Category Archives: Technology

#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

Moon-Mining Company to Use Historic Florida Launch Complex

by Mike Wall, Space.com Senior Writer   |   January 23, 2015 07:29am ET

slc-moon-express-overheadAerial view of Space Launch Complex 36 at Florida’s Cape Canaveral Air Force Station. Moon Express will be using the historic site for spacecraft development and flight tests.
Credit: Moon Express

A historic launch complex that helped send NASA probes off to explore the solar system is being pressed into service again — this time, by a moon-mining company.

California-based Moon Express, which seeks to extract and exploit lunar resources, will base its spacecraft development and flight-test operations at Space Launch Complex 36 (SLC-36), a facility at Florida’s Cape Canaveral Air Force Station that was used for 145 Atlas V rocket launches from 1962 to 2005, company representatives announced Thursday (Jan. 22).

Some of those SLC-36 liftoffs in the 1960s sent NASA’s Surveyor probes to the moon, to demonstrate soft-landing capabilities required for the space agency’s manned Apollo missions.

“We are honored to have an opportunity to establish permanent operations at Cape Canaveral SLC‐36, at the place where the U.S. first went to the moon,” Moon Express co‐founder and CEO Bob Richards said in a statement.

Moon Express signed the SLC-36 agreement with Space Florida, the state’s aerospace economic development agency. The launch facility was decommissioned in 2007, but in 2010, the Air Force issued licences to Space Florida, with the aim of making SLC-36 available for commercial use, Moon Express representatives said.

Moon Express will make an initial investment of up to $500,000 in SLC-36, which should allow development and flight-test work to begin there early this year, company representatives said. These operations had been based at the Shuttle Landing Facility at NASA’s Kennedy Space Center, Cape Canaveral’s next-door neighbor.

Moon Express plans to fly government and commercial payloads to the moon, and eventually aims to mine lunar resources such as water ice, metals and helium-3, a fuel for potential nuclear fusion reactors.

The company is developing a coffee-table-size lunar lander called MX-1 whose first trip to the moon is scheduled to occur soon, as part of the $30 million Google Lunar X Prize competition. The first privately funded team to land a robot on the lunar surface, have it travel at least 1,650 feet (500 meters), and send data and images back to Earth by the end of 2016 wins the $20 million grand prize; another $10 million is set aside for second place and a variety of special accomplishments.

Follow Mike Wall on Twitter @michaeldwall and Google+. Follow us @Spacedotcom, Facebook or Google+. Originally published on Space.com.

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Verizon’s “Supercookies” Raise Privacy Concerns

The New York Times, Monday, January 26, 2015 11:17 AM

The New York Times takes on mobile supercookies, which, unlike your average data-tracking cookie, can’t be easily erased. The computer codes that Verizon Wireless uses to tag and track the activity of its subscribers are particularly problematic, NYT reports. “The company’s customer codes … have troubled some data security and privacy experts who say Verizon has introduced a persistent, hidden tracking mechanism into apps and browsers that third parties could easily exploit.”

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Media Asset Management | Streamline

streamline_1

Streamline Overview

Streamline is Ross Video’s own Media Asset Management system developed on a web server platform which provides a complete asset management workflow from the order process to final approval. Media content producers and content creators can utilize their favorite web browser on any platform to browse, manage, order, upload or download assets with Streamline.

Uniquely integrated into Ross Video workflow tools, Streamline has been designed from the ground up for seamless integration with Ross’ ground breaking XPression Real-Time Motion Graphics System as well as the Ross Inception News Room system. Inception Newsroom users can browse and order assets from within Inception, using the integrated Streamline user interface. XPression newsroom users are able to fulfill templates by drag-and-drop of existing assets in Streamline or using the Streamline New Asset Order form to request new assets.

Streamline promotes a self-service workflow, where storytellers in the dark corners of the newsrooms, edit bays and even out in the field can finally be empowered to best tell their own story by utilizing assets that are now cataloged, searchable and available for everyone to share.

Streamline helps to increase the value of every asset owned by your organization simply by raising the utilization of it. Assets uploaded to Streamline are immediately accessible, searchable and may be downloaded by users in any department. Simple and advanced search tools provide the ability to find the right asset using any of the associated metadata.

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The power of personalised viewing

,  Editor, 26 January 2015

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Consumption of online video is significantly enhanced by a personalised user experience, IRIS.TV has reported. The in-player video recommendation engine has found that its Adaptive StreamTM video delivery technology, has increased video consumption by 50 per cent across all its clients.

IRIS.TV clients can integrate Adaptive StreamTM in video players and mobile apps to deliver relevant streams of video to their viewers. Viewers’ feedback is captured in real time through interactive buttons, allowing the stream to adapt to the changing preferences.

Viewers tend to watch a video and bounce to another site or app, though when they are presented with a stream of recommended videos, they tend to watch four to five times as much content, the company claimed. These findings indicate that value may not only lie in reducing the bounce of unique views, but in extending the viewing experience of retained audiences.

“At IRIS.TV, we have carefully constructed the most dynamic viewing experience to date, allowing users to enhance content consumption and maximise video view inventory for its content publishers. Much like programmatic ad tech has revolutionised the advertising space, IRIS.TV is bringing the future of TV to the present by optimising the delivery of single video assets to users. These results prove that users will increase their consumption when personally relevant content is delivered to them,” commented IRIS.TV COO, Richie Hyden.

Based on IRIS.TV’s current and past data analysis, personalisation and average revenue per user (ARPU) are positively correlated. This supports the notion that customising online video content will improve a company’s overall revenue by keeping users watching more, watching longer, and watching often. The company also reported the positive impact personalisation and recommendation engines have on long-tail content discovery: by recommending the most relevant videos regardless of how old they are, IRIS.TV said it has increased the value of the entire video library. This means videos added to the library months ago can still have a high view rate, essentially extending the lifespan of long-tail content.

Increasing consumption by 50 per cent is significant for the entire online video industry, from advertisers, to publishers and content owners, as real time personalisation is important for achieving longer engagement times and higher revenues.

www.iris.tv

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If You Want A Rabbit To Deliver Beer, Just Build Him A Cart

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See video: https://www.youtube.com/watch?x-yt-cl=84503534&x-yt-ts=1421914688&v=oc9rYaX9en8

Wallace has only now realized his full potential as a one-bunny beer delivery system.

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NAMM 2015: 30th annual TEC Awards winners revealed

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Show news

26 January 2015: By Matthew Fellows

Recording, audio and music industry professionals from all over the world geathered to honour excellence in sound technology and creativity on Saturday (24 January) at the 30th Annual NAMM TEC Awards.

Featuring 30 creative and technical achievement categories, the awards are held each year during the NAMM Show.

“The people and products that were nominated at this year’s TEC Awards, especially on this milestone 30th anniversary, deserve our respect and admiration,” said Joe Lamond, president and CEO of NAMM. “And those select few who have gone home with a coveted TEC Award have set a high bar for the industry. These are the tools and sounds that will shape the music we will be listening to for years to come.”

Everything from wireless technology to software was recognised in the evening’s technical achievement categories. Native Instruments’ Razor 1.5 instrument software nabbed the top spot for Musical Instrument Software, while Shure’s GLXD6 guitar pedal receiver with Tuner edged out competitors in Wireless Technology. Other winners in technical achievement include DPA Microphones’ d:screet Necklace, honoured for Sound Reinforcement.

Bassist Nathan East and engineer Ed Cherney were inducted into the NAMM TEC Awards Hall of Fame, while iconic guitarist Slash received the evening’s highest honour, the Les Paul Award. The award recognises individuals or institutions that have set the highest standards of excellence in the creative application of audio and music technology.

Technical Achievement

Ancillary Equipment – API 505 DI 500-Series DI Module

Audio Apps for Smartphones and Tablets – PreSonus Capture for iPad

Hardware/Peripherals for Smartphones and Tablets – Apogee MiC 96k

Microphone Preamplifiers – Rupert Neve Designs Shelford 5052

Studio Monitors – Genelec 8010

Recording Devices – Zoom H5 Handy Recorder

Musical Instrument Amplification and Effects – Line 6 POD HD Pro X

Amplification Hardware – Studio and Sound Reinforcement – Grace Design m920 Monitoring System

Computer Audio Hardware – Universal Audio Apollo Twin

Musical Instrument Hardware – Nord Lead A1

Musical Instrument Software – Native Instruments Razor 1.5

Signal Processing Hardware – Dangerous Music ‘The Dangerous Compressor’

Signal Processing Hardware (500-Series modules) – Rupert Neve Designs 551 EQ

Signal Processing Software – iZotope RX3 Audio Repair Suite

Sound Reinforcement Loudspeakers – Meyer Sound LYON

Microphones – Sound Reinforcement – DPA Microphones d:screet Necklace

Microphones – Recording – Neumann TLM 107

Headphone/Earpiece Technology – AKG K812 Headphones

Wireless Technology – Shure GLXD6 Guitar Pedal Receiver with Tuner

Workstation Technology – Steinberg Cubase 7.5

Small Format Console Technology – Solid State Logic Matrix 2

Large Format Console Technology – API ‘The Box’

Creative Achievement

Record Production – Single or Track – Happy, Pharrell Williams

Record Production – Album – Lazaretto, Jack White

Tour – Event Sound Production – Sting and Paul Simon: On Stage Tour

Remote Production – Recording or Broadcast – 56th Annual GRAMMY Awards

Film Sound Production – Gravity

Television Sound Production – Game of Thrones

Interactive Entertainment Sound Production – Call of Duty: Ghosts

Studio Design Project – Berklee College of Music, 160 Massachusetts Avenue, Boston, MA

Picture: Meyer Sound’s LYON system

www.tecawards.org

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EO: THE YEAR OF SEEING MORE

Jan 7th, 2015 by Claude Rousseau

As the New Year brings a whole set of expectations, one of the key measurements will be the expectation that commercially-available very high resolution imagery will help EO users ‘see more’.  And more nations are likely to assess this new type of satellite imagery to lower their limits on what users can see.

For the foreseeable future, the very high resolution market is likely be ‘reserved’ for the NGA under the EnhancedView contract and perhaps other U.S. Government agencies. But down the road, DigitalGlobe, which received a boost of 20% in imaging capacity with its newest satellite, is likely to count other Allied nations as customers of very high resolution data.  This will be the first full year that EO imagery is offered by DigitalGlobe’s WorldView-3 satellite, and other governments may feel pressure to drop their barriers on resolution if the market turns out to be a success early on.

Israel could be the first country outside the U.S. to do so with ImageSat International’s Eros series satellites likely to put a new twist in the very high resolution market. It has a lighter, cheaper platform with flexible onboard camera look angles and at about 350 kg (770 lbs), offers a large savings on manufacturing and launch costs.  It certainly will not offer the sophistication level of an NGA-requirement based Worldview-3, which will have 31 cm resolution data (not resampled), but could cater to a lot of nations in developing regions that want better than 50 cm data. In fact, the Israeli manufacturer of the Eros platform, IAI was quoted in Space News last fall stating they’re “…headed to 25 centimeter imagery”.

And even if the market is still nascent, it will take a prominent role for the EO market as erosion of prices at the lower end of the market dampens expectations.  NSR’s recently released Satellite-Based Earth Observation, 6th Edition report shows that very-high resolution imagery will slowly be adopted and could reach close to 10% of the EO data market revenues by 2023.  The decrease in market share of medium resolution and high-resolution optical data will be the result of both decreases in per/km2pricing and a migration to very-high resolution data.

In the race for providing clearer sight of targets on the ground, be it for military or commercial purposes, satellite-based very-high resolution imagery is a formidable tool to address the growth in competition from Earth imaging aerial manned and unmanned platforms. But it will not replace it. Rather, it will act as a complement even if its capabilities give satellite a strong competitive edge: more frequent revisit, operations under any weather, expanded distribution networks and diversification of imaging sources (optical, SAR, and eventually hyperspectral).

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Bottom Line

2015 signifies an inflection point in the EO market.  The impact of very high resolution imagery on the satellite-based Earth Observation market will start to be felt this year, and the expectations are high due to increasing competition from both commercial and government-owned satellites.  As more customers want imagery with finer detail, the next twelve months will tell us if seeing more will meet their expectations and help lower the barrier such that more EO satellites could provide clearer views of the Earth in the years to come.

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Wireless charging gets boost as standards bodies agree merger

by 

wireless-charging

Two organisations working towards the development of standards for wireless charging agreed to merge, in the hope of accelerating the availability and deployment of the technology globally.

The Alliance for Wireless Power (A4WP) and Power Matters Alliance (PMA) signed a letter of intent for a merger, which should be completed by the middle of the year. A name for the merged entity has yet to be decided.

A major objective of both groups is to boost the economies of scale for wireless power transfer technology. The two organisations have been collaborating since February 2014.

The boards of the two companies include AT&T, Broadcom, Duracell, Flextronics, Intel, Qualcomm, Samsung and Starbucks.

This should ensure a “stable, long-term evolution and management” of the technology, which should encourage mobile operators, retail brands and the consumer electronics industry to invest in it.

The charging technology could be applied to a range of devices, including wearables, smartphones, tablets and laptops.

Ron Resnick, president of PMA said the merger “assures decision-makers throughout the industry of responsible stewardship of these essential contributing technologies”.

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Audio Precision Ownership Change

on 01.02.2015

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Test and measurement equipment manufacturer Audio Precision has announced a “transition of company ownership from majority shareholder Bruce Hofer to AP’s leadership team.”

Hofer is a co-founder of the company and the lead product designer and developer. He’ll remain chairman of the board along with overseeing design and product development.

Company President Dave Schmoldt will take over as CEO. A release indicated that no further changes in the company were expected in the immediate future. The deal was effective on Dec. 16. – See more at: http://www.radioworld.com/article/audio-precision-ownership-change/273915#sthash.zRvIWnva.dpuf

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