper (see video below).

NASA Astronaut, Gordon Cooper NASA Astronaut, Edgar Mitchell

In May of this year Rev. Jose Gabriel Funes, Jesuit director of the Vatican Observatory stated that the existence of extra terrestrial life “doesn’t contradict our faith” in an article for the Vatican paper titled “The extraterrestrial is my brother.” What does the Vatican know? or What is the Vatican preparing itself for?

President Elect, Barack Obama has tapped John Podesta to head his transition team. Podesta, the former Chief of Staff from the Clinton administration, is a known UFO buff. In October, 2002, acting as a lobbyist for the Sci-Fi channel, Podesta held a press conference to announce a freedom of information lawsuit where he stated, “It is time for the government to declassify records that are more than 25 years old and to provide scientists with data that will assist in determining the true nature of the phenomena.” Some dismissed it as a publicity stunt.

All of the UFO speculation bubbling up into the popular culture is leading some members of the black-helicopter brigade, and the local chapter of the tin-foil-hat club to speculate that some major revelation about alien contact is going to take place during the Obama administration.

But it is worth pointing out that John Podesta was previously a member of Bill Clinton’s administration. Clinton’s Executive Order 12958 declassified many national security related materials including some documents related to UFO investigations, and Clinton himself specifically researched the Roswell incident for his own personal edification, and yet no shaking hands with the alien photo-op ever transpired.

Sunday
09Nov

Nuclear Reactor, home edition



The United States’ Los Alamos National Laboratory, in conjunction with private sector partner, Hyperion Power, has announced its first client for their miniature nuclear power reactors— TES of the Czech Republic.

The units will retail for US$25 million each. TES has committed to purchase 6 units (with an option on 12 more) to be delivered by 2013, and Los Alamos/Hyperion claim to have another 100+ orders in the pipeline. They have scaled their manufacturing capacity to deliver 4000 units over tens years.

Led by Dr. Otis Peterson, the reactors are based on a 50 year old design (the TRIGA), of a kind used by science students at University. It is said to be disaster proof (a completely sealed unit, with no moving parts) and nuclear-proliferation proof, as the fuel is Uranium Hydride which has proven ineffective as at being weaponized. Furthermore, the units will be installed underground to avoid tampering. The original patent was granted in 2003, for which Peterson was subsequently honored by the FLC.

Producing 70 megawatts of heat that powers a turbine that generates 25 megawatts of power, they will need refueling once every 7 to 10 years. By example they state that, based on contemporary US residential energy consumption levels, one mini-reactor would be capable of supporting the equivalent of 25,000 homes for five years. At the US$25M price tag, that comes to $200 per home per year.

Though the reactors were originally conceived for use by large industrial projects located off the power grid, Hyperion has adjusted their sales focus, after intense interest from remote communities including developers in the Bahamas and the Cayman Islands.

Recent growth in international energy demands coupled with concerns over global climate change have renewed interest in nuclear energy, which has the lowest Carbon emissions factor of any known form of energy production.



FURTHER READING:

Hyperion: Nuclear In A Box

Micro-nuclear plants for local power

Hyperion Nuclear Batteries

Friday
26Sep

We're Here to Go

Michael Griffin of NASA
NASA Administrator, Michael Griffin, in white

When NASA Administrator, Michael Griffin, can publicly state that, “The single overarching goal of human space flight is the human settlement of the solar system, and eventually beyond,” we have come a long way.

When my grandfather was with NASA, one of his responsibilities was to help make the case to Congress to fund the Space Shuttle. His pet name for the Space Shuttle was ‘the Space Truck’ or simply ‘the Truck’. As a teen, he explained to me how NASA had conceived of the Space Shuttle as a people mover. The Space Shuttle would have been much more affordable and practical if it only had to accommodate human passengers. It was meant to be a ‘Space Bus’, but in the 1970s, Congress was not receptive to the idea of funding space colonization. That was too Sci-Fi for most US politicians to embrace or fund. But a much more expensive “Truck” that could haul payloads, well that was something Congressmen could wrap their heads around. Once again, relating the conversations with my grandfather — it would have been much safer and extremely more economical to lift satellites and heavy payload for construction of the International Space Station on, to use Ralph’s words, “big dumb rockets”. Then the Space Shuttle’s dedicated role as a people mover would be undistracted by other tasks. Under this scenario the Space Shuttle would have been less expensive to develop, build and maintain. And payload launches could be handled by unmanned flights, human life would not have to be put at risk. Apparently the political realities of getting budgetary approval from Congress necessitated the compromise.



ON A RELATED NOTE…

While the US is distracted with our own presidential election and domestic economic issues, the launch of China’s first space walk mission was barely covered here in the US.

Thursday
03Jul

View the whole Metropolis


The online edition of the German paper, Die Zeit, has broken a story of the discovery of lost reels of the original cinematic release of Metropolis, in the Fritz Lang director’s cut.

Upon it’s release in Berlin in 1927, the dystopian science fiction of the silent film era was the most expensive German film ever produced. In spite of this, in its day, the movie was not a great success. The film was subsequently acquired by Paramount who edited it down to a significantly shorter version for US distribution. Though it received accolades for it’s artistic execution and special effects, critically it was panned on both sides of the Atlantic for having a poorly structured plot, and it’s attempts to address serious contemporary political issues were generally considered naïve. H.G. Wells wrote a scathing review of Metropolis for the New York Times. As a result of Paramount’s edit, all copies of the original version were thought to have been spliced up and destroyed. The missing footage, not viewed in over three-quarters of a century, was believed to have been lost forever.

However, a full version of the original edit was just recently discovered in South America, and has now been authenticated by three German experts. After changing hands among both private collectors and public museums, the reels eventually landed in the possession of the Museo del Cine, in Buenos Aires, Argentina and the hands of museum curator, Paula Félix-Didier.

Tomorrow, Die Zeit’s Thursday morning print addition will carry a more in depth article.

Like most futurist visions, Metropolis says more about its own time than it does about the future that was to come. The morality tale concerns itself with the clash between communism and capitalism, wrapped inside a love triangle, complicated by the mischief of a robot temptress.

The movie’s vision for the future was not farsighted. Fritz only imagined more of the same grandiose enlargement already taking place in his day. Large building would get larger, factories would get bigger; and our steam filled mechanically driven future would be populated by oversized gears and levers.

The execution of this vision was however, gorgeous. The look of Metropolis was largely inspired by a 1920’s trip Fritz took to New York City, the Art Deco modernism of his times, and was heavily influenced by the architectural charcoal drawings of Hugh Ferriss. The film special effects creator, Eugen Schüfftan, invented many camera techniques and special effects that would become standards of the industry for decades to come.

Long a science fiction cult classic, Metropolis was re-released in the mid 80s, with a new soundtrack performed by contemporary pop artists, soundtrack produced by Giorgio Moroder. I have personally found that it makes for a better video/music mash-up with Pink Floyd’s Dark Side of the Moon, than the much ballyhooed, Wizard of Oz (but I digress).



In 2006 Carnegie Mellon inducted Metropolis’ Walter Schultze-Mittendorf designed robot, False Maria / Maschinenmensch, played by Brigitte Helm, into the Robot Hall of Fame.



A thank you goes out to Frank for pointing out the article at Zeit Online.

Monday
23Jun

One-Trick Wordle



My friends over at Southern Growth Studio turned me on to Wordle this morning, via an image posted on their Facebook page.

Wordle creates a stylized word cloud based on the tags used in your del.icio.us links. The image above was created from mine. Much like the relational graph visualizer, Web Graph (only completely different), Wordle is a one-trick-pony, but every bit worth the ride.

Wordle was created by Jonathan Feinberg, of IBM Research, and he graciously thanks his employer for letting him use code that he developed at work to run the Java Applet. He also provides many acknowledgments. I really respect that, so check out the credits page while you’re there.

What? A quick search says it’s never been mentioned on BoingBoing. Hmm… must notify Mark with a quick link submission.

Monday
09Jun

$133M Petaflop PlayStation



IBM has done it again. Congratulations are in order for Terry Wallace, Andy White, Manuel Vigil, Ken Koch, Adolfy Hoisie, Gary Grider, John Turner, Steve Turpin, Cheryl Wampler and all those involved at Los Alamos National Laboratories; Egan Ford and his team at IBM, and their partners at AMD.

Under contract to the U.S. Department of Energy, in collaboration with Los Alamos, big blue has broken its own previous record for the world’s most powerful Supercomputer.

At a cost of over $133M, using a hybrid architecture combining over 16,000 commercial grade AMD Opteron chips, with over 16,000 Cell B.E. chips, the new machine named Roadrunner (after New Mexico’s state bird), has successfully performed calculations in excess of one Petaflop. The previous record was held by the IBM’s BlueGene/L System, at Lawrence Livermore National Laboratory in Livermore, CA.

The Cell B.E. used in Roadrunner is the next generation of a video game chip designed by IBM in collaboration with Sony, specifically to be used in Sony PlayStation home video game consoles.

Supercomputing, an industry heavily dominated by the U.S., was stunned in 2002 when the Japanese briefly stole the crown with the The Earth Simulator at the Marine Science and Technology Center in Kanagawa, clocked a peak performance of up to 35.61 Teraflops. This achievement reinvigorated the U.S. industry which has seen a succession of achievements in the six years since.



As computer processing speeds accelerate at an exponential rate, the definition of what constitutes a Supercomputer has had some trouble keeping up. When Apple first released the G4 desktop machine, it was held-up from export because it was the first consumer grade computer capable of performing one Gigaflop. This was, at the time, the U.S. government’s benchmark for classification as a “Supercomputer”. Turning a distribution roadblock into a marketing coup, Apple capitalized on this domestically with an advertising campaign (view the spot here), produced by Chiat Day.

Monday
26May

Chris Conte: Biomechanist

Some give their right arm for a piece of Mr. Conte’s work.


Shown above, Black Widow 1; inset, Lethal Injection Attack Droid Prototype; below, Biomechanical Arm.


Artist Christopher Conte has a joint show titled Cyberdine at the Last Rites Gallery, located at 511, West 33rd Street (btw. 10th & 11th Avenues, on the 3rd floor) in New York City. His work is being shown together with the work of Fred Harper.

By day, Mr. Conte makes artificial limbs for amputees. He also considers himself a “hobbyist” in robotic engineering. The Last Rites gallery bills itself as a venue for artists who “explore the darker side of their imagination”. Appropriately, they are a New York exhibitor for the work of world renowned Swiss artist, H.R. Giger (also known for the creature, Alien). Giger and Conte are both represented by Les Barany.

This exhibit of Christopher Conte’s work came to my attention reading the current print edition of WIRED Magazine, issue 16.06. Chris’ work has also been featured in Dark Matter, Boing Boing, beinArt (The Surreal Art Collective), Everyone Forever and Layer Upon Layers.

The current show runs through June 29th

The Last Rites Gallery is open:
Tuesday-Friday: 2:00pm to 9:00pm
Saturday: 1:00pm to 9:00pm
Sunday: 2:00pm to 6:00pm
Monday: Closed



Have I mentioned, WIRED somehow still manages to be the most consistently great magazine published? When I pick it up, I can barely put it down. Issue 16.06 is particularly great.

Thursday
03Apr

Art Imitates Politics

When Art Goes Negative.
BITCH, by VonDada – in limited edition print

If art is a reflection of life, it’s getting ugly out there. When Obama was galvanizing supporters around a message of “Hope”, famed Obey Giant artist, Shepard Fairey made a brilliant move with the release of his Obama, “HOPE” poster (and smaller “PROGRESS” edition). A couple of months ago the election demeanor was different – “Hope” was the message of the day.

Since that time things have changed. this weekend, artist VonDada updates the message to more accurately reflect the shift in the national mood, with the release of “BITCH”. The number of the production run was 200.

NOTE:

I personally have nothing against Hillary (nor anything for Hillary either, for that matter). I happen to think the timing of VonDada’s release is impeccable. It is indeed the message of the moment.

Friday
14Mar

Bravo to Bill Gates

A few weeks ago Bill Gates joined Linked[in]. It is often the network’s practice when a high profile member joins, to invite them to post a “featured question” on the site’s Q&A page. Mr. Gates did so by asking:

How can we do more to encourage young people to pursue careers in science and technology?

Before the question was closed, it received 3567 answers. Unfortunately, Bill did not mark a best answer (or even a list of good answers). My reply, which appears here (the 18th answer on page 90), emphasized that meeting our job market demand for scientist and engineers could not be met with education alone, but only by also opening up citizenship to foreign born students receiving college degrees in American Universities. My reply began:

With only 5% of the world’s population, all our talent cannot be homegrown. We desperately need to open our doors to more (I’d say “unlimited”) H-1B visas. With a shortage of engineering and scientific degrees going to American students, our Universities give more technical degrees to foreign students than domestic… yet when their student visas expire we effectively throw them out of our country. A great many of them want to stay here, and yet after giving them our most precious intellectual property, we basically give them the boot. We should be passing out citizenship at graduation ceremonies. Foreign students who earn a degree at a U.S. University in a field where America has a shortage of talent should be granted immediate and automatic citizenship. Anything less is both foolish and shameful. —bold emphasis added.



On March 12th, Bill Gates gave an address before the U.S. House of Representatives Committee on Science and Technology, on the topic of Competitiveness and Innovation. This address marked the committee’s 50th Anniversary.

Bill Gates’ address to Congress:



Most of the committee members were respectful and receptive to Mr. Gates’ message. Representative Ralph Hall of Texas, district 4 gave a particularly warm introductory speech. There was one quite noteworthy exception. Dana Rohrabacher, California representative, district 46, who went on a protectionist/isolationist rant, felt that if Microsoft couldn’t hire the “A students” from abroad, they should just hire “B and C students” that were American born. He felt it was Microsoft’s responsibility to create jobs for these workers too. He even made the argument that, by giving H-1B visas to foreign engineers, that we would unfairly damage the labor needs of the recipient’s home country (you can’t make this stuff up!). After this bone-head (can I say that? …yes, of course I can. It’s my blog.) went beyond his alloted time, the chair of the committee asked him to wrap it up. Incensed by the perceived insult, Mr. Rohrabacher blathered, “You know, I’ve got a, uh, I’m working at, uh, I’m one of the guys who helped Kosovo become independent, I’m on the Foreign Relations Committee…” before he was eventually shut up. California, is this guy really the best you can find to represent you?

There is a very foolish and shortsighted sentiment that H-1B visas drive down wages and/or cause US citizens to loose jobs to foreign workers. With a shortage of scientific and engineering candidates, without more (many more) H-1B visa recipients, these jobs do not then go to natural born American citizens, but rather simply go unfilled. And that highly sought candidate will instead be employed by a foreign competitor.

Bill’s address was succinct but not thin, and his follow-up answers were well informed. He covered everything from the role of philanthropy in improving education, new educational opportunities offered by the internet, US competitiveness as compared to Europe and Asia, US investment in research and development, his strong support for the America Competes Act, teaching programs that have been successful both inside and outside the US, and what effect this has had on American competitiveness and businesses ability to meet their hiring needs. It was however, the issue of H-1B visas that captured the media. Below I have pulled all of Bill’s quotes related to the subject from the more than 2 hours of footage, sans any media spin (only 9 minutes of which was his actual Congressional address).

At time marker 5:25, citing research (PDF) Mr. Gates makes the case that H-1B visas actually create more jobs here in the United States:

Today our university computer science and engineering programs include large numbers of foreign students. In fact, the Science and Engineering Indicators Report showed that 59 percent of doctoral degrees and 43 percent of all higher-ed degrees in engineering and computer science are awarded to temporary residence. But our current immigration policies make it increasingly difficult for these students to remain in the United States. At the time when talent is the key to economic success, it makes no sense to educate people in our Universities, often subsidized by US tax payers and then insist that they return home. US innovation has always been based in part on the contributions of foreign born scientist and researchers. For example, a recent survey, uh, conducted by several universities, showed that between 1999 and 2005, firms with at least one foreign born founder created 450,000 new US jobs. Moreover, as a recent study shows– for every H-1B holder that technology companies hire, five additional jobs are created around that person. But as you know our immigration system makes it very difficult for US firms to hire highly skilled foreign workers.

At time marker 7:51 he added:

I want to emphasize that, to address the shortage of scientist and engineers, we must do both– reform our education system and our immigration policies.

While the video above only contains Bill Gates’ address, and not the follow-up questions by members of the house which, as I point out, lasted much longer than the address itself, I have included a couple of noteworthy highlights. The majority of the committee’s members were sympathetic to Mr. Gates position, Mr. Rohrabacher bizarre comments above being the only exception.

Later, in response to a question by Mr. Rothman, representative for New Jersey, district 9, at time marker 10:47, Mr. Gates further made the point:

I’d also suggest that, if someone’s educated in a US University that, because of the research funding that comes out of the government, you know, you’ve basically subsidized that education, I think there should be a direct path to permanent residency.

In another exchange with the committee regarding the stature of American Universities, Mr. Gates has this to add (11:04):

The very top engineers, the US Universities still have a strong position, but as I’ve said, the majority of the students in the computer science department are foreign born. And so we educate them. We provide the world’s very best education, and the… the research funding and various things are, a… a major factor there. And then those are the students who, uh, are not allowed to stay and, and work in the country because of the limits we have.

I would like to commend Bill Gates for speaking sense in the face of all the ill-founded isolationism being advocated by some false populist shills for the labor union special interests. The tech sector is the future of the American economy, and of the world. If America is to continue to prosper, we must increase our number of scientist, engineers and mathematicians. Even if all American college graduates became engineers, we would still have a shortage. This has more to do with birthrates than anything else. The only way to close this gap is through immigration, and the low hanging fruit are those foreigners who have already been educated in our system. They are already here, they want to stay here, and when we force them to leave, they will not leave the labor market, they will simply goto work in a foreign competitor economy, taking American intellectual capital with them as we throw them out.

I started off writing a technology story, and here I am, stuck in politics again.



RELATED LINKS:

Bill Gates’ Address in the C-Span Archives
Bill Gates’ full hearing before the Committee on Science and Technology, including pre-address comments by committee members, as well as a post address question and answer with Bill Gates, can be viewed in full at C-Span’s online archives. Available formats include both a Flash Movie and a Windows Media file (total run time is just over two hours). It can also be ordered on DVD.

Committee on Science and Technology, 50th Anniversary Address
Additionally, the address can be viewed in full from the United States House of Representatives’ website as a Real Media file.

Bill Gates unabridged written testimony as PDF
Due to time constraints, Mr. Gates agreed to give an abridged version of his address. His full testimony was entered into the record in writing, and can be downloaded in PDF form.

Microsoft website— Bill Gates, transcript from committee address
The full transcript of Bill Gates address before the Congressional committee, including all follow-up questions.

Bill Gates’ Speeches— Bill & Melinda Gates Foundation
Transcripts of other speeches by Bill Gates, in the archives of the Bill & Melinda Gates Foundation.