Category Archives: Media

#LowTechLabLondon2016

#LowTechLabLondon2016 is a project developed by Raúl Marroquín and coordinated by Daniela Medina Poch for the Educational Program of the Saatchi Gallery that will take place on January 15th, 16th and 17th of 2016.

“‘LowTech means technology that is cheap or free.”
James Wallback, LowTech Manifest for The Next 5 Minutes conference in Amsterdam, March 1999.

This experiment is inspired in the role artists have had in the development of technologies and innovation from very early stages. To mention a few, alchemy in the Middle Ages, multidisciplinary advancements throughout the Renaissance and more recently during the second half of the XXth Century and the first decade of this millennium: Video of the 1960’s and 1970’s, cable television of the 1980’s and 1990’s (USA & Canada and later in the Netherlands and Continental Europe) digital communications of the first decade of the 2000’s up to the present with user information and communication platforms, internet, streaming mobile, social media, augmented reality, etc.

As Klaus Fruchtnis mentions: “LowTech applied to communications has given the possibility of having a more exhaustive control in the management of information.”

Today artists continue to play a crucial role in the development of hardware, software and applications. The last four decades are full of examples; to mention a few: “Music Video” is based in the progress and achievements of video artists in the 1960 – 1980’s, video and media art have also influenced audio visuals in education, news gathering and journalism, activism and, last but not least, the advertisement industry.

#LowTechLabLondon2016 is a three day lab that makes use of LowTech, user and discarded technologies coupled with the repurposing of existing hardware and other facilities. It involves those present at the Educational Space of the Saatchi Gallery taking part from tabletop stations devised to interact in one-to-one and one-to-few engagements, as well as remote contributors from abroad, via social media: WhatsApp, Illustrated Twitter, SnapChat, video conferencing and live streams.

The aim of #LowTechLabLondon2016 is to generate a brief, concise and powerful event, that will include artists, students (PCA, Paris and Universidad Nacional, Bogotá, and others) musicians, writers, stage actors and directors, academics, researchers, journalists, politicians and designers realising artworks, workshops, tutorials, experiments: successes and failures, processes, interviews and discussions, presentations, discussions, performances and recitals, as well as urban bootcamps, klutges, scale models and prototypes either live or transmitted from other locations in London, the continent and the Americas.

One of the goals of the lab is to monitor the developments of LowTech throughout the last 50 years and how it has been redefined through the beginning of the second half of the XXth century. From low quality and low resolution, evolving into current user technologies were, for instance, average phone cameras are better than a betacam of 30 years ago, the LowTech have expanded and transformed into user technology.

Additional to the activities taking place at the Educational Space and taking into account the historical past of the area: Kings Road, the Punk Movement, etc, the lab includes works realised outdoors on locations such as streets, parks, shops, bars and terraces near the location of the gallery.

Social Media plays an important role in the daily coverage of the experiment: Everything will be streamed via Periscope, LiveStream, YouTube Live and ephemeral platforms like SnapChat.
A final publication will round up the event.

This event is produced in collaboration with PCA Master’s students in Transdisicplinary New Media.

FREE ENTRANCE.

LIVESTREAM: http://livestream.com/hoeksteenlive

The #LowTech Blog: DeHoeksteen.live.nu
Facebook Event: LowTechLab London2016
LinkedIn:  hoeksteencornerstone
Recordings in YouTube:  StudioMarroquin
Instagram:  StudioRaulMarroquin
Google+:  StudioMarroquin.
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Participants LowTech Lab London2016 Saatchi
  • Muu Blanco
  • Operating in Miami
  • C C Brown
  • Operating in New York
  • Nicolás Canal
  • Operating in Ubaté, Colombia
  • Elena Corchero
  • Operating in London
  • Catalina Correa
  • Operating in Chile
  • Melissa Cruz
  • Operating in The Hague
  • Yolanda Duarte
  • Operating in Bogotá
  • Alejo Duque
  • Operating in London
  • Jackie Fei Yongqing
  • Operating in London
  • Max Franklin
  • Operating in London
  • Klaus Fruchtnis
  • Operating in London
  • Cheryl Gallaway
  • David García
  • Operating in London
  • Jakobson Helga
  • Operating in London
  • Johanna Ibañéz y David Motos
  • Operating in Bogotá
  • Claire Leggett
  • Operating in London
  • Carlos Llávata
  • Operating in Valencia
  • Filippo Lorenzin
  • Operating in Düsseldorf
  • Raúl Marroquín
  • Operating in London
  • MauzZ
  • Operating in Amsterdam
  • Svetlana Mircheva
  • Operating in Sophia
  • Michael O’Connell
  • Operating in London
  • Catalina Rodriguez
  • Operating in Bogotá
  • Basma Seif
  • Operating in London
  • Sanet Stegmann
  • Operating in London
  • Iván Tovar
  • Operating in London
  • Alberto Vejarano
  • Operating in Paris
  • Andrew Voxakis
  • Operating in London
  • Carlos Zatizabal
  • Operating in Bogotá

 

#LowTechLab London2016

#LowTechLab London2016

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Filed under Art, Communication, crossmedia, Evolution of LowTech, LowTech, Media, mediaart, multimedia, New media art, social media, streaming media, StreamlineMedia Asset Management, Technology, telecommunications, Uncategorized

A New CEO Brings Big Product Changes to Sorenson Media

The encoding company’s new CEO, Marcus Liassides, has been moving quickly, reorganizing the product lineup for today’s broadcasters.

103834-Marcus-Liassides-ORG
Sorenson Squeeze is one of the most revered products in the streaming media space, and one that I use weekly, if not daily. But let’s face it: The software-encoder space has never been a market to make a venture capitalist salivate, and the only hockey stick Sorenson was ever likely to see was at a hockey rink.

So, I was curious early last year when Sorenson hired new CEO Marcus Liassides(right), a serial digital media and broadcast entrepreneur with several impressive successes under his belt. With a flurry of recent product launches, Liassides made his strategy loud and clear—leverage existing compression-related knowledge and IP, as well as relationships in the broadcast space, to sell a new line of products and services to broadcast markets.

I spoke with Marcus about this strategy in a video that you can watch below. Here are the highlights of our discussion.

Sorenson 360 will live, but now it’s called Squeeze Stream. The new Squeeze 360 is a service designed to enable broadcasters and other content owners to deliver live and VOD content to computers, mobile devices, and OTT devices. The initial target customers are local stations in the U.S. that need to get online but may not have the in-house expertise.

“We’re very focused on a turnkey solution to get customers up and running very quickly without needing any technical expertise on staff, “Liassides commented.

The product has two components, a turnkey appliance that’s installed on the customer site and provided at no charge so there’s no up-front capital outlay. This sends a stream to Sorenson’s cloud facility, which does all the encoding and transcoding. The service is HLS-based, with 128-bit AES encryption and closed captions. It plays on computers, iOS and Android tablets and phones, and other connected devices.

Liassides elaborated on the service’s focus: “One of the big differences around the task we set out to solve is that this isn’t just a video stream on the internet. This is taking television and delivering it over-the-top. So it has captioning, AES, lots of things that come from the TV space that haven’t really been considered so much in the online space. It takes an understanding about TV and digital to really fuse these two together.”

According to Liassides, pricing will use a simple formula based on time and the number of streams, with no extra charge for HD video. The product is being piloted by several existing Sorenson customers today, and should go live early in 2015. While the first version won’t have an electronic program guide (EPG), future updates will include one, as well as other elements that enhance discoverability.

The second major announcement places a new suite of products under a familiar name, Sorenson Spark. Way back when, Spark was the video codec used by Adobe Flash prior to On2’s VP6, and it’s still sold by Sorenson to device manufacturers that need low CPU requirements and power consumption.

In late December, Sorenson announced three new broadcast-focused services; Spark Enlight, which provides real-time analytics from smart TVs, Spark Enhance, which makes connected TV advertising more targeted and addressable, and Spark Engage, which lets broadcasters add interactive content such as polls, quizzes, and contests to their linear videos.

Obviously, Squeeze 360 and the new Spark line represent a major pivot, or as Liassides preferred, “an evolution of Sorenson’s core business.” Yet, despite the new products, Sorenson remains firmly committed to the old.

“Squeeze is a fantastic product line for us,” Liassides explained, “not least of all for the customer base and relationships that we have. We learned a lot from being in the online video space with Squeeze products and we see a lot of the transition that happened in online video happening in television. So we’re bringing some of that learning, more importantly, the IP technology, into television. Which is really the last digital frontier.”

During our discussion, Liassides noted that Sorenson recently released significant updates to Squeeze Desktop 10, and Squeeze Server 3, and promised future updates in 2015 and beyond.

In closing, Liassides commented that Sorenson benefited from the simple shareholding structure under Jim Sorenson, which allowed them the funding to develop the new products and services.

“It’s afforded us the opportunity to invest heavily in new technologies and new products, and we will continue to do that,” Liassides  said. “We have products in development that are as exciting as the ones that we’ve announced now.“

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New Orad Social Media Hub Release Simplifies Engagement with Viewers

Press Release
January 08, 2015
Orad has released a new version of its Social Media Hub (SMH) platform, an easy-to-use solution that lets broadcasters engage with viewers. Based on an open architecture, SMH serves as a gateway for interfacing with third-party Social Media outlets such as Twitter, Facebook and Instagram. SMH lets users query, retrieve, review, filter and aggregate data into carrousels of messages that can be distributed alongside the broadcast thanks to seamless integration with Orad graphic controllers Maestro, 3DPlay and Morpho.
The new SMH release features a moderation component that automates sifting through the large quantities of social media data. Employing an automatic assessment engine, SMH organizes data based on keywords and rating for each keyword. Combined with automatic filtering, moderators can use SMH to quickly exclude social media content based on user-defined rules, dramatically cutting down on the amount of content they need to review. Multiple moderators can work on the same or different message search, and add content to the same or different messages. Similarly, it is possible to restrict searches to messages generated within a given geographical location, so that only messages from those living near where the news item took place are visible, saving considerable time.
Once selected, SMH connects with Orad graphic controllers and pushes messages to social networks using the same graphics that were played on air. For example, a fully animated graphic element of a weather forecast can be published directly to the social media automatically when the graphic element is played on air during the TV broadcast.
On January 28th 2015, at 9:00 GMT and again at 15:00 GMT, Anna Tourkevich, SMH’s product specialist, will be presenting Orad’s SMH in a free webinar. To register to the webinar, click here

SMH

About Orad Hi-Tec Systems
Orad Hi-Tec Systems is a world-leading provider of real-time 3D broadcast graphic, video server, and media asset management solutions including news, channel branding, sports production and enhancement, elections and special events, virtual studios, and virtual advertisement. Orad’s compelling solutions streamline production workflow, enhance viewer experience, and improve production value. Founded in 1993, Orad is a public company listed on the Frankfurt Stock Exchange (OHT). More information is available at http://www.orad.tv/

 

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Press Release: “Let 2015 be the year of digital reform”, Steven Tas takes up ETNO chairmanship

January 7, 2015
Brussels, 7 January 2015 – ETNO, representing Europe’s main telecom operators, is pleased to annouce that Steven Tas from Belgacom has taken up ETNO’s chairmanship as from 1 January 2015.

Following his election by the General Assembly last November, Mr. Tas succeeded to Luigi Gambardella, who served as chairman of the ETNO Executive Board for the past four years. The role of the Executive Board is to provide strategic guidance and input on the main internal and external activities of the Association.

ETNO Chairman Steven Tas said: “Building on the extraordinary job of the outgoing Chairman, I will focus 2015 as the year of digital reform. We should aim at unlocking the untapped potential of the telecoms sector to the benefit of the whole European economy. We are ready to support the new European Commission for a review of the regulatory framework and for policies that recognise the evolution of today’s digital markets. Modern policies and rules will benefit both EU consumers and businesses”.

ETNO recently presented an “Agenda for Europe”, inviting all stakeholders to think digital, promote reform and aim at the Continent’s prosperity. You can read more here .

Profile of Steven Tas

Steven Tas has headed Belgacom’s regulatory department since 2008. He joined Belgacom in 1994 and has occupied different positions within the company’s Strategy division. He is a member of the ETNO board since 2009 and a member of the board of Centre on Regulation in Europe (CERRE) since 2010. Mr. Tas holds a master degree in Civil Engineering and Industrial Management from the University of Leuven.

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Media Analysis

Online video, Netflix poised for big increases

Michelle Clancy| 08 December 2014| 08 December 2014

Online video viewing continues to cross the proverbial chasm into the mainstream with Nielsen saying that online video streaming viewing has rocketed 60% year-over-year in Q3 2014, while traditional television viewing dropped 4% during the same time period.

Meanwhile, a Digital TV Research report predicts that Netflix, the biggest online video driver, will reach 17 million paying subscribers internationally by the end of 2014.

Regular TV is of course still the big kahuna of home entertainment: Nielsen’s new Total Audience Report shows that the 4% decline is fairly negligible. The average American still watches over 141 hours of live TV a month — compared to 147 hours of live TV a month last year. So, the average six-hour decline translates to just 12 minutes less per day of regular TV viewing, which could stem from various societal trends — anything from more employment to the uptick in home cooking.

Online video, meanwhile, is definitely on the rise, jumping to 11 hours per month, up from seven hours per month this time last year. An increase in exclusive content, like the Netflix hit Orange is the New Black, is likely driving much of the interest. Netflix also noted recently that it is paying $90 million for a new series, Marco Polo. Content-wise, that’s second only to HBO’s Game of Thrones investment.

“Hits drive viewership and consumers live comfortably in this new media world,” Dounia Turrill, senior vice president of insights at Nielsen, noted in the report. “Content remains king and consumers are steering their own content discovery experience.”

Netflix is banking on its big cash-play for Marco Polo to bring in more international subscribers. “We just tried to make the most exciting, entertaining show we could about this very special world and hope that it would be accessible in a lot of different markets, in a lot of different regions,” Dan Minahan, an executive producer of the series, told the New York Times.

Netflix continues to make up a good chunk of what’s driving digital consumption in the US, according to a Digital TV Research report. And thanks to launches in six European countries since Netflix’ latest numbers in September, the streaming giant will reach 17 million paying subscribers internationally by the end of 2014, even as growth in the US slows.

“It is no secret that we want Netflix to be a global product,” chief content officer Ted Sarandos told the paper. “That is the mission.”


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Netflix CEO predicts broadcast TV will die by 2030

hastings

Netflix CEO Reed Hastings predicts the death date of TV
The head of video-streaming service Netflix has foreshadowed the death of broadcast TV, claiming it will be fully obsolete by 2030.

Reed Hastings, the chief executive of Netflix made the comments earlier this week in Mexico City where he was discussing the service’s growth in the Lat Am region.

He was quoted by the Hollywood reporter claiming that conventional TV services are “kind of like the horse, you know, the horse was good until we had the car.”

He added: “The age of broadcast TV will probably last until 2030.”

Hastings also admitted there are big plans in the works for Lat Am: “It is one of the fastest growth areas in the world in terms of broadband households and Internet connectivity.”

The firm, which accounts for a third of all US traffic, has 53 million subscribers worldwide and is largely responsible for the rise of on-demand content – it could possibly be the service which deals the killer-blow to satellite TV.

Hastings has his eye on an international expansion too with New Zealand and Australia set to see Netflix launched in the coming months, he said: “We are trying to get to a place where it’s fully global and you can get anything, anywhere.”

However, despite impressive growth, in October Netflix issued a profit warning after vastly overestimating how many people had subscribed to the service.

Screen shot 2014-12-03 at 1.16.59 PM

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RT Software announces 4K graphics solution

timthumbHolly Ashford, 27 November 2014

RT Software has announced support of 4K UHD in its overlay and sports analysis real-time graphics products. RT Software partnered with UK graphics services company Moov for the field tests, during which the systems performed faultlessly, the company claims.

Whilst 4K is in its infancy we have no doubt that it will establish itself over the coming years. Consumers are already committing themselves to 4K screens and there is much discussion amongst broadcasters and production companies about the generation of 4K content,” stated Mike Fredriksen, commercial director, RTSW. “We took a decision to make our 2014 IBC booth 4K across the board, and our partners and major broadcasters all showed good interest in our capabilities in this emerging area.”

One immediate real world application is in the sports sector. “Content is increasingly being captured in 4K,” commented Luke Harrison, technical product marketing manager, RT Software. “We can make use of that today in a HD TX chain. Our 4K tOG-Sports system includes a zoom window tool that gives high quality HD output, either live or on the replay. For the replay scenario, keyframing of pan and zoom makes it very easy to generate useful content. Add the fact that all our tied to pitch analysis tools are available in 4K and I suspect we have a truly unique solution.”

RTSW’s 4K solutions use HP z820/840 workstations, AJA or Bluefish video i/o boards and nVidia Quadro k series GPUs and a Windows or Linux operating system. Video in, fill and key out and composited video and graphics out are all supported.

www.rtsw.co.uk

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Performance Willem Wilhelmus [New Media Art Festival Miami 2013]

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De #Hoeksteen Video-On-Request 2013.02.08/09

De Hoeksteen Live! 2013.02.08/09 on SALTO 1 TV & the web from Arti et Amicitiae Amsterdam.

Rudolf Buurma at De Hoeksteen Live! Feb 2013

ATTENTION: These online video files are usually deleted after 4 weeks! Please record the mms video to your hard disc, instructions here. (Some Rights Reserved)

 . . . .    PART ONE 22:00-00:00 http://salto.nl/streamplayer/salto1_ondemand.asp?y=13&m=02&d=08&t=2200 mms://195.169.148.57/LogDepotStream/6/1302082200.asf PART TWO 23:00-00:00 http://salto.nl/streamplayer/salto1_ondemand.asp?y=13&m=02&d=08&t=2300 mms://195.169.148.57/LogDepotStream/6/1302082300.asf PART THREE 00:00-01:00 http://salto.nl/streamplayer/salto1_ondemand.asp?y=13&m=02&d=09&t=0000 mms://195.169.148.57/LogDepotStream/6/1302090000.asf Gangman Style

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TV One’s C3-340

Margate, Kent UK, December 13, 2012 – TV One is pleased to announce a 4 input HD-SDI card in addition with a firmware upgrade for the C3-340, CORIO®matrix.

TV One’s C3-340, CORIO®matrix is a unique Matrix Router that uses modular hardware with 16 AV module slots for I/O modules along with scaling output cards and soft signal switching. Also, in addition to having a CORIO2 scaling engine for individual up/down scaling , aspect ratio and frame rate conversion of each output, the CORIO®matrix offers unique DVI-U I/O modules, which give users a variety of Input / Output connections. DVI-U modules within the CORIO®matrix allow for the ability to use any signal from Composite Video, Y/C and YUV, RGBHV and DVI-D plus HDMI signals. Just use a simple adaptor and you have the freedom of choice.
The C3-340, CORIO®matrix 4 Input HD-SDI card enables you to feed in 4 separate SD or HD-SDI signals into the CORIO®matrix, which can double the number of available inputs as the DVI-U and 3G SDI inputs cards have 2 inputs per module. In addition to input card release, a new firmware upgrade for the CORIO®matrix is also available. Firmware upgrade 1.44 enhances the features of the CORIO®matrix from a Video Matrix to a complete Audio and Video Routing Scaling Matrix.
Firmware upgrade 1.44 features an enhanced feature set which allows the ability to route embedded HDMI and SDI signals separate from the Video Signals. For example, you can use the HDMI Audio from Input 1 and combine it with the RGB Video Signal from Input 2 and output it as HD SDI Video signal in Output 1. This enhanced audio functionality with AFV and Breakaway Mode greatly enhances the performance of the CORIO®matrix. Also, in addition to embedded audio signals, external analog or digital audio signals can be used through the optional audio board for the CORIO®matrix and either embed/de-embed audio signals or even create a separate 8×8 audio matrix inside the CORIO®matrix system.

http://www.tvone.co.uk/index.php

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