In his mile-a-minute guest spot on Rob Sonic’s most recent album Sabotage Gigante, Los Angeles-based Busdriver fires off a verbal salvo about powder burns on a disk drive and generating buzz across the blogosphere. While this kind of technobabble isn’t exactly the purview of most non-nerdcore MCs, broader discussions about the propagation of fame and channels of distribution have always been front and centre in hip hop. Yung Jake is an MC, CalArts student and a web developer with some serious chops who recently launched e.m-bed.de/d, a meditation on “the time after a song is released”, charting a track’s humble origins from a bedroom studio upload to YouTube through to ‘winning the internet’ as it virally spreads across blogs and social web services. Articulated in a visual language similar to Chris Milk’s many-windowed browser-based video for The Wilderness Downtown, Yung Jake’s self-reflexive lyrics and visual design map out a mosaic of influence that chart the hypothetical trajectory of his URL as it is retweeted by Justin Bieber, shared on Facebook and tumblr, blogged on sites like Rhizome and Pitchfork—even seeded on The Pirate Bay—as it racks up hundreds of thousands of views.
In writing the project up for The Creators Project, Dylan Schenker described e.m-bed.de/d as “an anthem for virality”, and while this observation is on-point, the screencast also functions as a deadpan critique of overexposure and the undiscerning nature of audiences and ‘tastemakers’ alike – the video essentially lays bare the mechanics of the hype cycle, and the truth isn’t pretty.
E.m-bed.de/d is full of wordplay and visual puns, one of the cleverest moments occurs when Yung Jake attracts a “banner bitch” from an adjacent ad into his video. While a total cliché, the scene simultaneously thumbs its nose at rap video tropes and winks at the audience, acknowledging the intertextual nature of the screencast and the network of platforms woven therein. Yung Jake’s blasé demeanour is worth dwelling on, as on one hand he panders (chorus: “I’m trying to get embedded, I’m trying to get played out”) and at the same time he aspires to play grandmaster and work the media landscape as if it were a chessboard – this is truly a tension we are all familiar with. There is a great line in Das Racist’s “Sit Down Man”, where Kool A.D. talks about how his father keeps tabs on his activities through a Google Alert. With e.m-bed.de/d, Yung Jake moves far beyond pedestrian engagements with the web and sketches out a weird deterministic universe where attention received is synonymous with quality and the delineation of network topology is an end, in and of itself.
- Facebook Demetricator – The Unquantified Self The use of self-tracking apps and devices is now so widespread that it is easy to overlook how much our thinking about 'personal analytics' is rooted in social web services. Urbana-Champaign-based media artist Benjamin Grosser's most recent project, Facebook Demetricator, is a multi-browser plugin that recontextualizes Facebook's interface by stripping out all mentions of quantity. Once 'demetricated' the number of likes, friends, comments, etc. are excised, resulting in a more neutral browsing experience where a user's interactions are not influenced with the knowledge of how much engagement particular bits of content have received. Several weeks ago, Grosser engaged in an extended interview about this work with Matthew Fuller this conversation reveals considerable insight about the thinking behind the project. Specifically, Grosser's comments about what data is and isn't shown to Facebook users are fascinating: So what isn’t shown? Well, I’m not told how many things I like per hour, or how many ads I click per day, or how effective the ‘People You May Know’ box is in getting me to add more friends to my network. These types of analytics are certainly a significant element within the system, guiding personalization algorithms, informing ad selection choices, etc. But would showing these types of metrics to the user make them more or less likely to participate? If the answer is less then the metric is hidden. While I imagine Nicholas and Felton and the Facebook product design team furrowing their brows at the prospect of an numberless interface, Grosser's plugin highlights how quantity drives and inflects interactions. At this point, perhaps the only way to understand how we habitually read web services as 'social scoreboards' is to hide the data that we expect to be in plain site. More information can be found on the Project page – those that install the plugin should note that Grosser is looking for feedback about how it alters browsing […]
- Mediated Cityscapes 02: Memory and the City In 1978 Rem Koolhaas (wiki) published Delirious New York, a "retroactive manifesto" that wildly reframed Manhattan through a rigorous analysis of the street grid, the skyscraper and congestion while excavating the history of the "mythical island". A few years later Ridley Scott's film adaptation of Blade Runner (wiki) explored the limits of the human condition against a backdrop of decaying art deco, flickering neon and unchecked corporatism. Syd Mead's legendary production design for this film induced a sense of speculative nostalgia that simultaneously demonstrates bleak skepticism towards the promise of the future while pining for a romanticized vision of the Los Angeles of yesteryear.(1) Delirious New York and Blade Runner clearly illustrate how scholarly research and cinema can selectively engage broad historical trajectories and recompile new narratives from fragments and ephemera to fundamentally alter the mythos surrounding particular urban environments – it is rare that we get to enjoy meditations on 'the city' that are so capably crafted. In thinking about creative projects that explore memory and the city, one would be hard-pressed to find a more influential (or ambitious) work than Walter Benjamin's Arcades Project. This masterwork was a meticulous examination of 19th century shopping arcades and Parisian city life largely driven by urban exploration, a reverence for the aesthetics of the poet Charles Baudelaire and countless hours spent at the Bibliothèque Nationale. Benjamin obsessed over the project from 1927 through his untimely death in 1940 and when his unfinished manuscript was published in the 1980s, it was widely heralded as both a comprehensive documentation of the cultural and economic changes caused by the industrial revolution and a prototype for free form historical research. Built during the 1820s and 30s, the Parisian shopping arcades were exciting and progressive spaces. Utilizing state of the art glass and iron construction technology, gas lighting and heating, these 'interior avenues' reconstituted the complexity of street life as an architectural project. Never before had such a variety goods and services been under one roof, and this density of stimulus must have been utterly intoxicating. Anne Friedberg has described the significance of this visual overload as follows: "Hats, umbrellas, gloves, and cloth materials were displayed in shop windows and vitrines as if they were antiquated objects in a natural history museum. The passage was not a museum or a warehouse, but a sales space where the purchase was a transaction endowed with near-philosophic significance. Commodities were transformed into souvenirs, memory-residue of the already passé."(2) The Arcades Project was a sustained investigation of this 'theatre of purchase' that uses these retail districts as a lens through which to consider the history of aesthetics, economic and social relations, technology and urban design of Paris. Given this contextualization, an inevitable question arises: in an era of increasingly mediated urban experience, what strategies and tactics can we glean from Benjamin's preoccupation with the arcades? This query is best answered by turning our attention to the structure and organization of his manuscript. [The Arcades Project, overview] It only takes a few moments of leafing through the Arcades Projects to realize the text is far from a standard historical treatise. Acting as an archivist rather than an essayist, Benjamin examined Paris through collecting short fragmentary thoughts and 'filing' them according to a broad thematic taxonomy. Iron construction, flâneurism, photography and fashion were all used as ciphers for understanding the day to day street life and broader architectural and economic transformations that occurred during the 19th century. Many of these snippets of text were romantic, enigmatic observations penned by the author, but the vast majority of this content were excerpts culled from literature and poetry, journals, newspapers, social theory and historical documents. Benjamin's experimental technique was bold and nonlinear and could be considered as anticipating the rhetoric of hypertext and speculating how a sampling-based approach to historical scholarship might play out. Sifting through the hundreds of entries in the tome is a revelatory experience, in many ways Benjamin created what can only be described as a meta-guidebook. The Arcades Project is a key precedent for thinking about the passage of time and the city because it so capably leverages bits of granular content to delineate a broad range of interrelated social phenomena. Benjamin created a system that demands a data miner rather than a reader, and while this kind of media artifact was an anomaly at the time, it is now completely commonplace – look at how services like EveryBlock schematize news and events. A contemporary city dweller might use the new foursquare recommendation engine to find a restaurant to meet friends at for dinner, plot directions on a GPS device for the drive across town, use a RFID passcard to access a toll highway, dine under the watchful eye of a CCTV network and then upload geotagged photographs of the proceedings to flickr. In varying degrees, we are all now authoring these inventories of interactions across public and mediated space – this is before we even broach the topic of open municipal data and the transparency and the civic engagement it engenders. The generation and management of metadata and media libraries is now routine and this is the backdrop against which artists, designers and scholars develop tools to represent and call into question the nature of urban experience. Everyday ritual and ephemera, emergent narratives, archive-induced anxiety and the ubiquitous timestamp – the Arcades Project is practically a user manual for codifying personal and shared urban experience and tracking how the city changes over time. The following topical sketches describe three Benjamin-inspired discourses pertaining to memory and the city in the age of big data. [4Gentleman / Tiananmen SquARed, Tank Man in situ] History as overlay Not every urban trauma ends up being 'permanently acknowledged' as a brick and mortar memorial, an emotional fixture embedded within the cityscape. For every event that is commemorated through architecture, public space or ritual ceremony, the recognition of many others are ignored or suppressed. One of the more infamous debates about the role and how memorials should perform was the controversy that erupted over Maya Lin's proposal for the Vietnam Veterans Memorial in Washington, D.C. Although now revered, the manner in which Lin's angled wall gently cut into the earth was widely panned as being "too abstract" or a "black gash of shame" when her design was selected in 1981. Concessions were eventually made and a more traditional figurative statue, Frederick Hart's The Three Soldiers was added to the site in 1984. Although most events don't have the the same emotional weight (or nationalist implications) of the Vietnam War, these kind of contentious dialogues prove how invested the public in how remembrance is expressed in the urban realm. The above image is an illustration of 4Gentleman's Tiananmen SquARed overlay for the Layar augmented reality (AR) browser. The application allows users to view 3D models of iconic scenes from the 1989 student uprising through their smartphones when visiting the appropriate Beijing sites. Given that the Chinese government continues to blot this revolt from the public record, this is a subversive albeit subtle intervention that will permanently alter the experience of the site for some visitors. In a supporting blog post, the authors describe their motives: "Although it has been more than twenty years since [the] Tiananmen Protest took place in 1989, the authority persistently uses all means erasing the facts that Chinese people pursued democracy in this democratic and anti-corruption movement. In China, nowadays, young people are not aware the courageous actions, such as 'Tank Man' and erecting 'Statue of Democracy' facing Mao's portrait on Tiananmen Tower, emerged during [the] student movement of 1989. Nonetheless, history should not be forgotten." Tiananmen SquARed clearly illustrates how platforms like Layar can be leveraged to archive historical information. In addition to foregrounding suppressed narratives and battle erasure, AR overlays (or map layers) can also be used to browse unrealized futures. The iPhone app Museum of the Phantom City: Other Futures (2009) allows an explorer of New York City handy access to images and information regarding a selection of unbuilt speculative proposals including Frank Lloyd Wright's St. Mark's Tower (1931) and Superstudio's Continuous Monument (1969). In engaging this tool, a user equips themselves with what Geoff Manaugh succinctly described as an "architectural dowsing rod" and is drawn into the tension between the city that is and that which might have been. Furthermore, a user must travel to the sites of the various proposals in order to 'unlock' related content thus forcing participants to excavate rather than simply consume.(3) Although relatively constrained in scope (and admittedly smartphone-centric), these examples highlight how various media platforms can be deployed as time capsules to provide ready access to historical information that future urbanites might seek out, sift through or stumble across. [Cassidy Curtis & Stamen / Graffiti Archeology, Bluxome St. wall in San Francisco - 2005 and 2007] Ephemera/inscription By focusing on the flow of commodities and bodies through Parisian arcades, Benjamin was able to carefully parse the ephemeral nature of urban experience. One only need watch the movement of a crowd on a busy street to understand that public spaces have a 'refresh' rate and their use and occupation varies tremendously depending on the season, weather or time of day. The city is rife with these kind of fluctuations and they happen so quickly or discretely that we often overlook them. In the same way that media can be used to commemorate historically significant events, it is also equally adept at logging at (comparatively) inconsequential changes. The above image is a composite of two screen captures from Graffiti Archaeology (2003), a project produced by Cassidy Curtis and Stamen that provides users with an interface for tracking graffiti activity on a number of key walls in San Francisco over the last decade. Once a wall is selected, a viewer can 'scrub' the timeline of available images to note the incremental addition of tags and partial or complete cover-up of a piece with a fresh mural – it is a fascinating example of vernacular 'media architecture' that seems straight out of Stewart Brand's 1994 text How Buildings Learn. Beyond one-off photo archives, street art owes a tremendous debt to universally accessible web-based photo sharing services and blogs that allow the documentation of relatively short lived murals and stencil art to be archived, distributed and resonate internationally. There are of course many other examples of media being used to inflect our inscriptions on and utterances across the urban landscape. Christian Marc Schmidt and Liangjie Xia's Invisible Cities is a recently launched social media browser that geolocates and aggregates twitter and flickr activity. The application provides users with a first-person vantage point for exploring the narrative cartography of Manhattan through the delineation of nodes of content and "topic vectors"(4). If we were to expand the breadth of this project it starts to resemble some of the developments forecasted by Jeremy Hight in "Writing Within the Map", an essay published on NeMe last year. In this text Hight offers a thorough and imaginative consideration of how publishing is becoming an increasingly spatial project: "Publishing and distribution will soon also be in maps. Yes. The news stand is to also be within that red dot. You are here. But what is here? How many stories have been set in Chicago? How many essays have been written on the crumbling cores of cities like Detroit? … These places and all other places have many faces, aspects, and these speak to many voices, investigations and (re)iterations. So why not publish in these places? Why not in their maps as well?" While Hight's predictions are opaque, his outlook is invaluable when thinking about an endgame for the types of spatial narratives that emerging technologies (AR, increasingly accessible mapping APIs, etc.) might engender and how they may extend and complement more traditional notions of authorship. The city is a space of not only substantial but fleeting discourse: what tools are at our disposal for tapping into and exploring this chatter? [Left: Police kettle citizens during the G20 Summit in Toronto, photo: Eldar Curovic / Right: Sukey] Refuge in the crowd This last discussion is not so much about the passage of time, but the evolution of power relations. The image on the above left documents one of the more widely publicized moments during the security debacle that accompanied the 2010 G20 Summit. In this picture, police have surrounded 200 citizens whose decision to visit a major downtown retail district during a global trade summit resulted in their being kettled for several hours. Kettling is an increasingly common police tactic where lines of officers surround and intimidate crowds into submission by containing them for extended periods of time. While the detainment minimizes bodily harm, it is a flagrant violation of civil liberties and effectively transforms tracts of the city into temporary open air prisons. In response to several instances of kettling conducted by the UK police during the student protests last fall, Sam Gaus and Sam Carlisle used Google's My Maps functionality to provide real-time updates about police activity in London so that protesters could remain "safe mobile and informed". A related suite of tools named Sukey was released two months ago to extend this functionality by providing demonstrators with the ability to interact with the service through various smartphone and SMS protocols. Users now have range of options for reporting and receiving information about which nearby road junctions are clear and obstructed and where police actions are occurring. Given that policing strategies for managing organized demonstrations have become increasingly draconian over the last decade, it only follows that we'd see a new breed of tools emerge that harness locative media and citizen sensors as a form of non-violent resistance. Tim Maly wrote a brilliant summary of mediated resistance to G20 police violence that focused on the ubiquity of recording devices and sensors. The following particularly glib excerpt highlights the 'disposability' of individuals within a crowd: "At highly documented events, the rate at which recordings are made far outstrips the rate at which we can view them. Any given photo or video can be lost but the loss is not that great. Any given observer can be beaten, arrested, even killed, and the loss is not that great. At least not that much greater than if it was any other participant." Although depressing to dwell on, this is the logic of Sukey – through presence and feedback, individuals work to increase the safety and decisionmaking capabilities of the collective. Conversations regarding citizen action against militarized urban space are hardly new, Benjamin dedicated an entire section of The Arcades Project to Baron Haussmann's 19th century urban renewal program, which cut wide swaths through Paris in the hopes of sculpting an urban fabric that was more retail friendly and revolution-resistant. To paraphrase and expand on Benjamin: The mighty seek to secure their stature with cunning (fashion) and blood (police), the crowd responds with a many-eyed gaze (surveillance).(5) Epilogue While the streets of Paris don't figure that prominently into the layered narrative of Christopher Nolan's Inception (2010), they do function as kind of a staging ground where the base rules of the film's dream logic are established. Conversations between protagonists Cobb and Ariadne lead into several bombastic CGI-driven scenes which culminate in the Parisian street grid folding in on itself, the city reimagined as giant setpiece. Right before this sequence the young architect Ariadne wonders out loud about the implications of her total control: "My question is, what happens when you start messing with the physics of it all?" Benjamin often described technology and progress as creating a universe (and city) of 'phantasmagoria' – an endless montage of illusion and desire. That definition still stands, so those of us thinking about how the presence of history might figure into new forms of representing urban experience had best heed her question. The next post in this series will deal with DIY Mapping and Counter Cartography. Notes: (1) Mike Davis' perfectly describes Rick Deckard as a "postapocalypse Philip Marlowe" in the concluding chapter of Ecology of Fear. (2) Friedberg, Anne. "The Passage from Arcade to Cinema" in Window Shopping: Cinema and the Postmodern. Berkeley: University of California Press, 1994. Pg. 50. (3) A detailed overview of Museum of the Phantom City: Other Futures is available here. (4) See the related "Invisible Cities: Representing Social Networks in an Urban Context" in the Parsons Journal for Information Mapping (Volume 3, Issue 1) for thorough documentation of this project. (5) A rejigged [E5a,8] from the Arcades Project – About the Author: Greg J. Smith a Toronto-based designer and researcher with interests in media theory and digital culture. Extending from a background in architecture, his research considers how contemporary information paradigms affect representational and spatial systems. Greg is a designer at Mission Specialist, blogs at Serial Consign, writes a column on emerging technology for Current Intelligence and is a managing editor of the digital arts publication Vague Terrain. He currently teaches in the CCIT program (University of Toronto/Sheridan College) and at OCAD […]
- Eyebrowse [WebApp] Eyebrowse is an add-on for firefox and a webapp brought to you by MIT CSAIL that lets you easily record, visualize, and share your trails through the web in real-time. Tell eyebrowse what sites to track, browse away and compare. Eeyebrowse also lets you find out what's hot, who's reading what, and how you surfing changes over time. Currently, most web browsing data is collected by search engine companies (e.g. Google, Microsoft, Alexa), which is hardly available for public domain research. Eyebrowse seeks to fill this gap by providing an open and public repository of "web trails". By making this data openly available, the project hopes to support the creation of useful public services that report major trends on the web, services that support personalization through collaborative filtering, and other as-yet unimagined services that require a mass of data about the world's interaction with the web. (via infosthetics) Check out the eyebrowse pulse and some real live profiles. Unfortunately, I am a Safari user although I do have my bookmarks all synced up thanks to xmarks I rarely use Firefox. Nevertheless, you can also look up any site and see who visits, when they visit, where they come from and where they click on. It should also give you an insight in what information google may hold on you […]
- CamBox [iPhone, Sound] CamBox is an iPhone app by Billaboop which allows you to create beatbox clips using iPhone's built in video camera. Each sound you make triggers the recording of a short video sequence, which is stored into a box. You can then play the boxes with the touch screen and save it as a video. The jams can then be shared on Facebook, YouTube, Twitter and more. Platform: iPhone Version: 1.0.1 Cost: 0.99 Developer: Billaboop Billaboop is a company by Amaury Hazan, a music technology and interaction enthusiast. Amaury obtained his PhD in audio signal processing, music cognition and machine learning at Pompeu Fabra University, Barcelona, home of the Reactable project. He has published several works in international conferences and journals and contributed to the success of recent mobile projects such as RjDj. Billaboop now collaborates with partners to bring mobile innovation to the larger […]
- Buamai [iPhone] Created to grab random images their server to cure your boredom, Buamai is a image browser for the iPhone created by Michael Paul Young. More of a personal archive by a handful of contributors than a community like dropular and ffffound, images found on Buamai are mainly of Graphic Design, Art and Architecture nature. In addition to Buamai.com you can also browse Flickr images by switching from Buamai to Flickr in the settings panel. Slightly skeptical of the shake to reload feature butÂ Buamai's gorgeous minimal interface should keep you busy for a while nevertheless,Â flicking through the wonderful selection of images on Buamai.com + download for your own archive or iPhone wallpaper. Features: Random Image - Using the quick and easy random image feature, you can sit for hours loading a diverse collection of surprising images one by one. An easy way to cure boredom while mobile and waiting. Visual Search -Â Visual Search (Adlib) is an Buamai original that can help assistant you with new visual ideas for that next big project. Just type your projects slogan, story or short text brief and see what results come back visually! Destroy -Â Using the Destroy feature you can rip and shred a random selection of over 100 images into one intense grid artwork. Keep clicking to see how many different and colorful variations you can create. Flickr -Â If you would like to have access to a larger source of imagery, the Buamai application gives you the option to search and load from Flickr instead. This gives you access to endless numbers of more amazing imagery. Michael is also the founder of the renown youworkforthem and has worked with companies such as MTV, VH1, Ford, Coca-Cola, Pepsi, HP, Apple and Microsoft. Read more about him on michaelpaulyoung.com. Platform: iPhone Version: 1.3 Cost: $0.99 Developer: Michael Paul Young p.s. Interestingly,Â Michael is also preparingÂ Dropular support in the new version of Buamai. It would be interesting to see if the app update gets approval considering that the nativeÂ Dropular app got refused.Â I am wondering if Andreas (dropular) produced a flickr browser instead, would Apple approve it. The answer is probably yes as he is not expected to be able to filter out the content. Just because he is directly linked to Dropular, Apple expects him to. Anyway.. Buamai on iPhone from Michael Paul Young on […]
- Browsing In May [Processing] Browsing In May is a project by Michael Schieben, capturing sites he visited in May this year (2009), in total 3252. He captured every single site and saved the date of his visit. From vimeo, twitter, tumblr, delicios and many other you may recognize, every one is available as a single-copyÂ artwork for purchase. The artwork consists of image (as shown on this website) as 48x60cm (18.89x23.62inch) photoprint on alu dibond a 4-color print of the original unpixeled screen-capture of the website a certificate signed by the artist. If you are interested in buying send Michael a mail and let him know the index number (i.e. #1290). Do also make sure you visit the website as you can see a number of pieces shown there in a beautiful online format. You can find specific artwork, step slowly through the video (embedded below). Then use the find-form. The project was built withÂ processing and Safari Beta bug reports that captured the websites. Read more about Michael and his other projects on rockitbaby.de Browsing In May from Michael Schieben on […]
- Flow [Mac, Windows] Flow, currently in public Beta, is a Visual Workflow Manager developed by GridIron Software to keep creative professionals streamlined and informed about their project. Flow is one of those pieces of software that does not require anyÂ maintenance, re-adjustment in your methods of working or learning. Always running in the background, Flow creates associations between files you create or modify, elements you copy and paste and much more. When first installed, Flow takes a long time to scan all the files on your disk. This is not for the purpose of creating relations, as it doesn't know about them but rather what is going to happen from now on. It is very hard to see it's purpose until few weeks have passed and suddenly relationships are created between the files. This is why this post comes weeks after first install, because toÂ reallyÂ evaluate the app, one needs to allow it enough background scanning time. It has now been 3.5 weeks and flow has been running in the background ever since. The Flow cache (FlowData folder located in the root of your drive) has grown to 3.4GB. This is where all the references to your files are located as well as various versions. Each file you have worked on has some form ofÂ presenceÂ within Flow. Not necessarily linked to any other file if you have created it from scratch. If you used a template, or another file as a starting point, Flow will display those relationships. In the app's main interface,Â reminiscentÂ ofÂ Softimage and Apple's Shake node structure, you can see all your project files, how they're related to each other, and where they're locatedâ€”on a local drive, on a network volume, even on a DVD you burned a few months ago.Â This mapped view of your project gives you instant access to any file you needâ€”and any version of that file, even if you've overwritten it while making changes. Flow even alerts you if you try to modify or delete a file that you shouldn't. In addition, each file has time associated with it, ie time you spent working on that file. Flow is even clever enough to understand idle time, the time you spent with the file open but did not do any work on it. What is great about Flow is that it helps you be totally organized without organizing anything. Most of the time you may not feel like you need to use it but days will come when you may remember a file and an element within that file you need and using Flow to track it down can be really useful. Say for example you are working on a PSD file, you saved a web version and published it on the web. Few weeks later you know that the format and size of that PSD file is also ideally suited for another project. You find the file, use it again, create a new export and save it as. Flow will keep the track of all of this and if you would like to find out where and how that file was used you can always bring it up and see all the relationships. When it comes to projects, you can group files using FlowÂ accordingÂ to your workflow. Flow is also great whenÂ it comes to packaging your project.Â Flow gathers all your files, versions and fonts, regardless of the application and the workflow map shows how all of the pieces fit together. Flow is one of those tools that, you could say, should be system wide feature rather than aÂ separateÂ application. One can be sure that Apple is working on a similar concept. Spotlight search was the first step in this direction. Flow has picked up where Apple left of and taken the concept of filing many steps further. Seeing Flow in action makes you wonder whether the old days of folderÂ managementÂ are over. Are we going to see folders gone forever and system of project file relationships as a replacement? This remains to be seen. What is for sure is that Flow provides a very innovative way to think about files. The question about the price willÂ definitelyÂ spark some debate but in my opinion Flow is more of a $59.00 app than aÂ $249. Â Nevertheless,Â Flow isÂ definitelyÂ a great new andÂ gorgeousÂ way to think about your files. Features: â€¢ Workflow Maps â€¢Â Real-Time Asset Tracking â€¢Â Visual Versioning â€¢Â Visual Search â€¢Â Foolproof Packaging â€¢Â Time Tracking â€¢Â Custom Tags â€¢Â Tabs and Bookmarks The current download is for Mac only but a Windows version will arrive soon. We have also put together a little video guide of the app but you can find plenty more videos and guides on theÂ GridIron Software website. Platform: Mac/Windows (soon) Version:Â 1.0 (Public Beta) Cost:Â $249 Developer:Â GridIron Software Download […]
Posted on: 02/04/2012
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