Could I possibly finding myself rooting for the new UK conservative leader, Mr Cameron. The day starting with a smittering of incredulous punditry from Today guests, pontificating why labour would rule the day - something to do with policy. Come on!
Firstly, just as there was anti-tory sentiment that got Mr Blair in government so the yukky boot is now on his foot. So all Mr Cameron has to do is sound sensible..cuz at the very least, one party states are not a good thing, and we've had that for a while. The fathers of the US constition had the very best intentions for there to be healthy tension between the two houses - something that's been lacking in UK politics..
But could I, alas, find myself voting for the tories. Well there's still the tory hardliners there which would strain the arm come election day. But what if he does a root and branch ala Blair. Now that would be interesting.
I have also noticed newsnight on BBC TV leaving an ident on its show that we can view online. I wonder how many people are doing so. I had a 2 hour talks with a BBC exec recently lamenting the lack of figures and that even on broadband they weren't pulling em in.
Well where's the beef? Where's the added value for going online; where a report would reveal that something it did not on its terrestrial equivalent? And why if the BBC wants a new audience doesn't it leave the tag soliciting an audience on the show permanently.
When I stared at my pc to build my first site in 96, the debate
raging then amongst a burgeoning community of onliners was what
It hasn't gone away. Twenty
years ago at my organic lecture class, my lecturer had excited me with
boolean algebra to build a flux condensor to purify some organic
compound. Computer science circa 1987 was akin to Dr Doolitle on acid.
What the heck is going on? But there for me were the early signs of
building loop functions ie interact-cause and effect - ivity.
is part logic part dysfunctionality. That's because we're taught over
the years through language and comprehension to become so logical as to
leave no room for expression, deliberately making things wrong. It's
what acturists might refrer to conflct management accountacy. What
happens when this goes wrong. Our answer is it won't or shouldn't but
that misses the point. We're so hung up trying to resolve questions or
issues, even before we've tested those limits, while making assumptions
of a baseline of our audience's knowledge.
refinement of this behaviour is what makes a good TV reporter. Seek
clarity, keep it simple and tell the story. If you're a regional
journalist opinon is eschewed, if you're a correspondent intergrated
thinking as described in a recent article in the Harvard Business Review
as seeing many sides and charting a new course, then differences of
opinion is to be encouraged. BUT still your editor will expect a close
of business in your reportage.
"Hey David can you give
us a 3 min feature using the following interviews, perhaps, one of the
editors I worked to would tell me".
interactive producers are 4-7 year old who ask why at every level and
break conversations into constituents. Beyond that I'll profer to maths
and trignometry majors, where Sin, Cos and Tan offer myriad ways of
approaching a problem.
Clicking on a link is not
interactive just as clicking a red button isn't, compounded further by
the insult from broadcasters that you're tunning into video on demand.
(VOD) 12 channel pipes continously broadcasting can only be afforded by a
few, which is why cable/broadband will rule eventually.
interactivity is an egagement giving you and your audience a wide girth
of independence to fill in blanks. Take Brendan Dawes Saul Bass
"Psycho" or even the simplistic now, but elegantly sophsticated "9
months" - both favourites from the turn of the millennium. 9 months
wowed you with nodel points along the cycle of a woman's pregnancy. It
was point and click, but its imagination was your intrinsic desire to
unravel the 9 months - via stunning photography and music. It could have
been infinity show and still we'd watch.
Saul bass let
you reconstruct the psycho shower scene. I think that's what clinched
our BBC consultancy when a colleague and I sold an idea of a virtual
newsroom to the BBC's Vin Ray heading up the the corporation's
And while pondering the founders
around 2000: True is True, Precinct, Submethod, Design is Kinky all
added in their own way, devising rules born of superior technical and
creative knowledge to the graphic and hence also multimedia well.
is more than divying up a linear feature bereft of crucial nodes to
ellicit further reaction. It works at an intuitive level if you're one
of those people who thinks interstially, otherwise elements of game
theory or even predictive human behaviour is required.
happens when I press A. Will I be rewarded. And will that in turn make
me want to press B. And how immersive can I be before I realise I'm
drilling deeper and deeper.
The real landgrab at the
moment is the sophisticant of multimedia- the aesthetics and language of
video tossed with the architecture of interacticity. It begs new a
structural form in its conceptualisation.
Whilst its as
old as ARPRANET, it's vocalisation has been as an antecedent to the
hegemony of unitary media and voices. It might just as well have been
sir xxxx answer to democracy in the net age.
questions at the 10.00 morning meeting become the basis of a platform to
engage further dialogue. It's a pain, because you'd rather seek closure
but more is better.
In 2001 a colleague and I had a
eureka moment. Rosalind Miller, a brilliant designer who now teachers at
St Martin sought a new aesthetic style to engage viewers, which in
itself was a derivative of early russian film makers such as Vertov
and the loop. Oh yes everything we want to know has its groove from some broken record years old.
loop however wasn't enough. We needed a strong story; adversity verus
the odds, good from bad, triumph in the face of disaster emodied of
course in the art of puglism e.g. young boxer looking for an out.
Channel 4's Late commissioning producer had expressed an interest in the
documentary I was making with the help of a couple of friends, Jon Mac
the photographers photographer and Claudio Von Planta - who is the
director-cameraman of directors, presently on a motorbike travelling the
The deal fell through, so in a rare
moment of clarity we thought of turning it into an interactive
documentary. There were huge limitations. The first being the story. It
might have worked linearly but needed more work. We spent four different
shoots with the boxing outfit in Islington before the Mime (mind map)
structure revealed itself worthy of more questions than answers. Then
there was bandwith. How do you fit all this into a 28 , max 56k modem?
real breakthrough which you can see at work any day; we worked on ours
further, was the revelation of how the inverted pyramid structure of
news writing feeds into modularity coding. Simply pick up the next paper
by your side. After the first paragraph notice how any jump to
subsequent paras of the story retains the integrity of the story when we
web back and forth through the paras.
the dynamic of video compostion meant you could be certain where
people's eye would travel. This was something we discovered after. In
documentary form by itself, the film maker has a strong often subliminal
hold on you by employing a number of techniques, principally movement.
Note Polanski's China Town and the bedroom phone scene where almost all
the audience sways to attempt to capture the full frame of the subject.
much work. In 2000 you try working a film doc into a 28k modem, our
efforts were rewarded. Channel 4's digital departments gave it the
thumbs up at their digital awards final. It was a finalist. Blue Print
magazine, the blue chip magazine of design covered it over four pages,
and Lennox Lewis would request I join his team.
post-dot come blues had set in and our interactive agency had gone the
way of many soho outfits. But a fire had been lit. Multimedia is the
rebellion sibling of broadcasting, a disruption to linear conversations.
On a political level it's not so much about a multitude of media, but
voices and opinions seamlessly transcribed into an entity.
strength, should be its purpose to provide schisms for new debates and
particularly in a western media where the oppposing view is suffocated,
diversity of voices, ethnic and minoritiy views are placed outside the
sphere of influence, give succour to new discourse.
That will eventually entail multimedia engines with xml/asp/htm imput-output. We're nearing there.
our concers in these very early tentative steps of multi faceted media
conversations should be relying on cues from traditionalist
communicators. When ITV new says it wants your news because it is
engaging this new church of online democracy, it has little idea that it
should be having a broader conversation, not just in context but
control - JUST LET GO ( Fightclub) if its can afford it.
Christian Metz asks what is cinema evocatively deconstructing semiotics
and its linguistics; we might ask what is multimedia in its capacity to
cull the power of illusion, to integrate or not art and narrative, to
experiment with grammar by itself and incorporate where necessary the
viscerality of video.
Geographers refer to it as the
equilibrium profile which results in the riverbed and water yielding new
patterns and complex behaviour. We're there and then not quite yet
week. If you can't experiment or innovate is there any point in media
courses or joining Brit TV, who's last creative 160 IQ rests in the 90s.