"Mobile Innovation Network Aotearoa [MINA] aims to explore the possibilities of interaction between people, content and the emerging mobile industry."
(Mobile Innovation Network Aotearoa)
Fig.1 MINA @ FRINGE, Mobile Visual Art Showcase @ Fringe Awards, Paramount Cinema, Wellington, Sun 4th February 2012 [http://www.mina.pro/?p=212].
Fig.2 "Mobile Video Production – New Trends & Directions @ Te Papa" [http://www.imagekraft.co.uk/mina/?p=30]
"As you've most likely figured out, the WVIL camera is not a real product, but a Concept Camera envisioned by Artefact's award-winning design team. It answers the question: 'what's next for camera design?'
The patent-pending WVIL system takes the connectivity and application platform capabilities of today's smart phones and wirelessly connects them with interchangeable full SLR-quality optics. It is the inevitable solution for photographers who expect the power of modern mobile devices but who also demand uncompromised quality."
(Artefact Group, 2010)
"Adobe has repeatedly said that Apple mobile devices cannot access 'the full web' because 75% of video on the web is in Flash. What they don't say is that almost all this video is also available in a more modern format, H.264, and viewable on iPhones, iPods and iPads. YouTube, with an estimated 40% of the web's video, shines in an app bundled on all Apple mobile devices, with the iPad offering perhaps the best YouTube discovery and viewing experience ever. Add to this video from Vimeo, Netflix, Facebook, ABC, CBS, CNN, MSNBC, Fox News, ESPN, NPR, Time, The New York Times, The Wall Street Journal, Sports Illustrated, People, National Geographic, and many, many others."
(Steve Jobs, April 2010)
Fig.1 video of iPhone mugging attempt on Steven Levy's phone.
"Like the walkman and the mp3 player, the laptop raises a set of questions regarding the folding of spatialities as they intertwine with new cultural practices. For instance, consideration of the interface between space and the everyday routines of laptop users raises a number of issues about the personal uses of mobile devices. On the one hand, ... the laptop is insinuated into the mobile individualisation of technologically-rendered space. It becomes a 'bubble' organised around a privatised desire for withdrawal - a kind of utopic hike into introspective technoculture. Here, the laptop becomes a dwelling, shelter or boundary. It separates the inside from the outside and functions as a nest through which creative output is hatched and nurtured, transposing the personal and affective relationship musicians have with music into an inner technological space rendered by Graphic User Interfaces, projects and folders. In many ways, this echoes the way the traditional recording studio seals itself from the outside world, both acoustically and creatively. As the French sociologist, Antoine Hennion argues, removed from the real world by sound proofing, the studio becomes an 'idealized microcosm of creation' (1989: 408) in which trial and error testing and sonic experimentation takes place".
Hennion, A. (1989) "An Intermediary Between Production and Consumption: The Producer of Popular Music", Science, Technology and Human Values, 14, 4: 400-424.
'OK Computer: Mobility, Software and the Laptop Musician', Information, Communication and Society, 11:7, October 2008: 912-932.
Fig.1 'Clint (KA7OEI) and Randy (KG7GI) on the edge of a 1200 foot cliff overlooking much of Canyonlands National Park, using their laptop computers on the CanyonLan'