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boomgers · 9 months

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Estrenos · Agosto 2023

Este newsletter contiene los títulos de las nuevas producciones que se estrenarán en México durante el mes de agosto de 2023.

· 1 de agosto de 2023 Netflix · Al Descubierto: Jake Paul, El Chico Problema.

· 2 de agosto de 2023 Apple TV+ · Physical · Temporada 3. Netflix · Mark Cavendish: Imparable. Netflix · Intoxicación: La Cruda Verdad Sobre Nuestra Comida.

· 3 de agosto de 2023 Cines · Megalodón 2: El Gran Abismo. Netflix · Zom 100. Netflix · Frente A Frente. Netflix · Heartstopper · Temporada 2. Netflix · El Abogado Del Lincoln · Temporada 2 · Parte 2.

· 4 de agosto de 2023 Netflix · Seducción Fatal · Volumen 2. Prime Video · Divina Señal. Prime Video · Las Flores Perdidas De Alice Hart.

· 6 de agosto de 2023 HBO Max · Lakers: Tiempo De Ganar · Temporada 2.

· 8 de agosto de 2023 Netflix · Zombiverso. Netflix · Al Descubierto: Johnny Football. Netflix · The Seven Deadly Sins: El Rencor De Edimburgo · Parte 2. Netflix · Only Murders In The Building · Temporada 3.

· 9 de agosto de 2023 Apple TV+ · Un Planeta Extraño. Disney+ · High School Musical: The Musical: The Series · Temporada 4. Netflix · Las Damas Primero: Mujeres En El HipHop.

· 10 de agosto de 2023 Cines · Tortugas Ninja: Caos Mutante. Netflix · Medicina Letal. Netflix · Mi Boda Con Un Fantasma.

· 11 de agosto de 2023 Netflix · Agente Stone. Paramount+ · Zoey 102. Prime Video · Rojo, Blanco y Sangre Azul. Vix · Ellas Soy Yo, Gloria Trevi.

· 12 de agosto de 2023 Netflix · Con Tacto Especial.

· 14 de agosto de 2023 Las Estrellas · Nadie Como Tú.

· 15 de agosto de 2023 Netflix · Al Descubierto: El Salón De La Infamia.

· 16 de agosto de 2023 Netflix · El Elegido. Netflix · Depp vs. Heard.

· 17 de agosto de 2023 Cines · Blue Beetle. Cines · Drácula: Mar De Sangre. HBO Max · Te Quiero y Me Duele. Netflix · La familia Upshaw · Parte 4.

· 18 de agosto de 2023 Netflix · El Rey Mono. Netflix · La Chica Enmascarada. Prime Video · Mala Fortuna. Prime Video · Refugio de Harlan Coben.

· 21 de agosto de 2023 Las Estrellas · Minas De Pasión.

· 22 de agosto de 2023 Netflix · Faro. Netflix · Al Descubierto: Los Reyes Del Pantano.

· 23 de agosto de 2023 Apple TV+ · Invasión · Temporada 2.

· 24 de agosto de 2023 Cines · Hijos De Perra. Cines · Gran Turismo: De Jugador A Corredor. Netflix · ¿Quién Es Erin Carter?. Netflix · Ragnarök · Temporada 3.

· 25 de agosto de 2023 Apple TV+ · El Escape De Carlos Ghosn. Netflix · ¡No Estás Invitada A Mi Bat Mitzvá!. Netflix · El Club De Los Lectores Criminales. Vix · Cualquier Parecido.

· 30 de agosto de 2023 Netflix · La Gran Seducción.

· 31 de agosto de 2023 HBO Max · Adventure Time: Fionna & Cake. Netflix · One Piece. Netflix · Elijo Amor.

* Las fechas de estreno pueden estar sujetas a cambios.

#Estrenos Del Mes

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feliciagarrivan · 1 year

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Rania Matar

Rania Matar is a Guggenheim 2018 Fellow.

She was born and raised in Lebanon and moved to the U.S. in 1984. As a Lebanese-born American woman and mother, Matar’s cultural background, cross-cultural experience, and personal narrative inform her photography. She has dedicated her work to exploring issues of personal and collective identity, through photographs of female adolescence and womanhood. She works both in the United States where she lives and the Middle East where she is from, in an effort to focus on notions of identity and individuality all within the context of the underlying universality of these experiences.

Rania Matar’s work has been widely published and exhibited in museums worldwide, including the Museum of Fine Arts, Boston, the Carnegie Museum of Art, National Museum of Women in the Arts, and more. A mid-career retrospective of her work was recently on view at the Cleveland Museum of Art, and at the Amon Carter Museum of American Art, in a solo exhibition: In Her Image: Photographs by Rania Matar.

She has received several grants and awards including a 2022 Leica Women Foto Project Award, 2018 Guggenheim Fellowship, 2017 Mellon Foundation artist-in-residency grant at the Gund Gallery at Kenyon College, 2011 Legacy Award at the Griffin Museum of Photography, 2021, 2011 and 2007 Massachusetts Cultural Council artist fellowships. In 2008 she was a finalist for the Foster Award at the Institute of Contemporary Art/Boston, with an accompanying solo exhibition.

Her work is in the permanent collections of several museums, institutions and private collections worldwide.

She has published four books:

SHE, 2021, essays by Orin Zahra and Mark Alice Durant.

L’Enfant-Femme, 2016, with an introduction by Her Majesty Queen Noor, and essays by Lois Lowry and Kristen Gresh. Selected best photo book of 2016 by PDN Magazine and Foto Infinitum, and Staff Pick by the Christian Science Monitor.

A Girl and Her Room, 2012, essays by Anne Tucker and Susan Minot. Selected best photo book of 2012 by PDN, Photo-Eye, British Journal of Photography, Feature Shoot and L’Oeil de la Photographie.

Ordinary Lives, 2009, essay by Anthony Shadid. Selected a best photo book of 2009 by Photo-Eye.

She is currently associate professor of photography at the Massachusetts College of Art and Design, and regularly offers workshops, talks, class visits and lectures at museums, galleries, schools and colleges in the US and abroad.

#research #artist research #art photographer #art research #photography #female gaze #woman photographer #Rania Matar #artist from girl on girl book

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creativeenquirybethmitchell · 2 years

Link

This article provides an interesting perspective regarding the recording of performance, by photographing works it formalises them. The chaotic or impromptu nature of a performance is immortalised in a static state.

Regarding my future performances, this is an interesting route for documentation as opposed to audio visual, in addition to my focus on objects. By recording in ways that are almost a memento of a specific object or action, such as photography or sculpture, it allows an audience to connect them to an action and interpret their own narrative

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sorrysomethingwentwrong · 2 years

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Denis Darzacq, “Hyper #3” (2007-9)

“Running Falling Flying Floating Crawling,” Edited by Mark Alice Durant, and published by Saint Lucy Books

#art #photography #surreal #denis darzacq #flying #floating #mark alice durant #saint lucy books #hyper

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brooklynmuseum · 4 years

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Don’t let a pandemic stand in the way of your voice being heard! This election season, a majority of Americans are eligible to vote by mail. Many states have deadlines to request mail-in ballots less than two weeks before Election Day, but the Postal Service recommends that voters request mail-in ballots by October 19 to ensure that ballots are returned on time.

Head to vote.org today for everything you need to prepare!

Images by: Jesse Duquette / The Daily Don ⇨ Mark Alice Durant ⇨ Muna Malik ⇨ Kamrooz Aram and ⇨ Ken Lum and Paul Farber / Monument Lab for Plany Your Vote and Vote.org

#Vote2020 #voteready #planyourvote #Jesse Duquette #the daily don #mark alice durant #muna malik #ken lum #paul farber #monument lab #election #america #united states of americans #mail-in ballots

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swartzmark · 4 years

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Roy DeCarava, Child in window, clothesline, New York, 1950

“You have composed your photograph like an abstract expressionist painting: chunky rectangles of textured dark tonalities with a slice of white piercing the top of the frame like a taunt from the infinite. Without the title I might have missed the child behind the middle window. Between two upturned hands she cradles her head like a pillowed prayer. The floating clothes are threadbare clouds.“ --Mark Alice Durant, 28 Notes for Roy DeCarava

#Mark Alice Durant #Roy DeCarava #photography

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waywaydowninside · 7 years

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“Despite its imperfections this photograph is proof that I worshipped at the foot of their altar, that I was baptized in the sweat spritzing from Robert Plant’s golden locks. The technical flaws are also an essential part of its documentary truth. The streakiness of the image speaks to the novice’s impatience. There are no true black tones in the picture to provide depth and drama, and instead of a glistening expanse of skin, Robert Plant’s torso appears murky and unsexy. But it didn’t matter. Like any rebellious teenager of that era, I had scribbled my share of heartfelt poems and Dylan-esque songs, but while holding the camera in my hands I felt transformed, I had some idea of how I might be in the world, how I could proceed. I had become a participant observer.” -- Mark Alice Durant, photographer.

#robert plant #1972 #mark alice durant #rock photographer

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classic-laugjhing-hollywood · 3 years

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Thelma Alice Todd (July 29, 1906 – December 16, 1935) was an American actress and businesswoman often referred to by the nickname "The Ice Cream Blonde", as well as "Hot Toddy". Appearing in around 120 feature films and shorts between 1926 and 1935, she is best remembered for her comedic roles opposite ZaSu Pitts and in films such as Marx Brothers' Monkey Business and Horse Feathers and a number of Charley Chase's short comedies. She co-starred with Buster Keaton and Jimmy Durante in Speak Easily. She also had roles in several Wheeler and Woolsey and Laurel and Hardy films, the last of which (The Bohemian Girl) featured her in a part that was truncated by her suspicious death in 1935 at the age of 29.

Todd was born in Lawrence, Massachusetts, to John Shaw Todd, an upholsterer from Ireland, and Alice Elizabeth Edwards, an immigrant from Canada. She had an older brother, William, who died in an accident in 1910. She was a bright student who achieved good academic results. She intended to become a schoolteacher and enrolled at the Lowell Normal School (now University of Massachusetts, Lowell) after graduating from high school in 1923. In her late teens, she began entering beauty pageants, winning the title of Miss Massachusetts in 1925. While representing her home state, she was spotted by a Hollywood talent scout and began her career in film at Paramount.

During the silent film era, Todd appeared in numerous supporting roles that made full use of her beauty but gave her little chance to act. With the advent of the talkies, Todd was given opportunity to expand her roles when producer Hal Roach signed her to appear with such comedy stars as Harry Langdon, Charley Chase, and Laurel and Hardy.

In 1931, Roach cast Todd in her own series of slapstick comedy shorts, running 17 to 27 minutes each. In an attempt to create a female version of Laurel and Hardy, Roach teamed Todd with ZaSu Pitts for 17 shorts, from "Let's do Things" (June 1931) through "One Track Minds" (May 1933). When Pitts left in 1933, she was replaced by Patsy Kelly, appearing with Todd in 21 shorts, from "Beauty and the Bus" (September 1933) through "An All American Toothache" (January 1936). These Roach shorts often cast Todd as a levelheaded working girl having all sorts of problems and trying her best to remain poised and charming despite the embarrassing antics of her ditzy sidekick.

In 1931, Todd starred in Corsair, a film directed by Roland West, with whom she would later become romantically involved.

Todd became highly regarded as a capable film comedian, and Roach loaned her out to other studios to play opposite Wheeler & Woolsey, Buster Keaton, Joe E. Brown, and the Marx Brothers. She also appeared successfully in such dramas as the original 1931 film version of The Maltese Falcon starring Ricardo Cortez as Sam Spade, in which she played Miles Archer's treacherous widow. During her career she appeared in around 120 feature films and shorts.

In August 1934, Todd opened a successful cafe, Thelma Todd's Sidewalk Cafe, at 17575 Pacific Coast Highway in the Los Angeles coastal neighborhood of Pacific Palisades. It attracted a diverse clientele of Hollywood celebrities as well as many tourists.

Todd continued her short-subject series through 1935 and was featured in the full-length Laurel and Hardy comedy The Bohemian Girl. This was her last film; she died after completing all of her scenes, but most of them were re-shot. Producer Roach deleted all of Todd's dialogue and limited her appearance to one musical number.

On the morning of Monday, December 16, 1935, Thelma Todd was found dead in her car inside the garage[ of Jewel Carmen, a former actress and former wife of Todd's lover and business partner Roland West. Carmen's house was approximately a block from the topmost side of Todd's restaurant. Her death was determined to have been caused by carbon monoxide poisoning. West is quoted in a contemporaneous newspaper account[18] as having locked her out, which may have caused her to seek refuge and warmth in the car. Todd had a wide circle of friends and associates as well as a busy social life.

Police investigations revealed that she had spent the previous Saturday night (December 14) at the Trocadero, a popular Hollywood restaurant, at a party hosted by entertainer Stanley Lupino and his actress daughter, Ida. At the restaurant, she had a brief, but unpleasant, exchange with her ex-husband, Pat DiCicco. However, her friends stated that she was in good spirits and were aware of nothing unusual in her life that could suggest a reason for her committing suicide. She was driven home from the party in the early hours of December 15 by her chauffeur, Ernest O. Peters.

The detectives of the LAPD concluded that Todd's death was accidental, the result of her either warming up the car to drive it or using the heater to keep herself warm. A Coroner's Inquest into Todd's death was held on December 18, 1935. Autopsy surgeon A. P. Wagner testified that there were "no marks of violence anywhere upon or within the body" with only a "superficial contusion on the lower lip." There are informal accounts of greater signs of injury. The jury ruled that the death appeared to be accidental but recommended "further investigation to be made into the case, by proper authorities."

Subsequently, a grand jury probe was held to determine whether Todd's death was a murder. After four weeks of testimony, the inquiry was closed with no evidence of murder being brought forward. The case was closed by the Homicide Bureau, which listed the death as "accidental with possible suicide tendencies." However, investigators were unable to find any motive for suicide or a suicide note.

Todd's memorial service was held at Pierce Brothers Mortuary at 720 West Washington Blvd in Los Angeles.

Todd's body was cremated. After her mother's death in 1969, Todd's remains were placed in her mother's casket and buried in Bellevue Cemetery in her hometown of Lawrence, Massachusetts.

For her contribution to the motion picture industry, Todd has a star on the Hollywood Walk of Fame at 6262 Hollywood Blvd.

#thelma todd #classic hollywood #classic movie stars #golden age of hollywood #1920s hollywood #1930s hollywood #comedy legends #hollywood legend

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delaneyhons · 3 years

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Bill Jacobson

Notes from these two interviews.

Out of Focus: -going to the flea markets, collecting old photographs - tintypes, daguerreotypes, snapshots etc. -diffused, out of focus -suggestion of mortality -the poeple in photos are no longer alive, but feel alive.

defocused, diffused

Some Planes 2007-08

Place series, 2009-2013 -concerns with perception of the horizon line, or edge -extends to the idea of the act of framing relocation of image or rectangle in unexpected place - raising questions of perception : what is natural in an image?

photography naturalizing it's subject, display

reflect engagement with Malevich, Morandi, Ryman, Serra

out of focus- intended as a metaphor for an inner state or an interior way of being (!!!!)

pictures deny representation of physicality because there is no detail

reducing image to areas of tone, colour, forms adjacent to eachother within the frame

his works : combining elements of beauty and melancholy

music, religion, meditation - what brings clarity

funny,cry,happy

observation of human made objects

Looking at a brick wall , feeling the energy of the bricklayer. Objects channeling energies and personal histories of everyone who has encountered it.

Interim Portrait #373, 1992

Interim Landscape #185-6, 1989

Song of Sentient Beings #1612, 1995

Thought Series #777, 1993-1996, Thought Series #703, 1993-1996

(Untitled) #3591, 2000

Crazy! This guy is actually most known for his out of focus works. How funny considering I just got into out of focus! Unlike Uta Barth, I think Jacobson has a lot of conceptual and contextual attachments to the out of focus tactic which contributes to the changes of photography when the image is out of focus - meaning the out of focus means a lot. I didn't really get that from Uta, her works is more of optics and perception, then the context comes after. Reflecting on them two, I'm thinking a bit conceptually about what the out of focus means to me.

An excerpt of titling from Jacobson : "A lot of the work from the 1990s had the word ‘interim’ in the title. There are the Interim Landscapes, Interim Portraits, Interim Figures and Interim Couples. The word suggests something or someone that is here temporarily, for a brief moment in time. The implication is that any person, any situation, in the greater scheme of things, is here briefly. We are all interim office holders on some level."

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zaozaox · 3 years

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My mother and I laughing, 2000

Eran and His Father, 2000

Love, 2009

Father and Son,2010

Elinor Carucci: Closer and Mother Elinor Carucci is an Israeli American Fine Art Photographer. Her personal works usually about family, motherhood, and relationship. In her images, her parents, children, and spouse are the main character. Her works catch people’s eyes because the color of her photography is vivid with little grain and the atmosphere is more loving. The following is a discussion of two bodies of her work - Closer and Mother. Carucci’s Closer taken on her birthplace, Jerusalem during 1993 to 2003. The inspiration for this project came from her mother, so Carucci focused on showing her close family relationships. While the series describe depend relative, it also touches on the moments during her daily life such as kissing, touching, and hugging. In My Mother and I Laughing (2000), Carucci and her mother sit on the bed; she only wears a suit of underclothes, and her mother only has a loose white T-shirt. They wear very comfortable clothes in a private place. In addition, her mother looked at the camera, and then Carucci lowered his head and laughed. It seems like that they have a chat with the viewer. In. the title, Eran and His Father, (2000), Carussi’s husband, Eran, who falls asleep on his father’s ham and hug the lag. And then, Eran’s father places one hand on Eran’s body. Elinor Carucci’s Mother series starts with her pregnant (2004) and finish at her children are 8 years old (2012) in New York City. As with her previous series, Closer show the relationship between family, Mother series also shows an amount of intimacy with her daily life. However, this time she has a new identity, a mother. She uses the camera to record every emotion in her motherhood including she hugs, holds, and kisses. Her actions become stronger. In a TIME, article “The Most Intimate Dance: Elinor Carucci's Photos of Motherhood” by Susan Bright, the author states that “The little-discussed eroticism that so often exists between mother and child is played out honestly and easily – a beautiful, fluid link between generations”. In the Love, (2009), she and her daughter laugh and close to each other. They have the same smile face; her daughter looks like a girl who she used to be. In the same way, Father and Son, (2010) is also a sweet photo. Carucci’s husband falls asleep with their son; the father hugs his son with peace, and the son might just wake up. Superficially, to fix the issue, there are many similarities between Closer and Mother. First and foremost, all of them are portrait photography. Carucci aims to capture the personality and mood. Moreover, they are photography in a narrative style. Carucci records the daily life of her family. More than that, both of them have the same theme that intimacy in a family. In the Closer series, it describes the relationship between mother and daughter, father and son. It is the same as Mother series. The main subject in these four images is parents and children. They caught my eye immediately because the children, who in the Closer series become parents in the Mother series. It makes me marvel at time and change. When I look at these photos, I think of my future. What does it look like? In order to show their intimacy, their distance is so close as they are hugging and kissing. Both are placed indoors, so their atmosphere is more relaxed and peaceful. The biggest difference between Closer and Mother is that they are different light. As an interview by Mark Alice Durant, Carucci states that “I use available light in Jerusalem…Israel’s sun is stronger and there is a lot of light everywhere.” In the My mother and I laughing, (2000) and Eran and His Father, (2000) the light is sunlight, so the tone of this series photos is so warm. But, in the Mother series, Carucci does not use warm light. To compare these two series, the tone of Mother is cooler than Closer. Also, they have different methods of working in the images. In the Eran and His Father, (2000) Carucci uses motion blur photography; the arm of Eran’s father is blurry. This method makes the picture more like real life. Both of the My Mother and I Laughing, (2000) and Eran and His Father, (2000) close the distance between the project and viewers because the characters look at the camera, audiences will feel like “come into” the photo; the characters are talking to the viewers. However, the Love, (2009) and Father and Son, (2010) do not allow audiences “come in”; they might just think that this family is loving.

cited works Durant, Mark Alice. “Elinor Carucci.” Saint Lucy RSS, saint-lucy.com/conversations/elinor-carucci/. Bright, Susan. “The Most Intimate Dance: Elinor Carucci's Photos of Motherhood.” Time, Time, 30 Sept. 2013, time.com/3802764/the-most-intimate-dance-elinor-caruccis-photos-of-motherhood/. CARUCCI, ELINOR. “ELINOR CARUCCI.” Closer, www.elinorcarucci.com/closer.php#0. CARUCCI, ELINOR. “ELINOR CARUCCI.” Mother, www.elinorcarucci.com/mother.php#0.

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noticiasq · 3 years

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PortalOne recauda $ 15 millones de Atari y más para una nueva aplicación híbrida de juegos / programas de televisión

Nueva Noticia publicada en https://noticiasq.com/portalone-recauda-15-millones-de-atari-y-mas-para-una-nueva-aplicacion-hibrida-de-juegos-programas-de-television/

PortalOne recauda $ 15 millones de Atari y más para una nueva aplicación híbrida de juegos / programas de televisión

Los juegos y el video transmitido han sido dos de los mayores ganadores de pasatiempos durante el último año + de vida pandémica. Hoy, una startup que ha creado una aplicación que reúne esos dos formatos de entretenimiento está anunciando una notable ronda de financiación inicial mientras se prepara para salir de la beta cerrada.

PortalOne, una startup de juegos híbridos, está anunciando una ronda de financiación inicial de $ 15 millones mientras se prepara para salir de la versión beta cerrada con una aplicación que permite a las personas jugar juegos a pedido y también ver programas en vivo en los que los usuarios pueden jugar contra un invitado especial. .

La puesta en marcha y su financiación son notables en parte por quién está invirtiendo.

Incluye a Atari y al fabricante de cámaras ARRI, Founders Fund, TQ Ventures (la firma liderada por Scooter Braun y los financieros Schuster Tanger y Andrew Marks), Coatue Management (específicamente Arielle Zuckerberg), Rogue Capital Partners (el nuevo fondo de Alice Lloyd George), Signia Venture. Socios (a través de Sunny Dhillon); Seedcamp, Talis Capital y SNÖ Ventures fuera de Europa.

Otros inversores incluyeron a Kevin Lin, cofundador de Twitch; Mike Morhaime, cofundador de Blizzard y Dreamhaven; Amy Morhaime, cofundadora de Dreamhaven; Marc Merrill, cofundador de Riot Games; Xen Lategan, ex director de tecnología y asesor ejecutivo de varias empresas como Hulu; y Eugene Wei, ex director de vídeo de Oculus y director de producto de Hulu.

PortalOne es en parte una startup tecnológica y en parte una empresa de medios. Por un lado, ha pasado los últimos tres años construyendo una pila completa de hardware y software que se puede usar para crear juegos, grabar programas en vivo e integrar los dos en una experiencia que combina los juegos a pedido y en tiempo real. y entretenimiento.

«Uno de los beneficios de construir primero es que lo que estamos haciendo es extremadamente difícil de hacer a nivel técnico», dijo el cofundador y director ejecutivo. Bård Anders Kasin. “La forma en que lo hacemos es la clave. Es nuestra salsa secreta «.

Por otro lado, está utilizando esa tecnología para crear una plataforma y marca de juegos y eventos en vivo, proporcionando un lugar para él y terceros para crear juegos y experiencias en vivo más grandes a su alrededor. Cree que ha logrado hacer algo aquí que ha eludido a otros durante años.

«Venimos de la industria del entretenimiento y también hemos estado en los juegos durante muchos años», dijo Stig Olav Kasin, hermano de Bård, CXO, y el otro cofundador. «Hemos hablado con todas las grandes empresas y sabemos que los juegos híbridos que combinan juegos y televisión son difíciles», sobre todo debido a los silos en las empresas donde diferentes grupos «poseen» la televisión y los juegos.

Hasta ahora, la compañía con sede en Oslo ha estado ejecutando una versión inicial reducida de su servicio en los EE. UU. Y Noruega: dos juegos hasta ahora, uno llamado Blockbuster que, bueno, implica que lanzas una pelota enorme y derribas bloques. y otra, una versión reinventada de Centipede, con programas de entrevistas correspondientes que se desarrollan en una sala de estar que en realidad está generada por computadora en una pantalla verde.

Los usuarios pueden jugar y ver todo esto a través de un visor de realidad virtual o por teléfono, y ganan «premios» por obtener buenos resultados en las competiciones de juegos. Además, PortalOne venderá bienes virtuales de forma muy similar a como lo hacen empresas como Fortnite en la actualidad.

El plan es lanzar de manera más amplia la primera versión de su servicio, PortalOne Arcade, una selección de juegos de arcade de la vieja escuela con temas de los 80 reinventado como experiencias multijugador e inmersivas combinadas con programas de entrevistas interactivos, en los Estados Unidos y Noruega a finales de este año. extendiéndose a otros mercados.

Bård Anders Kasin, que anteriormente creó una empresa de realidad virtual y trabajó como director técnico en Warner Brothers, haciendo películas como la trilogía Matrix, y Stig Olav Kasin, que trabajó con su hermano en realidad virtual y antes de eso fue ejecutivo de medios en programas como La voz y Quién quiere ser millonario – fundó PortalOne en 2018.

Entre entonces y junio de 2020, cuando PortalOne lanzó su versión beta cerrada, el enfoque de la startup estaba en desarrollar su tecnología y su estrategia de contenido y sus primeros socios.

Por lo que parece, no fue una tarea fácil. Su pila de tecnología incorpora realidad virtual, visión por computadora, tecnología de juegos y software y hardware para capturar y transmitir video que reduce drásticamente los recursos necesarios para ambos, entre otros IP. Parte de ella PortalOne se construyó a sí mismo; En otras áreas, trabajó con Arri, un actor importante en equipos de cámaras de imágenes en movimiento, que construyó un nuevo tipo de cámara 3D para PortalOne.

Parte del desafío que ha estado abordando PortalOne ha sido el proceso mismo de crear contenido para una plataforma híbrida como la que imaginó.

Por lo general, grabar experiencias inmersivas es complejo y costoso debido al equipo volumétrico que se utiliza, la configuración de los estudios necesarios para capturar las experiencias y más, lo que implica el tamaño, la dotación de personal y los costos de los estudios de películas de Hollywood.

El avance de PortalOne ha sido convertir ese proceso en algo que se pueda producir más fácilmente y a un costo mucho menor, necesario «ya que tenemos programas diarios y queremos escalar y producir en masa más programas diarios para cada juego», dijo Bård.

En la configuración de PortalOne, además del anfitrión, un noruego afable con un acento mayoritariamente inglés estadounidense llamado Markus Bailey, y su invitado, solo hay otras dos personas involucradas, técnicos-productores que activan los efectos y controlan cuando la acción cambia de hablar a juego y viceversa.

Antes de necesitar grandes sets y decenas de personas, «ahora podemos hacer todo esto en un estudio del tamaño de YouTube», dijo Bård.

En el frente del contenido, PortalOne está construyendo sus propios juegos, pero también está aprovechando una estética de juegos de la vieja escuela, dijo.

Atari no solo está invirtiendo, sino que ha firmado un acuerdo de siete años con PortalOne, otorgando a este último derechos exclusivos de distribución global a algunas de sus franquicias de juegos de arcade más populares, que PortalOne está reinventando y reconstruyendo para su plataforma híbrida.

Bård dijo que la compañía también quiere trabajar con marcas de música, deportes, viajes y educación para crear otros juegos. (El alcance de Braun aquí puede no extenderse a Taylor Swift, pero ha incluido a Justin Bieber para el video promocional, y posiblemente más).

vimeo

“Siguen surgiendo enormes oportunidades en el espacio de entretenimiento interactivo a medida que evolucionan los modelos de distribución y negocios”, dijo Kirill Tasilov, director de Talis Capital, en un comunicado. «PortalOne está redefiniendo la tecnología móvil al desbloquear nuevas experiencias híbridas en la intersección de los juegos y el video, y estamos encantados de ser parte de su viaje».

Difuminando las lineas

De alguna manera, lo que está haciendo PortalOne no es completamente nuevo, ya que las líneas entre lo que es un juego, lo que es interactivo y lo que es entretenimiento lineal se han difuminado durante décadas.

Se podría argumentar que incluso los programas de juegos, uno de los primeros formatos de televisión, fue una etapa temprana en la interactividad híbrida, aunque los programas más modernos como los que Stig ayudó a construir, con votaciones interactivas de audiencias en casa usando teléfonos, definitivamente impulsaron el concepto de nuevas formas.

Mientras tanto, la pandemia del coronavirus y el hecho de que se cancelaran tantos eventos en vivo en persona, definitivamente allanó el camino para que los jugadores de contenido pensaran fuera de la caja cuando se trataba de crear nuevos tipos de programas en vivo. Con Marshmello obteniendo una gran respuesta a su “show” de Fortnite en 2019, el juego vio a 12 millones de personas acudir en masa a su concierto de Travis Scott el año pasado; y Roblox dijo en diciembre que su programa con Lil Nas allanará el camino para eventos futuros.

“Cuando vemos conciertos virtuales dentro de TikTok, Roblox y Fortnite, es genial, pero PortalOne ofrece una evolución del entretenimiento interactivo de metaverso: verdadera interacción en tiempo real, uno a muchos entre jugadores de todo el mundo, todo en un dispositivo móvil nativo. formato de juego híbrido ”, dijo Dhillon, socio de Signia Venture Partners.

Sin embargo, si las plataformas bien establecidas realmente retoman esta tendencia, eso es un respaldo de lo que ha construido PortalOne. Pero también podrían construir sus propios programas de juegos en vivo, y sacar a PortalOne del agua justo cuando está metiendo los dedos de los pies.

Aquí es también donde su tiempo dedicado a la construcción de tecnología podría resultar un impulso o un fracaso. Los juegos son notoriamente difíciles de llamar cuando se trata de resonar y despegar con el público, y también lo serán, presumiblemente, las experiencias que se construyen en torno a esos juegos.

“La próxima gran plataforma social probablemente será una convergencia de los medios con los juegos en su núcleo, una experiencia interactiva inmersiva verdaderamente nueva, y PortalOne es un competidor importante para convertirse en una plataforma de este tipo”, dijo Kevin Lin.

De hecho, si PortalOne encuentra una audiencia para lo que está haciendo, tendrá las herramientas para ofrecerles contenido de manera más eficiente y económica. Pero si no da la nota correcta, la pregunta será cómo y si esa tecnología se utilizará de otra manera.

Para los inversores en este momento, se trata más de la oportunidad.

“A medida que PortalOne continúa creciendo, integra a la perfección los mundos de los juegos y el entretenimiento para crear una única experiencia interactiva y oportunidades infinitas para la creación de contenido”, dijo Braun. “Tanto los creadores como los artistas quieren formas nuevas e innovadoras de dar vida a su oficio, y PortalOne está satisfaciendo esa demanda de una manera que ningún otro negocio ha hecho. Estoy emocionado de trabajar con todo el equipo para hacer realidad su visión pionera. Nunca había visto algo como esto antes «.

Delian Asparouhov, director de Founders Fund – en las noticias de hoy por otra razón, su papel en atraer mucha atención a Miami como un nuevo punto de acceso tecnológico – también cree que la construcción de infraestructura y tecnología combinada con el elemento de medios dará la puesta en marcha mucha pista.

«Respaldamos a las empresas que creemos que tienen un gran potencial para convertirse en líderes de categoría global», dijo en un comunicado. “PortalOne crea una nueva categoría y simultáneamente la plataforma que está claramente configurada para dominar esa nueva categoría. El mercado está maduro, la oportunidad es clara y el potencial es ilimitado. PortalOne está preparado para crear un antes y un después en la industria «.

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warninggraphiccontent · 3 years

Text

29 January 2021

Tragedy and statistics

The UK marked a grim milestone this week, recording more than 100,000 Covid deaths by every measure.

Various versions of the famous quote have it that one death is a tragedy, many merely a statistic. Newspapers tried to avoid that and humanise the sombre statistic in different ways. The front pages of The Times and the i focused on the individual tragedies, photographs highlighting the human beings behind the numbers.

Beyond their front pages, both tried to visualise the impact. The i used its paper form to give a double page spread to 100,000 dots, each representing a death. Online, The Times combined the human stories with a different use of dots and a 'narrative scroll', the act of having to move down the page helping illustrate the extent of the tragedy. It put me in mind of Ampp3d's story from 2014 (no longer online, analysis here and here) visualising migrant worker deaths in Qatar. The New York Times took a different approach to scrolling , using the density of dots to show how the pandemic unfolded in the US.

The FT, meanwhile, kept things simple, using a line chart to show the different measures of deaths all exceeding 100,000, and a simple bar chart to compare the UK's mortality rate to others.

Different approaches, but all important attempts to communicate the human cost of Covid and examples of how data visualisation can help make sense of tragedy on such a large scale, when words might fail us.

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

In other news:

It's Data Bites this Wednesday at 6pm. Come!

Congratulations to my erstwhile IfG colleagues on the latest (terrific) edition of Whitehall Monitor. Read it here (some more links below), sign up for next week's launch event here.

I had a great time at this year's (virtual) UKGovCamp last week - thanks to the campmakers for making it work so well online. I made it to sessions on public trust; the state of (open) data; every move you make, every word you type...; data in regulation; silos beyond government; data service design; and digital exclusion. I ran a session on whether some sort of annual report on the state of government data could work and if so, what it should include - the notes are here, Jamboard here, and rest assured it's a subject I'll be returning to... Full grid of events and notes here.

The Atlantic had a rather good piece on narratives about the pandemic this week, and how a successful vaccination programme could dispel memories of 'a catastrophic failure of governance': 'The pandemic disaster that might not happen'. I wonder if focusing on how politicians can drive their own narrative overshadows the role of society's storytellers - the media - in shaping and questioning narratives, and absolves them of agency to hold the government to account. Not dissimilar to some narratives around data and technology that seem to forget the decisions around them are made by humans.

Have views on vaccine passports? Tony does. A reminder that the project I'm working with the Ada Lovelace Institute on is taking evidence until 19 February.

And I forgot to post this last week... President Biden's inaugural address grappled with some of the same tensions between unity and dissent in a democracy that some of the founding fathers did in The Federalist. I'm a particular fan of Alexander Hamilton's fourth and fifth paragraphs here, the fourth eloquent on the need to respect our opponents, and the fifth eloquent on the exact opposite ('no, not these opponents').

Have a good weekend

Gavin

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Graphic content

Macabre milestones

Boris Johnson ‘deeply sorry’ as UK’s Covid death toll passes 100,000* (FT)

How the UK reached 100,000 Covid deaths* (The Times)

100,162 lives (The i, via Matt Butler)

UK official Covid death toll has always undercounted fatalities, analysis shows (The Guardian)

How the world reached 100 million coronavirus cases* (New Statesman)

Covid-19 cases pass 100m* (The Economist)

How 425,000 Coronavirus Deaths Added Up* (New York Times)

Vax populi

Covid-19 vaccine tracker: the global race to vaccinate* (FT)

Vaccine nationalism means that poor countries will be left behind* (The Economist)

Vaccination rates in England are lower for older non-white people, study shows* (FT)

Viral content

UK Covid lockdown starting to work, say scientists* (FT)

Home page for an experimental website displaying COVID-19 statistics

New UK and South Africa Covid variants may spread more easily, so what does this mean for the fight against coronavirus? (The Guardian)

The Amazonian city that hatched the Brazil variant has been crushed by it* (Washington Post)

The march of the coronavirus across America* (The Economist)

See Covid-19 Risk in Your County and a Guide for Daily Life Near You* (New York Times)

We are now sharing previously hidden weekly COVID-19 state profile reports with the public (Cyrus Shahpar, White House COVID-19 Data Director)

Covid-19 Pandemic Could Be Source of Global Crises for Years: WEF* (Bloomberg)

Putting Kamala Harris as VP into perspective (Melissa Shusterman)

How popular is Joe Biden? (FiveThirtyEight)

Joe Biden is taking executive action at a record pace* (The Economist)

Full List: Where Every Senator Stands on Convicting Trump* (New York Times)

How The Frost Belt And Sun Belt Illustrate The Complexity Of America’s Urban-Rural Divide (FiveThirtyEight)

Our Radicalized Republic (FiveThirtyEight)

This is one of the most harrowing pictures I have seen about how we lost an entire generation (@marcusjdl)

Whitehall Monitor 2021 (IfG)

Launch event next week (IfG)

Three ways that the coronavirus crisis has changed government (Alice for IfG)

Ministers overrode official advice more than ever in last year’s crisis* (Tim for Times Red Box)

We’ve calculated ward level EU Referendum estimates in England/Wales (James Kanagasooriam)

In data: the benefits squeeze* (Prospect)

Who's furloughed? (Resolution Foundation)

Cities Outlook 2021 (Centre for Cities)

Global

The uncounted: How many women die at the hands of their partners? We simply don’t know – and that needs to change* (Tortoise)

La Niña Roars, Unleashing Fire, Drought and Floods Worldwide* (Bloomberg)

How the Arab spring engulfed the Middle East – and changed the world (The Guardian)

Pessimism and Distrust Could Sway Elections Around the World* (Bloomberg)

Poland’s coal-fired home heating creates widespread pollution* (The Economist)

#dataviz

How to work with Facebook population density data (Alasdair Rae)

Check out this interesting cartography decision! (Gretchen Peterson)

Sport

How green are Premier League clubs? Tottenham top sustainability table (not entirely convinced by this graphic, BBC Sport - and not just because Spurs are top)

When GOATs meet: Tom Brady and Aaron Rodgers, by the numbers* (Washington Post)

Everything else

The frenzied rise of GameStop* (The Economist)

Data Archeogram: mapping the datafication of work (Autonomy)

VIEW THE ARMADA MAPS (National Museum of the Royal Navy)

Spanish Armada maps 'saved for the nation' (BBC News)

Meta data

ICO baby

Our session with Information Commissioner Elizabeth Denham (Digital, Culture, Media and Sport select committee)

Tory party illegally collected data on ethnicity of 10m voters, MPs told (The Guardian)

Covid contracts: Extend FoI act to cover private companies making millions says Information Commissioner (Evening Standard)

Adtech investigation resumes (ICO)

Information commissioner’s term extended to allow successor recruitment (Public Technology)

Shaking that pass

Exclusive: Tony Blair calls on Boris Johnson to lead drive for global vaccine passport* (Telegraph)

Vaccine passports and ID Cards (Phil Booth)

Tech companies are racing to build smart vaccine passports. But technology isn't the only problem (ZDNet)

Viral content

What Covid revealed about government’s legacy IT, and what to do next (Civil Service World)

What can wastewater tell us about COVID-19? (COG-UK)

Digital government

Our Syllabus: Here to help you teach Digital Era Government (Teaching Public Service in the Digital Age)

Respecting users’ privacy on GOV.UK accounts (Inside GOV.UK)

Two GDS projects to watch : GOV.UK Accounts and “Forms discovery” (David Durant)

Government Gateway at 20 – looking back at the UK’s most successful digital identity system (Computer Weekly)

No digital postal vote application service before May elections (Public Technology)

"Find your NHS number" (Tom Read and others)

Open government

The Path to the Future (Audrey Tang for CommonWealth)

We are thrilled to announce that #OpenGovWeek will take place May 17-21, 2021! (Open Government Partnership)

RECOMMENDATIONS TO STRENGTHEN CANADA’S RESPONSE TO NEW DIGITAL TECHNOLOGY AND REDUCE THE HARM CAUSED BY THEIR MISUSE (Public Policy Forum)

FOI* (Peter Geoghegan for the LRB)

AI got 'rithm

Government by Algorithm: The Myths, Challenges and Opportunities (Tony Blair Institute for Global Change)

What's your go-to document or paper that defines different types of algorithmic bias? (Rumman Chowdhury)

AI review: Transforming our world with AI (UKRI)

New – Amazon SageMaker Clarify Detects Bias and Increases the Transparency of Machine Learning Models (AWS)

Who Is Winning the AI Race: China, the EU, or the United States? — 2021 Update (Center for Data Innovation)

The City of New York has released an inventory of algorithms in use (Rumman Chowdhury)

A New AI Lexicon: Responses and Challenges to the Critical AI discourse- Call for Contributors (AI Now Institute)

Independent auditors are struggling to hold AI companies accountable (Fast Company)

Media

Fix information failures or risk lives: the Full Fact Report 2021 (Full Fact)

Facebook News feature launches in UK (BBC News)

How Participatory Media Promote Coverage of Social Movements (Nieman Reports)

‘It’s a reality’: Google threatens to stop search in Australia due to media code (Sydney Morning Herald)

Privacy

Exploring Design and Governance Challenges in the Development of Privacy-Preserving Computation (Nitin Agrawal, Reuben Binns, Max Van Kleek, Kim Laine, Nigel Shadbolt)

How Europe’s privacy laws are failing victims of sexual abuse (Politico)

Inside India’s booming dark data economy (Rest of World)

We're exploring the role of privacy enhancing technologies (PETs) in enabling secure and trustworthy use of data (CDEI)

#DataProtectionDay

#DataPrivacyDay

Everything else

Microsoft is one of the largest contributors to the members of Congress who tried to subvert the Democratic process (Judd Legum)

Why does Big Tech want us to feel nostalgic?* (New Statesman)

Census 2021 will be taking place March 21 (ONS)

Opportunities

EVENT: Data Bites #16 (IfG)

JOB: Chair of Geospatial Commission (Cabinet Office)

JOB: Head of Open and Innovative Government Division (OECD)

JOB: Head of the Evaluation Task Force (Cabinet Office)

JOB: Product Manager (360Giving)

And finally...

Lady Gaga as diagrams about AI systems (thread). (Miles Brundage)

Infosec sea shanties (Rachel Tobac)

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timeless-hollywood-classics · 4 years

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Thelma Alice Todd (July 29, 1906 – December 16, 1935) was an American actress and businesswoman often referred to by the nickname "The Ice Cream Blonde", also "Hot Toddy". Appearing in around 120 feature films and shorts between 1926 and 1935, she is best remembered for her comedic roles opposite ZaSu Pitts and in films such as Marx Brothers' Monkey Business and Horse Feathers and a number of Charley Chase's short comedies. She co-starred with Buster Keaton and Jimmy Durante in Speak Easily. She also had roles in several Wheeler and Woolsey and Laurel and Hardy films, the last of which (The Bohemian Girl) featured her in a part that was truncated by her suspicious death in 1935 at the age of 29.

Todd was born in Lawrence, Massachusetts, to John Shaw Todd, an upholsterer from Ireland, and Alice Elizabeth Edwards, an immigrant from Canada. She had an older brother, William. She was a bright student who achieved good academic results. She intended to become a schoolteacher and enrolled at the Lowell Normal School (now University of Massachusetts, Lowell) after graduating from high school in 1923. In her late teens, she began entering beauty pageants, winning the title of Miss Massachusetts in 1925. While representing her home state, she was spotted by a Hollywood talent scout and began her career in film at Paramount.

In 1931, Todd starred in Corsair, a film directed by Roland West, with whom she would later become romantically involved.

In August of 1934, Todd opened a successful cafe, Thelma Todd's Sidewalk Cafe, at 17575 Pacific Coast Highway in the Los Angeles coastal neighborhood of Pacific Palisades. It attracted a diverse clientele of Hollywood celebrities as well as many tourists.

On the morning of Monday, December 16, 1935, Thelma Todd was found dead in her car inside the garage of Jewel Carmen, a former actress and former wife of Todd's lover and business partner, Roland West. Carmen's house was approximately a block from the topmost side of Todd's restaurant. Her death was determined to have been caused by carbon monoxide poisoning. West is quoted in a contemporaneous newspaper account as having locked her out, which may have caused her to seek refuge and warmth in the car. Todd had a wide circle of friends and associates as well as a busy social life.

Subsequently a grand jury probe was held to determine whether Todd's death was a murder. After four weeks of testimony, the inquiry was closed with no evidence of murder being brought forward. The case was closed by the Homicide Bureau, which listed the death as "accidental with possible suicide tendencies." However, investigators were unable to find any motive for suicide or a suicide note.

Visitation was held at Pierce Brothers Mortuary at 720 West Washington Blvd in Los Angeles.

Todd's body was cremated. After her mother's death in 1969, Todd's remains were placed in her mother's casket and buried in Bellevue Cemetery in her hometown of Lawrence, Massachusetts.

#thelma todd #classic hollywood #golden age of hollywood #classic movie stars #old hollywood #1930s hollywood

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