Peripheral Vision 012: Dave Allen on moving from punk rock to digital advertising

Peripheral Vision 012 Dave Allen

"I'm pretty well known as one of the co-founders of the British post-punk band, Gang of Four," Dave Allen begins. "And then, after a while, I got the web itch." It's a study in contrasts, perhaps, from the bass player of one of the late-70s most seminal political punk bands, to a title like "director, interactive strategy," but Allen is nothing if not eclectic. Over the decades, his passions have taken him from the angular post-punk of Gang of Four to the new wave of Shriekback, through stints with Intel and E-music. And now we're here in 2013, inside North, a Portland brand agency that has imparted on him the aforementioned title.

To Allen, however, it's not all that strange, the transition from punk rock to advertising. And at the very least, it adheres to tenets he's held dear all along. "When Gang of Four signed to EMI and Warner Bros. back in the day," he explains, "everyone was trying to say we sold out, but they kind of knew we didn't. We wanted to get our message across to the most people, so where's the best place to go? The big labels. They own distribution, manufacturing and marketing. They own the radio stations. For me, to work in the advertising world, whilst being critical of it - why would you do it outside the walls? Why not try to foment discussion within the very industry that we're all working in?"

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Peripheral Vision 005: Adam Lisagor on how an expensive video could hurt your Kickstarter campaign

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"When I started, a demo video was a screencap vid," Adam Lisagor begins, "usually a developer or an engineer, badly miced, going [he grabs the lavaliere mic from his shirt and speaks directly into it, for maximum distortion] 'I'd like to show you my new CMS financial manager.' You watch his mouse go around the screen, and it's super boring. It takes up eight minutes of your time, instead of 30 seconds." A cursory peek at Sandwich Video offers some insight into precisely how far we've come on that front, a parade of short videos produced for companies like eBay, Rdio, Flipboard and Jawbone that bring professional-level production and a dash of humor to the proceedings.

Though, as Lisagor explains, it's about a lot more than just creating something that looks nice. While his company has evolved a fair deal since the days of the earnest video caps, the spots still need to actually, you know, show people what the products do. "When I first started doing them, they were meant to be a demonstration," explains Lisagor. "They were meant to show the user experience, while adding a lot more pizzazz and sparkle. We don't take the route of focusing on shock / entertainment value. We take the opposite approach, where it's all about the product and being engaging enough to want to share."

And besides, production isn't everything. After all, that fancy new video for your crowdfunding campaign might actually hurt your efforts in the end. "If you're putting yourself on Kickstarter, but it looks like your video cost $100,000," adds Lisagor, "there's a certain portion of the population that's going to take that as a sign not to donate to your campaign, because it doesn't look like you need the money."

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Peripheral Vision 004: Reggie Watts on using technology to make art, pterodactyls

Peripheral Vision 004 Reggie Watts on using technology to make art

You don't have to ask Reggie Watts to make music. He just does. As he fumbles around for cords and components in the drawers and bookshelves of his Brooklyn apartment, everything that falls within eyeshot becomes a song. Spending a few minutes in his presence, you get the feeling that Watts would have been doing this in some form or other, no matter what career path he'd ultimately settled on, making a name for himself as the singing lawyer or beat boxing chef. But the stars aligned for the musician / comedian, aided in no small part by the increasing availability of cheap, affordable technology.

"I grew up in what i like to call 'the perfect technology curve,' " explains Watts. "When I was a kid, I had organic instruments. There wasn't super high tech stuff. All the super high tech stuff would have been way too expensive. The idea of owning a synthesizer in 1980 was insane for a kid. I [eventually owned] Casio keyboard. That was awesome. I got to experiment with that and make it do things it wasn't designed to do." The technology now forms the backbone of Watts' improvisational music making, inhibited only by the constraints of his knapsack. "Everything fits in my backpack," he says. "That's my setup, that's my rule. If anything else comes along, it would have to fit in my backpack."

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Peripheral Vision 003: Professor John Slough on how nuclear power could get us to Mars in 30 days

Peripheral Vision 003 Proessor John Slough on how nuclear fusion could get us to Mars

"We thought of a clever idea of how you might use fusion to do manned space travel," explains John Slough. The University of Washington research professor discusses such seemingly impossible ideas with the cavalier nature one might otherwise reserve for picking out shirts in the morning. The white-haired academic wore his sandals to the office today, chuckling on occasion about the grandiosity of it all. Here in a nondescript business park in Redmond, WA, Slough and fellow UW staff members think they've found the secret to speedy interplanetary travel: small-scale nuclear fusion.

"A realistic trip to Mars, as NASA has studied extensively, requires 1,680 days," Slough says, standing in front of the mess of electronics his company has taken to calling The Fusion Engine. "It required 11 launches from the most powerful rockets we have. Those two things would probably eliminate it. It would be something like $20 billion just to put the stuff in space. We thought that if you could exhaust the propellant at a speed that's comparable to the speed you want to go, which you can do with a different energy source, you can reduce that trip time to as short as 30 days."

It's a lot to wrap one's head around, how imploding metal can heat plasma to fusion temperature in the neighborhood of hundreds of millions of degrees, but Slough breaks it all down on the latest Peripheral Vision with the patience and simple language of the high school science teacher we all wished we'd had.

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Peripheral Vision 002: Marc Maron

Peripheral Vision 002 Marc Maron

In 2009, Air America relieved Marc Maron of his duties for a third and final time. He'd co-hosted the station's drive time show Morning Sedition before being given the reigns on his own titular evening program. By show three, he was relegated to the station's kitchen, joining fellow Boston comedian Sam Seder for the short-lived web video show Breakroom Live. Naturally, Maron did what any down-on-his-luck radio host would in his place: he started a podcast. "I think in the beginning, I just needed to talk to someone," he explains. "I was going through a very difficult time. I'd certainly been humbled by love and by show business."

WTF wasn't the first podcast by any means, but over the last few years, it's become one of the most popular, thanks to Maron's frank and engaging conversations with comedians and other show biz types. More recently, the program has served as the basis for Maron, an IFC show starring the host as himself, which will enter its second season next year. On this second episode of Peripheral Vision, we sit down with the host to discuss the power of the medium, the trouble with Twitter and making a name for yourself from the comfort of your own garage.

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Peripheral Vision 001: Eric Staller

Peripheral Vision 001 Eric Staller

You've never been so popular as when you're riding around the streets of San Francisco in a 1967 Volkswagen Beetle covered in 1,659 flashing lightbulbs. As the pulsing hum of electric generators comes barreling around the corner, it's enough to put a smile on the face of even the most jaded SF resident. "I'm Eric Staller," he introduces himself, as we stand outside the car for a interview, "and I just can't help but answer to my deepest subconscious impulses." Trained as an architect, the New York native soon found his calling as an artist, dabbling in sculpture and performance art at the University of Michigan.

By the 80s, Staller's impulses began manifesting themselves as "Urban UFOs," strange apparitions like the Volkswagen Lightmobile and the spherical Bubbleboat that leave the casual city dwelling on-looker wholly unsure of what they've just seen. It's a strange and wonderful sort of electronic magic. Staller also created the ConferenceBike, a seven-person vehicle that has appeared all over the world, most notably becoming a mainstay on the Google campus. We can't think of a better way to kick off our new show Peripheral Vision than a ride around the City By the Bay with Eric Staller.

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Introducing Peripheral Vision

Introducing Peripheral Vision

Working on The Engadget Show has afforded us the opportunity to travel all over, in search of the best tech stories we can sniff out. In our travels, we've encountered some amazing individuals who are using technology in exciting and unusual ways. They're the inspiration for our newest series, Peripheral Vision. The show is a weekly look at the people powered by technology: artists, scientists, musicians, broadcasters and others who have given us fresh perspective on the way we interact with our electronics.

We're kicking the series off with a bang, a magical ride around San Francisco in the Volkswagen Lightmobile with artist Eric Staller. You can check out that inaugural episode here. And for a view of what's to come, have a look at teaser trailer for the show below, featuring a sneak peak at a number of upcoming interviews. We're incredibly excited to bring this show to you. We hope you enjoy the ride.

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MIT projection system extends video to peripheral vision, samples footage in real-time

MIT projection system extends video to peripheral vision, samples footage in real-time

Researchers at the MIT Media Lab have developed an ambient lighting system for video that would make Philips' Ambilight tech jealous. Dubbed Infinity-by-Nine, the rig analyzes frames of footage in real-time -- with consumer-grade hardware no less -- and projects rough representations of the video's edges onto a room's walls or ceiling. Synchronized with camera motion, the effect aims to extend the picture into a viewer's peripheral vision. MIT guinea pigs have reported a greater feeling of involvement with video content when Infinity-by-Nine was in action, and some even claimed to feel the heat from on-screen explosions. A five screen multimedia powerhouse it isn't, but the team suggests that the technology could be used for gaming, security systems, user interface design and other applications. Head past the jump to catch the setup in action.

Continue reading MIT projection system extends video to peripheral vision, samples footage in real-time

MIT projection system extends video to peripheral vision, samples footage in real-time originally appeared on Engadget on Mon, 25 Jun 2012 04:55:00 EDT. Please see our terms for use of feeds.

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