Monday, October 31, 2011

Facebook Co-Founder Aims to Bring Venture Capital Model to Media

The Knight Foundation, a sponsor of journalism-innovation projects, named Facebook co-founder Chris Hughes and digital experts from Harvard and MIT to its board, where they'll take a venture-capital-like approach to media.

In the Miami-based group's first-ever digital-related appointments, it also named Joichi Ito, head of the Massachusetts Institute of Technology's Media Lab and John Palfrey, who runs Harvard's Berkman Center for Internet & Society, and is also an adviser at venture firm Highland Capital Partners.

The new board members join people with backgrounds in newspapers including Paul Steiger, former managing editor of the Wall Street Journal and currently editor-in-chief of ProPublica. Newspapers have lost money as advertisers and readers flock to the Internet and people communicate via social media and mobile devices.

"We need to be approaching these questions and these problems with an attitude more akin to venture capital, than with the attitude of a foundation," Hughes said in an interview.

Hughes, who co-founded Facebook with Mark Zuckerberg, led the online initiative in President Barack Obama's 2008 campaign.

$100 Million Investment

The Knight Foundation is shifting its strategy from charity to "social investing" as news and information delivery becomes digital, foundation president Alberto Ibarguen said in an interview. Since 2007, the foundation has invested more than $100 million in new technology for news and information, in more than 200 experiments, according to its website.

"Traditionally in the nonprofit sector, because an idea is founded on fate so much of the time, or founded on hope, the typical thing would be for someone to continue and continue until they ran out of money," Ibarguen said. "An entrepreneur would find a creative way to make it work."

Hughes also founded Jumo, which helped people connect with nonprofits, and merged it with another company. Ito was an early investor in Twitter Inc., Flickr and Technorati Inc. Their addition to the board could mean more experiments like ProPublica, a nonprofit that produces investigative journalism as newsrooms cut back, Hughes said.

"It's about investment both in core activities that relate to media and information needs, as well as invented ones that cross the boundaries of what journalism is and what media is," said Palfrey, the author of "Born Digital: Understanding the First Generation of Digital Natives."

Events like the so-called Arab Spring, a wave of protests which the world followed on Twitter and YouTube, show traditional media professionals must be digitally savvy, Ito said. Programming and data analysis should be as integrated in journalism as photography or audio, he said, speaking in an interview.

"A lot of foundations look to the Knight Foundation to set an example for doing new things," Ito said. "Bringing us guys on the board will hopefully send an interesting message."

realtime multi-tracking radar systems

This is very cool. Thanks Bill.

Ability to simultaneously monitor the speed of either oncoming or outgoing vehicles in up to four (4) lanes of contiguous traffic using one single speed sensor.

The sensor automatically measures vehicle speeds in control area and creates a pair of high resolution images for each violation:
  • Wide-angle image of multiple targets in the traffic flow situation, with the violator(s) clearly identified;
  • A close-up image of each violator with a clearly visible license plate.
---------- Forwarded message ----------
From: BC
Date: Mon, Oct 31, 2011 at 9:08 PM
Subject: realtime multi-tracking systems?
To: John Sokol <>

Upcoming Kinect Development Kit Could Change In-Store Shopping

The Xbox Kinect is Microsoft’s big push into motion-controlled gaming. You don’t even need a controller to play. Just move your hands and feet with gestures that the Kinect understands, and — voilà! — you’re kicking footballs, competing in dance challenges, and shooting down bad guys.
But now, one year since its launch, the Kinect has gone way beyond video games. It could change our retail buying experiences, and reinvent the way we shop.
A commercial version of the Kinect software development kit will be made available in early 2012, Microsoft announced on Monday, opening the door for businesses to create new applications for the popular platform.
“With the Kinect for Windows commercial program, Microsoft hopes that visionaries all over the globe will continue to transform the way we do things with new Kinect-enabled tools,” a Microsoft spokesperson told in a statement. Microsoft is currently running a pilot program with more than 200 businesses across more than 20 countries, including partners like Toyota, textbook publisher Houghton Mifflin Harcourt, and digital advertising agency Razorfish.
If all goes as planned, we could see Kinect-based interactions show up at retailers, banks, automotive dealers and other commercial environments. Razorfish, for example, is looking at building kiosks in which customers’ bodies would be scanned in order to try on digital outfits without needing to take off any clothes — so said Razorfish VP of emerging tech Jonathan Hull in an interview with Kotaku. Other applications could include simpler tasks, such as waving one’s hands to navigate an ATM’s menu screens.
Microsoft previously released a non-commercial version of its Kinect SDK in June, encouraging hackers and open software enthusiasts to create off-beat, innovative applications that take advantage of the platform’s motion-sensing capabilities. From gimmicky motion controls for banking software to NSF grant-backed medical research, the non-commercial SDK spurred creative uses of the platform beyond what Microsoft expected.
Kinect first debuted in November of 2010 to much fanfare. The system eschews the traditional button-and-joystick controller scheme, and instead lets users navigate and play games via hands-free motion capture. The system was an instant hit, setting a Guinness World Record for the fastest-selling consumer device ever in the first few days after its release. In March, Microsoft announced it had sold more than 10 million Kinect devices.
Though the hands-free controller has been a fun novelty for gaming enthusiasts, the Kinect’s utility for hardware-modding enthusiasts has been more compelling. The Xbox peripheral is packed with a bevy of sophisticated motion-capturing instruments, including an infrared light emitter to capture the surfaces of items in a room, and a depth camera that builds a 3D model of all the objects captured by infrared.
The Kinect’s relatively low $150 price tag has been even more attractive for budding DIY-ers. Willow Garage — the Silicon Valley robotics outfit known for its robot control operating system — now offers a $500 open-source robotics kit that incorporates the Kinect. The company’s previous version (also pre-Kinect) cost $280,000.
The initial forays into Kinect modification began with the homebrew modding community, spurring a wave of creative software hacks that ranged from Street Fighter games to the intricacies of “boob physics.” (Yes, really.)
Instead of taking action against the hackers or trying to bar hardware nerds from further Kinect mods, Microsoft encouraged development, promising to eventually release SDKs to new segments of would-be Kinect hackers. “Kinect represents the first incarnation of the next big thing in computing — a world where computing is becoming more natural and intuitive,” a Microsoft spokesperson told Bloomberg Businessweek in a statement.
Kinect’s natural progression is to move into the commercial realm. Much like app developers for Apple’s iOS and Google’s Android, the release of the commercial SDK allows third parties to use Microsoft’s technology in bolstering their own brands and services. Partners, however, would use Microsoft’s hardware to augment their own businesses — this rather than providing content to a centralized store. In return, Microsoft would open itself up to untold numbers of potential new hardware purchasing partners.
David Dennis, group program manager of Microsoft’s Xbox team, told Kotaku that Kinect devices could be sold in bulk numbers — the “tens of thousands” — to partner businesses.
Microsoft hasn’t released any hard details on the commercial SDK’s release date beyond “early next year.” So don’t expect to start waving on digital fashion accessories right away.

Fwd: Software Engineer- Digital Content/Video/Media Streaming- Cisco (San Jose, CA)

---------- Forwarded message ----------
From: Nicholas Vella <>
Date: Thu, Oct 27, 2011 at 6:07 PM
Subject: Software Engineer- Digital Content/Video/Media Streaming- Cisco (San Jose, CA)
To: "" <>

Hi John,


 I have this position copied below open at Cisco.

Best Regards,




Nick Vella

Protingent Staffing

Technical Recruiter

Main: 415.520.3290|Cell: 415.404.0870 |Fax: 415.358.5814

235 Montgomery St., Suite 440|San Francisco, CA 94104


Successful candidate will be actively participating in the initial stages of developing Enterprise content distribution system. Interacts with product manager to help define the roadmap, write functional specification, design documents, apply virtualization concepts, implementation, mentor other team members. Collaborate with other groups/BUs for cross functional leverage, help evolve the architecture and hands-on contribution to compelling timelines.

Required Qualifications:

Proficiency in large scale and complex system design and development using C/C++

Fairly good experience with Java, scripting languages like Perl

Overall 3-7+ years of experience in relevant domain and technologies. BS/MS degree in engineering/technology, advanced degree preferred.

Experience with multiple development environments (Windows, Linux, Unix, and Mac).

Desired Skills/Knowledge:

Solid background in digital content process flows and media streaming technologies by the broadcast and digital video delivery industries, including telcos and IPTV.

Broad knowledge of multiple technologies, including SOA, application integration, infrastructure design, media storage, and solution architecture.

Experience in video transmission/streaming over IP network; RTP/RTCP/RTSP

Understanding of video technologies such as ACNS, WAAS, CDN, streaming/multicasting, Windows Media, Flash, Quick Time, and transcoding / encoding appliances.

File #<<File_ID - Used to group and organize related email>>



‘You Can Only TiVo So Many TV Shows’ — Why Everybody Loves Old TV


Netflix, Amazon and Hulu agree: The future of television is … television.
Netflix on Monday announced it had renewed its contract with Disney to stream back seasons of current shows and the full runs of older series from ABC, the Disney channel and associated networks. Shortly after, Amazon let the world know it had snagged essentially the same Disney-licensed content for its Prime streaming service.
So if you’re looking to catch up on LOST or Phineas and Ferb, you’ve got options.
Disney’s twin deals with Netflix and Amazon are a classic instance of what Felix Salmon identified as two companies sharing a nonrival good. Disney’s delighted, because it managed to sell the same hard-to-syndicate shows twice. Meanwhile, Amazon doesn’t care if it has the same content as Netflix. In fact, that’s what Amazon wants right now: to have the same content as Netflix, so it can be seen as a credible alternative. (That, in turn, will sell more Kindle Fire tablets, raising the uncomfortable question of whether a loss leader for a loss leader doesn’t turn out to accidentally rip a hole in Space|Time.)
And for this kind of high-quality but not necessarily must-have programming, Netflix doesn’t mind sharing. In fact, this is what Netflix wants right now: to maintain the strength of its wider catalog on the cheap so it can save its money for a handful of premium exclusives (or near-exclusives) on movies and top-shelf shows like Mad Men.
It also makes customers happy. Seriously: Blockbuster movies make for great one-off meals, but the back catalog is the video streamer’s comfort food. Viewers love snacking on old favorites when there’s nothing better on and binging on shows or seasons they missed during their first run.
It’s one of the few things that is an order of magnitude easier on a digital service like Netflix than actually popping in a DVD or managing a folder full of torrented movie files: The service perfectly maintains your place in the series, no matter what device you’re using, and you can just hit “play next episode” over and over again. Or you can easily scan for a rewatchable favorite. (Readers with kids know this is particularly useful.)
Full seasons of old television shows perfectly suit the pseudo-ownership viewers have with streaming video. You might keep DVD box sets of some of your favorite series, but you’re not going to buy the complete run of Cheers just to see what the fuss was about. At the same time, you’re unlikely to wait to bittorrent the entire thing or see every episode in syndication, either. It offers a service above and beyond what you can get with a cable subscription or internet broadband alone, for which a broad base of viewer are happy to pay a small sum.
Finally, unlike broadcast TV, it’s no real problem if content doubles up between services. What matters most is that you can reach it easily and don’t have to keep track of which show comes from where. Just as viewers will suffer with (but would rather not have to) keeping three or four different boxes plugged into their TV sets, they will suffer with but would rather not have to switch between three or four different services just to find something to put on TV. With Xbox, Microsoft is experimenting with doing content-driven rather than app- or service-driven search: As digital video channels proliferate, this kind of smart frontend management will become increasingly necessary.
Meanwhile, the various digital channels are sorting out for themselves their own identities within the new ecology. Netflix, Amazon (and to a certain extent, Hulu Plus) are gobbling up the library content, while Hulu Plus (and for many shows, Hulu Regular) solidifies its place as the best one-stop shop for next-day (or next-week) consumption of current shows.
Last week, Hulu announced a new licensing deal with the CW, bringing its catalog up to five of the six broadcast networks. (CBS, a partial owner of the CW, is the only holdout.) Hulu’s counting on its current-season shows to differentiate itself from Netflix and Amazon, but I wouldn’t be surprised if it begins to license more back catalog content, too, as it tries to remake itself as something more than a web portal for its network equity partners.
And with its Hulu acquisition hopes dashed, Google is trying a different tack entirely with YouTube: committing itself to a wide range of brand-new, web-native series in the hopes that a handful might go viral or capture some devoted addicts. Either way, it’s got plenty of new content to sell ads against, and a beachhead on mobile devices that other video services lack.
I love this paragraph from YouTube’s Robert Kyncl, positioning web video as the post-cable evolution of television:
Wonderful things happen when cool technology meets great entertainment. Cable television expanded our viewing possibilities from just a handful of channels to hundreds, and brought us some of the most defining media experiences of the last few decades — think MTV, ESPN and CNN. Today, the web is bringing us entertainment from an even wider range of talented producers, and many of the defining channels of the next generation are being born, and watched, on YouTube.
Google is betting that the future of television is something structurally chaotic and decentered like the web, yet objectively tamed and portalized like Facebook or Google+. Netflix, Amazon and Hulu are betting that the future is structurally closer to classic cable, even as it objectively remaps our consumption in subtle but surprising ways.
On the Hulu blog, a commenter summarized what I think the broad appeal of streaming TV services is to viewers — even those with cable, even those who could torrent the same shows: “YOU CAN ONLY TIVO SO MANY SHOWS.”
Not only is manual file management is a drag, it doesn’t work for content discovery. Nothing does quite like flipping the channel.

The Many Killers Of The Film Industry: Volume One

From TechDirt:

As many of you may recall (and hurriedly navigate away from this page), we took a two-part look (Analog Age and Digital Age) at the many premature obituaries self-published by the recording industry with every new technological development (cassette tapes, mp3 players, the internet). This time around, we'll be recounting the many near-fatalities suffered by the motion picture industry at the hands of various inventions and services.

Before the advent of motion pictures, there was live theater. Performed live by live actors and actresses (but more frequently by actors in wigs), theater enthralled thousands with its over-emoted lines, bellowed by all manner of waiters, maitre'ds and pool boys.

While kings and queens encouraged young playwrights to "sell out," the general public was amused by bawdy puppet shows and other lowbrow works, including the bawdiest of puppet shows: finger puppets. (You know what I'm talking about.) [Ed. - No one knows what you're talking about. Ever.] It had something for everybody and this "something" was usually expositionary songs and minimal sets.

Live theater flourished for centuries, becoming the common man's escape from crushing reality and taking him to places previously only glimpsed in his fevered (and Black Plagued) imagination. Whether it came in the form of Greek dramedy or Shakespearean sitcom, theater was the only game in town.

The lively art expanded and mutated, bringing forth several new artistic forms, both legitimate (opera, musical, kabuki) and illegitimate (off-Broadway, mime, pro wrestling). Others operated at the fringe, trafficking in dubious artistic merit and collecting money no one else would touch (cosplay, Samuel Beckett).

Just when it appeared that nothing would loosen theater's stranglehold on the public's entertainment dollar, something loosened theater's stranglehold on the public's entertainment dollar.

Motion Pictures
Little did Lumiere realize, when he debuted his first "moving picture," that his new invention would revolutionize the entertainment industry, mainly by killing off most of it and homogenizing the rest.

Proponents of the established live entertainment industry noted that the proliferation of "movie" houses would adversely affect its business, what with better entertainment being provided at half the price. They staged protests at major theaters, waving placards bearing slogans like "Motion Pictures Are Killing the Theater Industry" and (once the first concession stand was installed) "They're Also Killing Dinner Theater." This battle was carried to citizens of developing nations via propaganda stating that the "motion picture camera" was capable of "stealing over 30 souls per second."

The first movies were a spectacle of sight and sound, although most of the sound was nothing more than the projector running or a drunken former cabaret piano player banging away lustily at his instrument and most of the spectacle was of, like, a horse running or something.

With the advent of sound, motion pictures were now on par with live theater's use of voices, sound effects and coughing audiences. The sky was the limit! With Al Jolson's game-changing, black-faced "The Jazz Singer," Hollywood knew it had a hit on its hands. An audible hit. With racist overtones.

Soon every Tom Screenwriter, Dick Producer and Harry Director were jamming their movies full of chattering heads, cramming every free space in the film with nonstop, fast-paced talking. Even the dames got into the act, see? No wisecrack was left uncracked. No song was left unsung. No woman ever walked sultrily into a detective's poorly lit office unnarrated.

This addition of sound proved to be a deathblow for the theater. With the live-r of the lively arts effectively bleeding out (except for pockets of resistance both on and off-Broadway), movie-going became America's favorite pastime, supplanting the wireless, baseball and beating Irishmen.

A new breed of heart-throb rose from Hollywood and spread throughout the nation, taking advantage of swooning women and inconclusive paternity tests. The motion picture industry rushed through its Bronze and Silver Ages, riding the crest of fast-paced dialogue and cries of "What a dame!" But no sooner had the triumphant industry kicked up its feet and rested its head on its laurels, then disaster struck.

A disaster called television. 

The Many Killers Of The Film Industry: Volume 2 - A Disaster Called Television

From TechDirt:

[Those of you following along will remember the cliffhanger ending of Volume 1, in which it was revealed that "something" would come along and destroy the movie industry with its tiny screen and tinny sound. In this followup, we reveal the true killer of the film industry, which is also one of the many pretenders to the throne.]

A Disaster Called Television
Little did Roger Philco and Francois Magnavox know when they assembled the first "magic picture box" that it would change American society as we knew it, mostly for the worse.

There was no indication during its early broadcasts of test patterns, puppet shows and white men in blackface that the daily life of Americans would soon revolve around it. Instead of gathering around the wireless to watch Dad get drunk and curse the Yankees, the whole family would gather around the tiny screen to watch Elvis from the waist up or catch breaking footage from the moon landing set.

The movie industry understood how serious this new threat could be and stepped hastily over the still-cooling corpse of live theater to denounce the new "tele-vision," which would surely destroytheir precious industry. They lamented this turn of events, cursing every new box office record and crying into their stacks of $1000 bills.

Representatives of the "dying" industry called on Congress to do "something" about the "talking picturemajig." How can we get people to sit in front of our 42-foot screens, enjoy our Technicolor and Sensurround when they have 3 inches of black and white power at home, all coming to them in deafening mono?

Congress was too busy watching the National League Championship to be bothered by an outdated industry and their rhetorical questions, no matter how many bribes and high-dollar hookers they waved around. Another blow was struck when forward-thinking Dwight Eisenhower announced his bold plan for America: a television in every house, a car in every garage and an epidemic of childhood obesity.

Disaster? Or Powerful, Distracting New Ally? 
The movie industry was premature in its panic. Americans soon proved they had the leisure time for both activities, which could easily be squeezed in between backyard barbecues and conceiving the eventual bankrupters of Social Security.

During the early '50s, the average male enjoyed a 25-hour work week, divided between harassing the typing pool, pounding martinis and hitting the golf course. The remaining time they spent watering the lawn, washing the car, pounding martinis and pounding the wife (mostly in a sexual fashion, but often in a physical fashion).

TV grew and grew, becoming the focal point of American family life. Television producers turned the mirror on the public, reflecting life as they knew it in the form of sitcoms, playing up spousal abuse ("I Love Lucy," "The Honeymooners") and sexless marriages (every other sitcom). They also went after more respected institutions with uncanny accuracy. (See also: "The Andy Griffith Show" and its devastating take on inept law enforcement and artistic whistling, or "Bewitched" and its brilliant satire of the advertising world, long before "Mad Men" made it cool to be casually sexist again.)

As its influence grew, television turned its unblinking eye on other "hot button" topics such as the Korean War ("M*A*S*H*"), teen hoodlums ("Happy Days") and greed (every game show). TV devoured everything in its path over the next 50 years, before going all ouroboros and devouring itself, shitting out show after show containing no actors, no script and starring everyday people like Balloon Boy's dad.

As the airwaves were conquered by Joe Gloryhound and his occasionally-swapped wife, the film industry breathed a sigh of relief, knowing that TV's "tapped-outness" would allow them to continue to collect billions of dollars a year cranking out sequel after sequel. Directors such as Michael Bay were allowed to continue trafficking in explosions and recycled punchlines. All was well in the word, until... 

Fwd: Speed your Finishing Workflow with Smoke and AJA

---------- Forwarded message ----------
From: AJA Video Systems <>
Date: Mon, Oct 31, 2011 at 9:04 AM
Subject: Speed your Finishing Workflow with Smoke and AJA
To: "Sokol, John" <>

AJA Video Systems| Grass Valley, California
Speed your Finishing Workflow with Smoke and AJA
Combine Autodesk® Smoke® for Mac OS® X, the all-in-one editorial finishing solution with the AJA KONA 3G card and AJA Ki Pro recording device for a streamlined editing and finishing workflow.
Professional editors need the quickest path from lens to editing to post. Pairing Smoke with AJA products allows you to:
• Capture, display and output your projects from SD to 2K in 3D stereoscopic or mono
• Record directly to Ki Pro as Apple ProRes files and work without conversion from start to finish
See how you can improve your workflow by using Smoke with AJA products.
* Trial products are subject to the terms and conditions of the end-user license agreement that accompanies the software.
Download The Free Trial Locate A Reseller

Best Halloween costume EVER

---------- Forwarded message ----------
From: Steve T
Date: Sun, Oct 30, 2011 at 8:48 PM
Subject: Best Halloween costume EVER 
Only a geek could come up with this - it requires two iPads and some
way to stick one on your back and one on your front and that's it:

Fwd: CCTV Imports Halloween Free DVR Giveaway

Halloween DVR's  I'd hate to see some kids lugging these around in there sacks at night. 

---------- Forwarded message ----------
From: CCTV Imports <>
Date: Mon, Oct 31, 2011 at 2:01 AM
Subject: CCTV Imports Halloween Free DVR Giveaway

Having trouble viewing this email? Click here
Halloween Free DVR GiveawayGreetings!

CCTV Imports | 600 Deer Cross Court East | Madisonville | LA | 70447

Fwd: License Plate Capture Camera From CCTVSTARS

---------- Forwarded message ----------
From: Elva <>
Date: 2011/10/31
Subject: Re:License Plate Capture Camera From CCTVSTARS
To: John Sokol <>

Hello,John Sokol ,
Good day to you! Wish everything goes very well in your side.
Announcing!!  our Professional  License Plate Capture Cameras is coming now.

Capture images of the number plate 24 hours a day without any need for adjustment or re-calibration. This includes both bright sunlight and night-time operation.
High Contrast Image
High-contrast imaging performance that delivers sharp, clear license-plate captures, even of vehicles at 25MPH, in bad weather, and in low-light conditions.

Powerful IR
Its powerful IR functionality and IR-corrected lens deliver perfect image captures and outstanding images all day long. It is also equipped with a high-power LED to help minimize energy usage.

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Its built-in 9-22mm lens captures a wide 2-15m field.

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The camera's rain guard and extendable sunshield minimize the effects of rain and sunlight on image quality.

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The cable-management bracket enables easy installation in any location, including walls, surfaces, and ceilings.

Please feel free to let me know your any questions or problems, we are always at your requests.
Overseas Sales Manager

Shenzhen Rcstars Technology Co., LTD
Address: Floor 1, C3 Building, Shahe Industry District,
Nanshan District, ShenZhen, China, 518000

Toll Free: (86) 400 6655 635
Tel: +86-755-86299415     /Fax: +86-755-26607454     /Email:   /Skype ID: Elva-cctvstars   /Website: 


---------- Forwarded message ----------
From: CCTV Imports <>
Date: Mon, Oct 31, 2011 at 7:41 AM

Having trouble viewing this email? Click here
The current hard drive market is very unstable.  We have seen prices already jump 300% from last week and we are told it will continue to increase.
We are fortunate to have an unlimited supply of Seagate 7200rpm hard drives.
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Call now to place your order


CCTV Imports | 600 Deer Cross Court East | Madisonville | LA | 70447

Streaming Media West 2011

November 8-9, 2011 - (Preconference Workshops: Monday, November 7)
Hyatt Regency Century Plaza • Los Angeles, CA

Jobs at Sling Media


Jobs at Sling Media

At Sling Media, we compete in one of the most exciting and rapidly evolving industries there is today. The leading provider of video placeshifting technology--transporting TV signals to PCs, tablets and smartphones--we are literally transforming the way the world watches TV today.
We're looking for people with the vision to see what's on the horizon, and the talent and passion to get us there. Ready to put your passion to work?

Join one of the most dynamic companies in Silicon Valley as:

Sling Media is a wholly owned subsidiary of EchoStar Communications, a $3-billion powerhouse in entertainment technology, Sling Media offers tremendous opportunities for growth. Join us at our headquarters in Foster City, CA, and see how our innovative environment can change your career perspective.

To post a job listing here please contact me no resume's please.

Saturday, October 29, 2011

Fwd: Video installation by Arthur Liou opens Friday, Nov. 4

---------- Forwarded message ----------
From: "Brenda Stern" <>
Date: Oct 29, 2011 2:50 PM
Subject: Video installation by Arthur Liou opens Friday, Nov. 4
To: "Stern Brenda" <>

You're invited to a very special event this Friday, Nov. 4!

Pictura Gallery is very proud to present a multiple-video installation by artist Jawshing Arthur Liou, a professor at IU's Hope School of Fine Arts.  The installation features stunning images from three video projects---Anicca, Nachi and Maelstrom---that, together, create an immersive environment for viewers.  The exhibition continues through Dec. 31.

Liou creates video installations that depict spaces often not probable in reality.  Working with both lens-based representation and digital post-production, he aims to transform recognizable imagery into realms of otherworldly experience.  Liou's videos and prints are in numerous public and private collections.  His works have traveled internationally, including exhibitions in cities ranging from New York and Chicago to London and Hong Kong.

Please join us for the opening/artist reception this Friday, 5-8 p.m.  We look forward to seeing you!

Best regards,

Brenda Stern, Associate Director  |  pictura gallery  |  122 W. 6th St., Bloomington, IN  47404  |  812.336.0000  |