Archives for November 2006
InqScribe used in new documentary "Iraq for Sale: The War Profiteers"
InqScribe was used in the production of Brave New Film’s new documentary “Iraq for Sale: The War Profiteers,” currently creating quite a stir worldwide (Brave New Films is Robert Greenwald’s new production company. You might better know him as the director of “Wal-Mart: The High Cost of Low Price” and “Outfoxed” ) . You can find a screening here. In their production blog they describe how they work collaboratively on the film using InqScribe to review footage and make notes.
Quick Eudora/Mac tip to pass along: if you use Eudora on an Intel-based Mac and you find Eudora periodically pausing (showing the spinning beach ball/pizza of death cursor), try telling Spotlight to not index your Eudora folder. Apparantly the problem is an interaction between Spotlight, Eudora, and Rosetta.
Obviously, that means you can’t use Spotlight to find things in your Eudora folder. But I find Eudora’s search function to be pretty solid and plenty fast.
We’re thrilled that James Longely of DV Magazine recommended InqScribe in the article Iraq in Fragments. If you’ve come to our site from DV, welcome.
InqScribe was originally conceived as a tool for ethnographic researchers. Since its release, and particularly in the last few months, we’ve seen a lot of interest from the film-making community. We’re working on a new release right now that adds features that will streamline InqScribe’s use with tools like Final Cut Pro, whether you use InqScribe for notetaking, transcription, translation, or subtitle creation. We’ll be posting more information of the upcoming version in a few days.
Making Museums Dynamic: Lessons from the Web
Onfocus has an interesting post about transforming museum exhibits from a “broadcast” model of information display to a more dynamic “information hub” model that provides multiple layers of information and incorporates input from visitors. There’s an illustrative reflection about the author’s re-experiencing of a familiar exhibit with the aid of a tour guide, and the ways that the guide added layers of knowledge to the exhibit and facilitated the transfer of information about the exhibit between museum-goers across time:
So the tour guide had three different types of knowledge he was passing on: 1.) extended information about exhibits from the museum, museum-goers, and his own scholarship. 2.) Behind-the-scenes information about the construction of exhibits. 3.) Trends that he’s noticed in the behavior of museum-goers. And I thought that the tragedy of this is that all of this knowledge vanishes when he’s not around. In fact, I’d been to the museum several times and hadn’t hit this vein of information. With this info, the museum was a completely different experience.
The author presents a challenge of applying lessons from the web — such as personalizing visitor experiences, collecting user-generated content, information filtering, tapping social networks — to the design of museum spaces.