"This newscast from KRON in San Francisco in 1981 has been making the rounds recently. It's labeled 'primitive Internet report,' but what it presents is actually one example of the many pre-Internet efforts that the newspaper industry made to try to plan for an online future - and stake out its own turf in that forthcoming world. ...
In the video, you can hear [Dave] Cole say, of the 'Electronic Examiner' he was demonstrating, 'We're not in it to make money.' At the end, the announcer points out that an entire edition of the paper takes two hours to download, at a $5/hour cost - making this 'telepaper' little competition for the paper edition. 'For the moment at least,' the reporter declares, over the image of a sidewalk news vendor hawking the afternoon edition, 'this fellow isn't worried about being out of a job.'
Though the piece does say that 'Engineers now predict the day will come when we get all our newspapers and magazines by home computer,' its underlying message is - Don't worry. This crazy computer stuff isn't going to change anything much for now. And indeed it took 10 years for any sort of online service to become even remotely popular. Almost 30 years later, newspapers are still in business; some are even still sold by guys on sidewalks. It has taken this long for the technology to transform the newspaper biz in a big way. ...
But even as the downloads sped up and the connect-time costs dropped, the industry held onto that approach, instead of coming to grips with the fundamentally different dynamics of a new communications medium. What had made sense in the early days over time became a crippling set of blinders. The spirit of experimentation that the Examiner set out with in 1981 dried up, replaced by an industry-wide allergy to fundamental change.
'Let's use the new technology,' editors and executives would say, 'but let's not let the technology change our profession or our industry.' They largely succeeded in resisting change. Now it's catching up with them."
(Scott Rosenberg, 29 January 2009)
"The Knight Ridder Information Design Lab is developing a newspaper interface for the tablet device. The tablet newspaper draws on the strengths of print and on the strengths of electronic forms. It is both browsable and searchable, both broad-reaching and customizable. It offers pages with story abstracts linked to more detailed stories, background material, photos, sound, and video. People can ran read as deeply or as casually as they want. Stories are no longer limited to 'news hole,' the space allotted to editorial content after press configurations and advertising have been considered.
The tablet newspaper includes editorial content and advertising, both important components of a local information package. Like editorial content, advertising can have many layers, and can be searched and sorted, as well as browsed. Additionally, ads can have transaction hooks, so that readers can make reservations or purchases."
(Teresa Martin, 1995, CHI Conference Proceedings [http://www.sigchi.org/chi95/])
"The Virtual Reef is a life-sized marine ecosystem expanding across two levels of the new Science and Engineering Centre. Multi-touch technologies enable the user to manipulate, intimately explore and interact with the reef world, specific behaviours and relationships.
Australia's leading marine science and interactive and visual design organisations, QUT and the Queensland Museum, bring knowledge and research of the underwater world to your fingertips through multi-touch screens and projectors.
Users will have the opportunity to go beyond the cinematic experience and interact with the marine world. Each interaction has associated content designed to complement the aims of the National Curriculum and provide an exploratory learning experience."
(Jeff Jones, the Cube, QUT)
Fig.1 "The Virtual Reef" project team: Professor Jeff Jones (Cube Project Leader), Associate Professor Michael Docherty (Project Leader), Warwick Mellow (Principal Animator/Art Director), Joti Carroll, Paul Gaze, Sean Gobey, Ben Alldridge, Sophia Carroll, Sherwin Huang, Bryce Christensen.
"Skillset Academi+ was first piloted in Wales from 2009 to March 2011, during which time the scheme assisted over 350 industry professionals by running 54 courses. Having used this opportunity, which was funded by HEFCW, the Academy has fostered new partnerships with experts and has proven a track record of targeted training appealing to a wide cross sector of the industry. In 2012, the second phase of training will be funded by the EU's Convergence European Social Fund (ESF) through the Welsh Government. ...
The impact of digital technology, combined with the recession, has increased the speed of change within the Creative industry, transforming the way in which we operate. The focus of Skillset Academi+ is to enable Welsh companies and freelancers to re-skill through high quality and flexible training that is entirely tailored towards real industry needs in this digital age.
The concept for this training programme draws on hard evidence produced by Skillset on the impact of the recession and changes in digital technology on the Creative Media sector in Wales. Recently gathered research shows which skills are needed to help companies and freelancers weather the economic downturn and come out the other side with a competitive edge.
The content of courses offered by Skillset Academi+ has been shaped by feedback from industry practitioners on priority skills gaps and training needs."
"Sony Music has unveiled a graphic installation documenting the company's 125 year musical history. Designed by Alex Fowkes, winner of Creative Review's 'One to Watch' in 2011, the Sony Music Timeline runs throughout the central atrium of Sony's open plan Derry Street offices.
The Installation features nearly 1000 names of artists signed to Sony Music and its affiliated labels from the foundation of Columbia Records in 1887 to the present day, including musical icons Elvis Presley, Jimi Hendrix, Bob Dylan, Bruce Springsteen, Janis Joplin, The Clash, Micheal Jackson and many many more.
Interspersed among the artist names are certain key developments in technology, musical formats and corporate history - from the invention of early recording cylinders to vinyl, cassette, CD, radio, MTV, the Sony Walkman, the iPod and the introduction of digital streaming services.
The work is organised by decade into 54 columns measuring over 2 meters tall and covering almost 150 square meters of wall space. It uses CNC cut vinyl as the sole medium for the whole installation.
Emma Pike, VP Industry Relations, who commissioned the piece said, 'The brief was to bring the inspiration of our music into the heart of our building and make our office space live and breathe our incredible musical legacy. Alex’s beautiful graphics and illustrations do exactly that.'
Sony’s partnership with Fowkes is set to continue as the Sony Music Timeline will grow each year with the addition of new artist names signed by the major.'"
(Sony Music, 2012)
Sony Music Timeline Process Video, Design & Art Direction: Alex Fowkes Photography & Video: Rob Antill, Music Production: Joseph Bird.