Film: The Sea Inside

This is one of the best films I have ever seen:

Two of the most talented figures in contemporary Spanish cinema — actor Javier Bardem and director Alejandro Amenábar — collaborate for this powerful drama, based on a true story.
Movie Review: The Sea Inside

Relationship drama about the life of Ramon Sampedro is pure magic to behold
By LIZ BRAUN – Toronto Sun

PLOT: After the diving accident that
leaves him a quadriplegic, a Galician man fights for the right to die a
dignified death. Regardless of the subject matter, this is a film about
the wonder of being alive.

The Sea Inside is a magical film about many forms of love and
about the energy of life. The movie is based on events in the life of
Ramon Sampedro, a Galician ship mechanic who was paralyzed and
bed-ridden for 30 years. Sampedro is always hopeful — hopeful that
he’ll die soon. He petitions the government to allow him to die with
dignity.

How to Earn $1 Million by Not Watching TV

How to Earn $1 Million by Not Watching TV

URL: http://www.thestreet.com/newsanalysis/opinion/10367373.html

A recent study found that it would take $1 million for someone to be willing to give up TV for the rest of their lives.

Guess what? If you decided to give up TV and invested the money
you saved, you would get that $1 million — and probably a lot more.
People rarely consider the cost of watching TV, and when they
do, they usually focus on the cost of their monthly cable bill. The
truth is that there are a wide variety of costs associated directly and
indirectly with having a TV. Here are some areas where your TV drains your finances:

TV: The cost of your TV can range anywhere from a few
hundred dollars to several thousand if you decide to go for the newer
plasma flat screen TVs. Take this cost and multiply it by several
times, since you will likely own far more than one TV during your
lifetime.
Entertainment cabinet system: Most people don’t consider
this cost when purchasing a TV, but you need a stand or entertainment
cabinet on which to display your TV and other components of your
entertainment system. This will cost anywhere from a few hundred
dollars on up, depending on how fancy you decide to go. You can also
assume that you will replace this at least once during your lifetime. Cable: Once they have a TV, most people aren’t
satisfied watching only the free basic channels. Most will subscribe to
a cable or satellite package that will cost them anywhere from $20 a
month for bare-bones cable channels to well over $100 a month.
Pay-per-view: There are an increasing number of special
pay-per-view sporting and entertainment events now found on TV. You
might spend nothing to over $100 a month on these, depending on your
viewing habits.
Movies: In addition to cable, most people are going to
want to watch movies. That means either purchasing the DVDs or renting
them from a service such as NetFlix and paying a monthly fee.
DVD/DVR: In order to watch the movies that you rent, you
are going to need a decent DVD player. This will cost at least a few
hundred dollars. And again, you’ll likely replace this a minimum of
several times over your lifetime as technologies change and better
quality devices are created. You also may buy recording devices or DVRs
like Tivo and related accessories to catch all of your favorite shows.
Gaming system: If you are into video games, you will
purchase a gaming system to use. These can cost anywhere from a couple
hundred dollars on up. You will also likely buy a number of these over
your lifetime as the systems improve.
Games: If you purchase a gaming system, you will also
need to purchase or rent games to play on that system. This can get
quite costly, as most people want a variety of different games to play.
It can easily run more than $100 a month if you purchase multiple
games. Energy: You will need to pay for the electricity to
run the TV and other related electronics. This will vary greatly,
depending on the type of TV you have and how much energy costs where
you live, but it will likely be a minimum of $10 a month and possibly
much more.
Commercials: A huge hidden cost of TV that people never
consider are all the commercials they watch. The commercials are there
to get you to buy products — and they are effective. Economist Juliet
Schor estimated that for every hour of TV a person watches each week,
he or she will increase his or her annual spending by about $200,
according to a 1999 article in the Spokane, Wash., Spokesman-Review.
In 2005, Nielsen Media Research reported that the average person
watched approximately 4.5 hours of TV a day, or 31.5 hours a week. At
$200 in extra spending for each hour watched, that means that the
average person spends an extra $6,300 a year due to TV commercials that
they wouldn’t have spent if they didn’t watch TV.
Opportunity costs: Another cost often overlooked when
considering the price of watching TV is the opportunities forfeited
when you choose viewing over something else. You could start a
business, take on a part-time job or take care of your garden so you
don’t have to pay someone else to do it. Assuming that your time is
worth at least the minimum wage of $5.85 per hour, your opportunity
cost is $737 a month if you view the average amount of TV. So what does this all add up to? Say you’re 25 years old and
you initially spend $2,000 for your TV, DVD player, entertainment
cabinet and gaming system after getting your first job. Add in monthly
costs of $100 for cable, $10 for electricity use, $20 for renting
movies, $25 for buying games and $20 for an occasional pay-per-view
event, and you’re looking at $175 a month. Add in another $525 a month
extra you spend due to the influence of commercials if you are the
average person, and you are costing yourself $700 a month watching TV.
If you instead invested this money and received a return of 8%
compounded annually over 45 years until you’re 70 years old, you would
have more than $3.7 million in your account. That is actually a conservative number, as additional upgrades
in equipment were not included. Not to mention potential repair costs.
It’s also more than likely that many of the services will rise in price
over time and new TV-related services will be introduced. And the
calculation does not even take into account the potential additional
opportunity cost, which could be a significant amount of money.
Your actual lifetime TV costs will vary from the above
assumptions depending on how you watch TV and what services you use.
You can make an estimate of your total costs for watching TV by
plugging the relevant numbers into a basic compounding calculator.
While it’s probably unrealistic that you will give up your TV
entirely, the above numbers should make you consider how much money
your TV-watching habits are costing you. Even some small changes could
have a huge benefit on your overall finances.

Tutorial on Open Source Media Player

From Awakened Vocies Bolg:

Sing A New Song

SongbirdPlay the web is the trademarked phrase that the makers of Songbird
put front and center on their website. You can do a lot more than play
the web with Songbird though. You can play the web and manage media on
your computer.

I discovered Songbird recently and I’ve been very enamored with
their free, open source media player. While iTunes and Windows Media
Player seem to be all about selling music, Songbird is about
discovering and playing music.

That’s why I took some time to record a video tour in the Awakened Voice Learning Center. Head over there to get the QuickTime version or just watch the player below.

filmmakers’ favorite films

http://www.pbs.org/independentlens/insideindies/filmlist.html
Independent Lens
Filmmakers’ Favorite Films
(last updated 5/15/07)
3 Women, by Robert Altman
, by Federico Fellini
1900, by Bernardo Bertolucci
28 Up, by Michael Apted
1900, by Bernardo Bertolucci
2001: A Space Odyssey, by Stanley Kubrick
About Schmidt, by Alexander Payne
The Adventures of Baron Munchausen, by Terry Gilliam
Aguirre, Wrath of God, by Werner Herzog
Alice Doesn’t Live Here Anymore, by Martin Scorsese
Amadeus, by Milos Forman
An American Love Story, by Jennifer Fox
An American Family, by Alan and Susan Raymond
American Movie, by Chris Smith
And Now my Love, by Claude Lelouch
À Propos de Nice, by Jean Vigo
The Apu Trilogy, by Satyajit Ray
Babe, by Chris Noonan
Baraka, by Ron Fricke
Beauty and the Beast, by Jean Cocteau

 

Beauty Knows No Pain, by Elliott Erwitt
Belle de Jour, by Luis Buñuel
Best Years of Our Lives, by William Wyler
The Bicycle Thief, by Vittorio De Sica
Billy Elliot, by Stephen Daldry
The Black Stallion, by Carroll Ballard
Blade Runner, by Ridley Scott
Blood of the Condor, by Jorge Sanjinés
Blood of a Poet, by Jean Cocteau
Blue Velvet, by David Lynch
Bob Roberts, by Tim Robbins
The Body Beautiful, by Ngozi Onwurah
Book of Days, by Meredith Monk
Bowling for Columbine, by Michael Moore
Brazil, by Terry Gilliam
Brokeback Mountain, by Ang Lee
Burden of Dreams, by Les Blank
Carnival of Souls, by Herk Harvey
Casablanca, by Michael Curtiz
Chan Is Missing, by Wayne Wang
Children of Heaven, by Majid Majidi
Chinatown, by Roman Polanski
Chitty Chitty Bang Bang, by Ken Hughes
Chronicle of a Summer, by Edgar Morin and Jean Rouch
Citizen Kane, by Orson Welles
Close Encounters of the Third Kind, by Steven Spielberg
Color Adjustment, by Marlon Riggs
The Conformist, Bernardo Bertolucci
Control Room, by Jehane Noujaim
Cries & Whispers, by Ingmar Bergman
Crouching Tiger, Hidden Dragon, by Ang Lee
The Corporation, by Mark Achbar and Jennifer Abbott
Days of Heaven, by Terrence Malick
Demon Lover Diary, by Joel DeMott
DIG!, by Ondi Timoner
The Discreet Charm of the Bourgeoisie, by Luis Buñuel
Dog Day Afternoon, by Sidney Lumet
Dogville, by Lars von Trier
Don’t Look Back, by D.A. Pennebaker

 

Dr. Strangelove, by Stanley Kubrick
Eternal Sunshine of the Spotless Mind, by Michel Gondry
Europa, Europa, by Agnieszka Holland
Eye of the Needle, by Richard Marquand
Eyes on the Prize, by Henry Hampton
Fahrenheit 9/11, by Michael Moore
Family Life, by Ken Loach
Fanny and Alexander, by Ingmar Bergman
First Person Plural, by Deann Borshay Liem
Fog of War, by Errol Morris
Four Little Girls, by Spike Lee
Frankie & Johnny, by Garry Marshall
Gimme Shelter, by Albert and David Maysles and Charlotte Zwerin
The Gleaners and I, by Agnes Varda
The Godfather, by Francis Ford Coppola
Godfather II, by Francis Ford Coppola
Gods and Monsters, by Bill Condon
Goodfellas, by Martin Scorsese
The Good, the Bad and the Ugly, by Sergio Leone
The Graduate, by Mike Nichols
Grease, by Randal Kleiser
Grey Gardens, by Ellen Hovde, Albert and David Maysles, and Muffie Meyer
Gummo, by Harmony Korine
Haiti Untitled, by Jorgen Leth
Harlan County, USA, by Barbara Kopple
Harold and Maude, by Hal Ashby
The Henry Miller Odyssey, by Robert Snyder
High Noon, by Fred Zinnemann
Hiroshima Mon Amour by Alain Resnais
Hospital, by Frederick Wiseman
Hôtel Terminus, by Marcel Ophüls
The Ice Storm, by Ang Lee
The Idiots, by Lars von Trier
Il Postino, by Michael Radford
In the Mood for Love, by Kar Wai Wong
The Ipcress File, by Sidney J. Furie
Irma Vep, by Olivier Assayas
It’s a Wonderful Life, by Frank Capra
Ju Dou, by Zhang Yimou
Judgment at Nuremburg, by Stanley Kramer
Kess, by Kenneth Loach
Killer of Sheep, by Charles Burnett
Klute, by Alan J. Pakula
La Dolce Vita, Federico Fellini
La Femme Infidèle, by Claude Chabrol
La Jetée, by Chris Marker
La Vie Sur Terre (Life on Earth), by Abderrahmane Sissako
The Last Waltz, by Martin Scorsese
The Last Wave, by Peter Weir
The Last Laugh, by F.W. Murnau
The Last Picture Show, by Peter Bogdanovich
Lawrence of Arabia, by David Lean
Life is Beautiful, by Roberto Benigni
Local Hero, by Bill Forsyth
The Lord of the Rings Trilogy, by Peter Jackson
Los Balseros, by Carlos Bosch and Josep Maria Domenech
Lumumba, by Raoul Peck

 

Ma Vie En Rose, by Alain Berliner
The Magnificent Seven, by John Sturges
A Man Escaped, by Robert Bresson
Manhattan, by Woody Allen
Memento, by Christopher Nolan
Midnight Cowboy, by John Schlesinger
Missing, by Costa-Gavras
Monsoon Wedding, by Mira Nair
Monterey Pop, by D.A. Pennebaker
Monty Python and the Holy Grail, by Terry Gilliam and Terry Jones
My Architect, by Nathaniel Kahn
My Brilliant Career, by Gillian Armstrong
My Life As A Dog, by Lasse Hallström
My Own Private Idaho, by Gus Van Sant
Nanook of the North, by Robert J. Flaherty
Napoleon Dynamite, by Jared Hess
The Natural, by Barry Levinson
The New World, by Terrence Malick
Night and Fog, by Alain Resnais
Nights of Cabiria, by Federico Fellini
Nobody’s Business, by Alan Berliner
North by Northwest, by Alfred Hitchcock
O Lucky Man!, by Lindsay Anderson
On the Waterfront, by Elia Kazan
Once Upon a Time in the West, by Sergio Leone
One Flew Over the Cuckoo’s Nest, by Milos Forman
Out of Africa, by Sydney Pollack
Out of the Past, by Jacques Tourneur
The Parallax View, by Alan J. Pakula
The Passion of the Christ, by Mel Gibson
The Passion of Joan of Arc, by Carl Theodor Dreyer
The Passion of Maria Elena, by Mercedes Moncada Rodriguez
Pather Panchali, by Satyajit Ray
Paths of Glory, by Stanley Kubrick
Pet Cemetery, by Mary Lambert
Piñero, by Leon Ichaso
Pixote: A Lei do Mais Fraco, by Hector Babenco
Polyester, by John Waters
Pumping Iron, by George Butler and Robert Fiore
Raging Bull, by Martin Scorsese
Raiders of the Lost Ark, by Steven Spielberg
Raising Arizona, by Joel and Ethan Coen
Rashomon, by Akira Kurosawa
Red Beard, by Akira Kurosawa
The Red Violin, by François Girard
Reds, by Warren Beatty
Roger and Me, by Michael Moore
Romeo and Juliet, by Franco Zeffirelli
Rosemary’s Baby, by Roman Polanski
A Room with a View, by James Ivory
Rosetta, by Jean-Pierre and Luc Dardenne
Rules of the Game, by Jean Renoir
Rushmore, by Wes Anderson

 

Salesman, by Albert and David Maysles and Charlotte Zwerin
Save the Green Planet, by Jun-hwan Jeong
Secrets & Lies, by Mike Leigh
Seven Samurai, by Akira Kurosawa
Seventeen, by Joel DeMott and Jeff Kreines
Shadow of a Doubt, by Alfred Hitchcock
Shape of the Moon, by Leonard Retel Helmrich
Shawshank Redemption, by Frank Darabont
Sherman’s March, by Ross McElwee
The Shining, by Stanley Kubrick
The Silence, by Ingmar Bergman
Singin’ in the Rain, by Stanley Donen and Gene Kelly
Solyaris, by Andrei Tarkovsky
Spartacus, by Stanley Kubrick
Spellbound, by Jeff Blitz
The Staircase, by Jean-Xavier de Lestrade
Stand By Me, by Rob Reiner
Star Wars, by George Lucas
Startup.com, by Chris Hegedus and Jehane Noujaim
Stealing Beauty, by Bernardo Bertolucci
Super Size Me, by Morgan Spurlock
Talk to Her, by Pedro Almódovar
Tender Mercies, by Bruce Beresford
The Thin Blue Line, by Errol Morris
The Third Man, by Carol Reed
This Is Spinal Tap, by Rob Reiner
The Times of Harvey Milk, by Rob Epstein
To Be and To Have, by Nicolas Philibert
To Kill a Mockingbird, by Robert Mulligan
Tokyo-Ga, by Wim Wenders
Tom Jones, by Tony Richardson
Tongues Untied, by Marlon Riggs
Truly Madly Deeply, by Anthony Minghella
Turtles Can Fly, by Bahman Ghobadi

 

Unforgiven, Clint Eastwood
Vernon, Florida, by Errol Morris
Viridiana, by Luis Buñuel
Vivre Sa Vie, by Jean-Luc Godard
Waking Life, by Richard Linklater
We All Loved Each Other Very Much, by Ettore Scola
West Side Story, by Jerome Robbins and Robert Wise
What the #$*! Do We Know!?, by William Arntz, Betsy Chasse and Mark Vicente
What Dreams May Come, by Vincent Ward
When Harry Met Sally, by Rob Reiner
When We Were Kings, by Leon Gast
Wild Strawberries, by Ingmar Bergman
Wings of Desire, by Wim Wenders
A Woman Under the Influence, by John Cassavetes
The Wonderful Horrible Life of Leni Rienfenstahl, by Ray Müller

Why the Immigration Bill Died in the Senate — and Will Keep Dying

By Joshua Holland, AlterNet

Posted on June 12, 2007, Printed on June 13, 2007http://www.alternet.org/story/53843/

EXCERPTS:

Last Friday, a small but vocal group of hardliners hijacked the
national debate over immigration and, in all likelihood, derailed the
effort to reform a system that Americans from across the political
spectrum agree is dysfunctional. (George Bush has said he hopes to restart the negotiations, but most observers agree that a deal is not likely.)

The bill — which began as a compromise that everyone hated — was killed
in the Senate, smothered under the weight of a flurry of unpopular amendments
offered up by a small group of Senators, including some of the
chamber’s most reactionary, before the national debate was even under
way.

…Immigration hardliners’ views of immigrants themselves are harsher than Main Street’s. According to data compiled by the Pew Research Center, Americans’ attitudes toward immigrants from Latin American and Asia are more positive
now than in the 1990s, “even as concern over the problems associated
with immigration has increased.” Most people view both groups as “very
hard working and having strong family values.” Pew notes that
“Impressions of Latin American immigrants, in particular, have grown
much more positive, with 80 percent describing them as very hard
working compared with 63 percent nearly a decade ago.”

Immigration hardliners are not only Republicans — there are Democrats who are indistinguishable on the issue in rhetoric as well as substance — but only one party is captive to their views.

Amnesty: a handy fiction

All of these data point to a serious problem for immigration hardliners:
Although there remain very serious differences about the specifics
regarding immigration, most Americans favor at least the broad
principles of comprehensive reform. The hardliners can’t win an honest
debate on the issue, and apparently they know it. That’s why they
insist that the Senate proposals were based on offers of “amnesty.”

It’s no more accurate to call the measure contemplated last week in the
Senate an “amnesty bill” then it is to call it a rhinoceros; while an
amnesty implies simply granting people legal status, the Senate
proposal would have required undocumented immigrants who can prove they
have been working and paying taxes in the country for an extended time
to then fork over $9,000 in fines and application fees (for a family of
four) and that would only get them to the back of the line, with a
four-year “Z” visa. Then, after those four years were up, the head of
the household could return to his or her native country and file an
additional application — paying an additional $4,000 penalty in
addition to application fees. If they pass a health screening, an
English proficiency test and another test of American civics, then they
become legal. But only after the backlog of existing applicants is
cleared — no “cutting in line.” All of that for people who have
committed a misdemeanor

….

In fact, a principal reason that there was so little passion on the part of the
compromise’s supporters was that it had a number of provisions in it
that were designed to mollify the hardliners but ended up creating a
bill that alienated potential support from the center and from the
left. Christopher Sabatini, senior director of policy at the Americas
Society/Council of the Americas, told the New York Times that the bill had been “born an orphan in terms of popular support.”

Trying to bring immigration hardliners around was always a fool’s errand:
They’ve shown time and again that they won’t accept the humane,
comprehensive approach to immigration that most Americans favor.


Joshua Holland is an AlterNet staff writer.

WORLD WITHOUT OIL

Gas Prices

What’s Going On Here?

WORLD WITHOUT OIL is an alternate reality event, a serious game for the
public good.

It invites everyone to help simulate a global oil shock. People
participate by contributing original online stories, created as though
the oil shock were really happening.

The game’s masters rank the participants (“players”) according to their
contributions to our realistic portrayal of the oil shock. The game
also places value on player-created communities, collaborative stories,
and collective efforts.

Each contribution helps the game arrive at a larger truth. No team of
experts knows better than a given individual what effect an oil shock
would have upon that individual’s life, or what action he or she will
take to cope. Personal reactions to our simulated oil shock, placed in
context with many other points of view, will help us all realize what’s
at stake in our oil-fired culture.

HOW CAN A GAME HELP US PREPARE?

WORLD WITHOUT OIL aims to help fill a huge gap in our nation’s thinking
about oil and the economy. As people everywhere grapple with the
problem of growing global demand for petroleum, no one has a clear
picture of oil availability in the future, nor is there a clear picture
of what will happen when demand inevitably outstrips supply. That will
depend in large part upon how well people prepare, cooperate, and
collectively create solutions. By playing it out in a serious way, the
game aims to apply collective intelligence and imagination to the
problem in advance, and to create a record that has value for
educators, policymakers, and the common people to help anticipate the
future and prevent its worst outcomes. “Play it, before you live it.”

Read the manifesto written by our characters.

 

The team at Writerguy is producing WORLD WITHOUT OIL, ITVS Interactive
(Independent Television Service) is presenting it, and the Corporation
for Public Broadcasting is funding it. An Independent Lens
Web-exclusive presentation (PBS), WORLD WITHOUT OIL is an ELECTRIC
SHADOWS project (ITVS).

World Without Oil is an original work of fiction. Any similarity
between its characters and real people, living or dead, is purely
coincidental. Especially Chuckles. Copyright 2007 by Writerguy LLC.

SaveNetRadio coalition

The SaveNetRadio coalition is made up of artists, labels, listeners,
and webcasters. Please contact us if you are interested in sponsoring
an event, making a donation, or would like to become a leader in the
fight to save Internet radio. The recent ruling by the Copyright
Royalty Board to increase webcasters’ royalty rates between 300 and
1200 percent over the next 5 years jeopardizes the industry and
threatens to homogenize Internet radio.

Artists,
listeners, and Webcasters, have joined our coalition to help save
Internet radio. The coalition believes strongly in compensating
artists, but Internet radio as we know it will not survive under the
new royalties. We need your help. Please take a moment to call your members of Congress
to let your representatives know how much Internet radio means to you.
Together, we can force Congress to create a structural solution for
this problem and create an environment where Internet radio, and the
millions of artists it features, can continue to grow for generations
to come.

About the Issue

On
March 2, 2007 the Copyright Royalty Board (CRB), which oversees sound
recording royalties paid by Internet radio services, increased Internet
radio’s royalty burden between 300 and 1200 percent and thereby
jeopardized the industry’s future.   

At the request of
the Recording Industry Association of America, the CRB ignored the fact
that Internet radio royalties were already double what satellite radio
pays, and multiplied the royalties even further.  The 2005 royalty rate
was 7/100 of a penny per song streamed; the 2010 rate will be 19/100 of
a penny per song streamed.  And for small webcasters that were able to
calculate royalties as a percentage of revenue in 2005 – that option
was quashed by the CRB, so small webcasters’ royalties will grow
exponentially!

Before this ruling was handed down, the
vast majority of webcasters were barely making ends meet as Internet
radio advertising revenue is just beginning to develop.  Without a
doubt most Internet radio services will go bankrupt and cease
webcasting if this royalty rate is not reversed by the Congress, and
webcasters’ demise will mean a great loss of creative and diverse
radio.  Surviving webcasters will need sweetheart licenses that major
record labels will be only too happy to offer, so long as the webcaster
permits the major label to control the programming and playlist.  Is
that the Internet radio you care to hear?  

As you know,
the wonderful diversity of Internet radio is enjoyed by tens of
millions of Americans and provides promotional and royalty
opportunities to independent labels and artists that are not available
to them on broadcast radio.  What you may not know is that in just the
last year Internet radio listening jumped dramatically, from 45 million
listeners per month to 72 million listeners each month.  Internet radio
is already popular and it is already benefiting thousands of artists
who are finding new fans online every day.

Action must be
taken to stop this faulty ruling from destroying the future of Internet
radio that so many millions of listeners depend on each day.  Instead
of relying on lawyers filing appeals in the CRB and the courts, the
SaveNetRadio Coalition has been formed to represent every webcaster,
every Net Radio listener, and every artist who enjoys and benefits from
this medium.  Please join our fight for the preservation of Internet
radio.

Barbara Kingsolver’s new book

kingsolver-book.gif
Animal, Vegetable, Miracle: A Year of Food Life

Bestselling author Barbara Kingsolver returns with
her first nonfiction narrative that will open your eyes in a hundred
new ways to an old truth: You are what you eat.

“As the U.S. population made an unprecedented mad dash for the Sun
Belt, one carload of us paddled against the tide, heading for the
Promised Land where water falls from the sky and green stuff grows all
around. We were about to begin the adventure of realigning our lives
with our food chain.

“Naturally, our first stop was to buy junk food and fossil fuel. . . .”

Hang on for the ride: With characteristic poetry and pluck,
Barbara Kingsolver and her family sweep readers along on their journey
away from the industrial-food pipeline to a rural life in which they
vow to buy only food raised in their own neighborhood, grow it
themselves, or learn to live without it. Their good-humored search
yields surprising discoveries about turkey sex life and overly zealous
zucchini plants, en route to a food culture that’s better for the
neighborhood and also better on the table. Part memoir, part
journalistic investigation, Animal, Vegetable, Miracle
makes a passionate case for putting the kitchen back at the center of
family life and diversified farms at the center of the American diet.

Frequently Asked Questions: Public Media

email discuss Pat Aufderheide & Jessica Clark

PDFDownload full report

Communicating
about shared issues—whether it’s traffic congestion in the
neighborhood, lower wages for women, or the concerns of the families of
soldiers not receiving adequate body armor—builds a group’s awareness
of itself as a public. In this context, public media are media that aim
to increase public knowledge and cohere and mobilize audience members.

Not just limited to PBS or NPR broadcasts, such media can range from
print publications to documentary films, from community radio
broadcasts to international social networks and beyond. More and more,
as participatory technologies and practices engage audience members to
become media creators, public media projects are not only directed at,
but generated by, their publics.

Want to learn more? Read our new Frequently Asked Questions
document, by Director Pat Aufderheide and Research Fellow Jessica Clark.

Here is a post from one of my favorite blogs:

Check out Rob’s Social Media tutorials!

New Blip.tv Player Is Good

There’s so much buzz over free video hosting sites that sometimes my head hurts. Blip.tv continues to cut through the buzz by honing the features available via their video publishing service.

They announced a new show player
yesterday as part of a scheduled upgrade of the service. I learned this
info while I was in the midst of creating an archive there for my social media lessons.

The new player has a few simple configuration options and allows the
user to watch the most recent show while also being able to go back and
watch previous shows. This is a big step forward from the single player
format because the latest show will be available anywhere your player
is positioned on the web.

The flexibility of this player, combined with the already advanced
(and very simple) publishing tools continues to distance Blip.tv from a
pack of competitors that includes Brightcove, Google Video, YouTube and others.