QuickTime Got Broke

The problem, as I recently discovered, is that the QuickTime plugin no longer seems to support much of the deep programmatic interactivity that has been a part of QuickTime since, well, it was a twinkle in JOb’s eye. … But this means most of my stuff will now only work if I put up some sort of declaration saying “open and play with QuickTime 7 please, you can get it here”.

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Back to the Future

This is going back to the future because a series of steps and constraints have been reintroduced: if you want to send video or audio that is over 10 minutes in length over a mobile network (NOT WIFI) to an iOS device then you just have to use HTTP live streaming (this is the overview page ) If that isn’t enough then you must include a low bit rate version with a max data rate of 64 Kbps that it can default to when you hit that service shadow you need to run your compressed video through some other tools to get it ready for Live Streaming – this includes the Media Stream Segmenter, the Media File Segmenter, and the Media Stream Validator But it is ambiguous in the documentation if you have to do this, or it is recommended – essentially the protocol lets the client jump from different versions as it plays. This matters because the client may walk out of wifi and into mobile coverage while watching the content (as an example) – but after some more reading you have to do this for app approval, if the video isn’t going through an app then I guess you can do what you like, including trying to only rely on wifi for delivery UPDATE : saw mention that RTSP is just plain not supported on iOS, and that the requirement that HTTP live streaming must be used is enforced through the app approval process, so presumably if you just progressively downloaded the material it will still work, though the user experience could suck.

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The Vogma Manifesto (2000)

(Original post: December 6, 2000) a vog respects bandwidth a vog is not streaming video (this is not the reinvention of television) a vog uses performative video and/or audio a vog is personal a vog uses available technology a vog experiments with writerly video and audio a vog lies between writing and the televisual a […]

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HTML 5

Henry is stuck trying to embed his video, and so some HTML 5 video tag goodness his way ought to come. So two of the best – Video on the Web – courtesy of diveintohtml5.org (the code stuff is at the very end of the screen), and the detailed stuff at w3schools.com on the video tag (you need to click on each of the tags attributes for more details).

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About A Year 0.2

As a consequence as I’ve been experimenting through the first stage of the new K-film project I’ve realised that nearly all the material could just be still images, that really interesting things happen when you see, say, 12 images as thumbnails, but if you choose one to view the video not much more happens. … At the moment my method is to view each clip and to write, with the previous clips text visible (as the first clip returned in About a Year is always the next clip in oldest to newest temporal order), something that sort of could flow from the previous clip, but also survives by itself.

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Student K-Films

However, on the whole given this was their first use of the system, and we had a twelve week semester, they have achieved a great deal. I enjoyed teaching it a great deal, largely because I was able to situate our approach to the K-films very strongly (firmly) within hypertextual practices.

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La Descente

That’s a student, this must be afternoon, no student leaves for university at the same time as the workers, and that tabloid so many have, I realise it’s the Evening Standard, so it is the afternoon, people heading home. … It is poetic observation, sort of Renoir’s romantic realism with Vertov’s cyborg eye that lets us see what we can’t see (well, he didn’t call it that but that’s what he’d be up to today, wouldn’t he?).

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Priviliged Accidents

This allows the capture of accidental moments that have qualities in themselves (as security video sometimes does though usually not since they are looking in dull places to begin with). … When you can record every moment, every moment is now the same (unlike the ‘pose’ which is to try and capture an essence), but in amongst all that sameness, precisely because you get it all, will be remarkable moments (privileged instants).

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