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BMW ganha, hein?? E o registro do usuário no sistema é pra deixar vagabundo boquiaberto.

Via Fast Company

Uma nova e imersiva forma de registrar guerras. O grande lance é a utilização de DSLR, o que possibilita um quadro simplesmente sensacional.

Condition ONE seeks to redesign video journalism in two key ways. First, the camera’s field of view is widened to approximate the entire human visual field, including peripheral vision. Traditionally, a 50mm lens is considered “normal” for approximating human vision in 35mm photography; Dennis’s version bends a near-180-degree wide angle view into one (albeit distorted) frame. The effect may sound like stylistic affectation, but trust me, watching explosions and soldiers (and even interviews) from this perspective already creates a viscerally immersive effect compared to “normal” videography. The distorted edges actually mimic peripheral vision in a weirdly authentic way — motion and shapes in the periphery can’t be discerned in detail without “looking right at them,” just like in real life, but you still know they’re there.

The second part of Dennis’s project is more intriguing: making the images interactive in an authentic way. On the far-out side, Condition ONE is presented as a literal media “cockpit” with a huge domed screen (kind of like a mini Omnimax) that the mega-wide-angle view is projected onto, which Dennis claims removes the distortion in the image. But for those of us with access only to iPads, the system adds interesting panning and tilting ability within the image. With the flick of a finger, you can swivel around in the video image to “look” at different things happening in real time, the same way you’d snap your head to the left if you suddenly heard gunfire coming from that direction.

Via Fast Company

This middleware, with some tweaks, lets FAAST quickly facilitate “integration of full-body control with games and VR applications,” via a clever processing server that streams the user’s skeleton pattern, including body position and gestures which can be mapped onto keyboard controls.

The code is free for non-commercial use, because the Institute has big plans for it–including simple, medically inspired games for rehabilitation of motor-skills after a stroke, and even for reducing childhood obesity through “healthy gaming”

Via Fast Company

 

A Slate fez um puta infográfico sobre a “viralização” da diabetes nos states.

As três imagens são, na ordem, 2004, 2006 e 2008.

By now, a clear pattern is emerging: Diabetes is spreading like a virus across the south and Appalachia, across regions known for weak economies. The map is perhaps the most bracing confirmation possible that low incomes and diabetes develop in lockstep.

A Fast Company fez um questionamento interessante: o iPhone é inovação de uma empresa americana, e portanto deveria beneficiar a economia americana. Mas então porque diabos o sucesso da Apple contribui em U$ 1.9 bilhões para o déficit daquele país?

That figure comes from a working paper by researchers at the Asian Development Bank Institute in Tokyo, and was spotted by Mother Jones. A paltry minority of the components of the iPhone are actually made in the U.S.–equivalent to only 6 percent of the phone’s $179 wholesale cost. The great bulk of the parts are made by Japanese, German, and Korean companies; they’re then funneled through China, where they’re assembled at Foxconn, and sent out at an inflated price.

According to the study authors, Yuqing Xing and Neal Detert: “Global production networks and highly specialized production processes apparently reverse trade patterns: developing countries such as the PRC [People's Republic of China] export high-tech goods—like the iPhone—while industrialized countries such as the US import the high-tech goods they themselves invented.”

É muito louco como o sucesso das empresas mais inovadoras pode ser uma ameaça às contas de um país com essa globalização desenfreada. E o que falar do Brasil, que a essa altura do campeonato está se industrializando e cada vez mais distante de se valer dessa onda?

Uma parte da matéria (que lembra muito um post do Umair Haque) argumenta que a Apple vai ter que se mexer:

The authors offer a scenario in which Apple suddenly decides not to pursue profit maximization, dumps the oft-criticized Foxconn, and decides to pursue a model of corporate responsibility and patriotic we’re-in-it-togetherness. It’s true that U.S. workers fetch about 10 times as much as Chinese workers, and the manufacturing costs would rise to $68 per phone from about $6.50 per phone. But if Apple sold the phones at an average of $500 (already the asking price for some models), they say, it would still clear a 50% profit margin.

“If all iPhones were assembled in the US, the $1.9 billion trade deficit in iPhone trade with PRC would not exist,” reckon the authors. “Moreover, 11.4 million units of iPhone sold in the non-US market in 2009 would add $5.7 billion to US exports.”

Trecho de uma matéria interessante da Fast Company sobre um encontro – na verdade tá mais pra uma surra – de publicitários com o pessoal da Hyper Island, a mais renomada escola de criatividade do mundo:

Creative teams, the participants are told, now need to behave more like improv actors — “story building” instead of storytelling — so they can respond in real time to an unpredictable audience. Marketing actually needs to be useful — “use-vertising” instead of advertising — which means that you must think more like a product developer than an entertainer. While campaigns once promised glossy anthemic concepts, perfected before being shipped off to the waiting client, digital is incremental, experimental, continually optimized — “perpetual beta” — and never, ever finished. “Digital will fuck you up and the way your agencies are built to make money, staff things, price things,” says the instructor. “You guys have to change your DNA, and you’re going to have tough decisions.”

Um retrato cruel da lógica do mercado, que infelizmente ainda impera no Brasil. Os parênteses são sensacionais.

The ad business became an assembly line as predictable as Henry Ford’s. The client (whose goal was to get the word out about a product) paid an agency’s account executive (whose job was to lure the client and then keep him happy), who briefed the brand planner (whose research uncovered the big consumer insight), who briefed the media planner (who decided which channel — radio, print, outdoor, direct mail, or TV — to advertise in). Then the copywriter/art director team would pass on its work (a big idea typically represented by storyboards for a 30-second TV commercial) to the producer (who worked with a director and editors to film and edit the commercial). Thanks to the media buyer (whose job was to wine-and-dine media companies to lower the price of TV spots, print pages, or radio slots), the ad would get funneled, like relatively fresh sausage, into some combination of those five mass media, which were anything but equal. TV ruled the world. After all, it not only reached a mass audience but was also the most expensive medium — and the more the client spent, the more money the ad agency made.

A relação entre os salários de clientes e os salários delirantes das agências é deliciosa:

In the 1980s, agencies decided they could benefit from economies of scale, as well as manage client conflicts of interest, by merging. Not incidentally, this trend also gave the agency owners a way to cash out. The result was an industry centered on four major holding companies: WPP, Omnicom, IPG, and Publicis. But the move has backfired. “Agency leaders were making more money than the clients,” says Martin, the industry consultant. “That’s when the clients began to realize, ‘Gosh, we must be paying them too much.

Para fechar, duas provocações fodas:

“The death of mass marketing means the end of lazy marketing.”

“Marketing in the future is like sex. Only the losers will have to pay for it.”

For me, the “illusion” of the audience means: Why do people tweet? What is the driver of them spending time doing this? I think it’s because they think they have people giving them attention, and they do everything to play with that attention. The reason Twitter works so well is that they don’t have a feedback-loop, where people can realize just how little attention they’re getting. I’m not saying the system was set up that way deliberately, but it’s a very well setup system. People can fool themselves into believing that others are listening, which is not easy in real life. When you’re talking to other people on the street and nobody is listening, after a while you sort of have to stop talking. Not so on Twitter.

Andreas Weingend , ex-cientista chefe da Amazon, na Fast Company. Bela forma de se ver o twitter.

Given just how unamused Steve Jobs is by pornography, he’s got some unexpected support from that quarter. Wolfgang Gruener of ConceivablyTech has spoken to the founder of porn firm Digital Playground, who claims that he is ready to say goodbye, albeit breathily, to Flash and embrace, in a most unwholesome way, you understand, HTML 5.

De tudo de novo que você vê pela internet, tenha uma certeza: não é novidade porra nenhuma, a indústria pornô online já deve ter usado há algum tempo. Foi assim com sites, monetização, utilização de fotos, áudio e vídeo, transmissão real time e por aí vai. Os caras são uma espécie de bússula da internet. Steve Jobs, apesar de não querer pornô em seu iPad, deve tá amarradão com essa notícia.

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