I am sure, you've heard enough about it, but did you understand what really happened?
Here is a visual explanation:


The Crisis of Credit Visualized from Jonathan Jarvis.

Via Presentation Zen

See also:
Financial Crisis Explained by bygonebureau
Gao Xiqing about stock market derivatives (interview by James Fallows)

TVFeed versus TV Browser

Siehe auch:
TV Browser Wiki

I didn't know about Katamari Damacy till now.
Via Boing Boing

See also:
Katamaridamacy.jp
Game Review (Play-Asia)

PS:
みんな大好き塊魂
みんな = everybody, all
大好き= love, loves
塊 (Katamari) = clod; lump; chink; clot; mass
魂 (tamashi) = soul; spirit

Above: Peso is a 努力家 (doryokuka), a hard worker

Sehr schön, hier CNET's TV.com (seit 13.6.05), entstanden aus dem kollaborativen TV Tome. Und weil das nicht allen passt, gibts seit 27. Juli TV IV Wiki.

Dave sagt dazu nur: More is less

Just saw a feature about the start of Locarno 2005 at TSI (site Locarno). It was about the great Orson Welles - still for me an extraordinary career and human being, almost impossible today. He is so shakespearian - rise and fall - incredible!

Anyway, after his Don Quichotte failure* (followed by Terry Gilliam in minor (or should I requote Marx here;), he apparently went to Zurich. In the TSI feature, I saw him sitting in a café and through the window a Zurich tram was passing by. Now the quiz question: in which café did Orson Welles sit?

The price
The winner will get a dinner.

Hint: Stefan Knuchel did the feature at TSI. So if you know him, that's your chance.

* Do I need to state that some failures are more worthwhile than a lot of successes.


Tag: Orson Welles, Locarno, TSI

According to Stefanie Olsen from CNET, Google is expected to reveil it's new video search engine for Web-only video within the next two months.

Google's planned service will let visitors find free short-form videos such as the popular "Star Wars" video spoofs, according to sources who asked to remain anonymous. The engine will complement the search giant's existing experimental site that lets people search the closed-caption text of television shows from PBS and CNN, among others, and preview accompanying still images. The new capabilities will let people watch roughly 10 seconds of Web video clips for free before shuttling visitors to the video's host site, sources say.

[...] Longer term, Google is preparing a payment system for a premium video service that would let people pay to watch full video clips. Google is talking to several top-tier content providers, including Hollywood movie studios, to gain agreements for aggregating their video and selling premium or pay-per-view access.

[...] Google has already forged an alliance with former Vice President Al Gore to provide search features for his interactive television project, Current.tv, a 24-hour network with viewer-contributed broadcasts that range in length from 15 seconds to 5 minutes. The project is similar to Google's upload program, but for television.

You Tube - Your Digital Video Repository

Via Google Blogoscoped

See also - totally unrelated:
Google Will Eat Itself

Update (I):
La Palme d'Or goes to L'enfant by the brothers Dardenne (20:32).
Update (II)
- in french - Sandrine livre la critique illico! (22:42)

According to Sandrine the Palme goes to Caché. In this she shares the same opinion as Nicole Hess, correspondent from Tages-Anzeiger, in today's newspaper. But for all the other fillms they have such different opinions. Where Sandrine likes History of Violence, this film does not even exist for Nicole. On the other hand, Nicole sees the Jarmusch and the film by the Dardenne brothers as other possible Palme d'or's, whereas Sandrine does rather dislike the Jarmusch, together with the new Wenders and Manderlay by Lars von Trier.

I saw this happening before and I always asked myself how is it possible that critics from neighboring countries do have such different views on the films they see.

I goes without saying that I more often share the opininons of my french friends, which is partly explainable by my french cinephile education (88-97). People from Zurich, I guess, are much more oriented towards german and even more american film criticism.

See also:
NY Times Cannes Blog. By the way, the buzz resembles very much the opening passage of Nicole Hess' article.

bfi download success story

The British Film Institute (bfi) is delighted to report that the first four clips it made legally available under the Creative Archive Licence at launch on 13th April have already attracted more than 3,000 downloads.

[...] Richard Paterson, Head of Knowledge at the British Film Institute (bfi), said “The truth is that at the moment we don’t know who’s using these clips. We want to discover more about them and find out what other material they would like us to release. This project will become exciting when the other members of the Creative Archive Licence Group make their material available, we’ll be able to compare material use and see what the public’s demands are.”

The bfi plans to release further moving image material from the bfi National Film and Television Archive over the course of the 18-month pilot. At the launch of the Creative Archive Licence, Director of the British Film Institute (bfi), Amanda Nevill, said: “The Creative Archive Licence is an important step forward in enabling people to create their own works and explore the potential of digital film-making.”

bfi material available at http://www.bfi.org.uk/creative

Via Flashforward Blog and via dear Pete

Image from http://www.scei.co.jp/products/psp.html

Unlocking PSP's Future

Sony have deliberately locked the PSP's operating speed at exactly two-thirds of it's actual potential. They have an extra fifty percent of it's current performance ability simply waiting in reserve to be unleashed at a later date.

[...] Why would Sony choose to cripple their own hardware? Well, the most obvious answer is that they needed to maintain an acceptable battery life. In the lead up to PSP's debut, it's battery duration was often quoted as it's single biggest potential problem. Had they launched the PSP with games running at a fully unlocked 333Mhz, the battery could have been dead in less than two hours. That just wouldn't do.

[...] The tangible difference in the games should be very noticeable. Example: Right now, the PSP has a maximum fillrate of 444 Mpixels/sec. After the restrictions are lifted that will become 664 Mpixels/sec. Games will be able to feature more complex models with higher polygon-counts, more fluid frame-rates, better physics, you name it. We are talking about an across-the-board fifty percent performance increase after all. PSP's hardware supremacy over the PS2 should become evident.

See also: http://www.playstation.jp/psp/