Podcasts about outernet

What is London's heartbeat? Rachelle Abbott joins Emma Strain, customer director at Transport for London, to discuss how important diverse communities are to the capital. Emma also reveals their award-winning animated moquette design, titled ‘Fabric of London', which tells real stories shared by Londoners, reflecting the vital role TfL plays in bringing people from all backgrounds together. Transport for London, VCCP and Wavemaker UK's design is now available to view at Outernet, in this week's edition of our newspaper, and online at standard.co.uk. Hosted on Acast. See acast.com/privacy for more information.

The Media Week Awards 2024 took place last Thursday with a theatrical show, Rylan Clark and almost 1000 people in attendance. As one of the most prestigious awards in media, and one of the rowdiest nights in the calendar, this episode catches up with the chairs of judges and top winners on the night.Hosted by Campaign's tech editor Lucy Shelley, the episode begins with a catchup the morning after with media editor Beau Jackson and deputy media editor Shauna Lewis. They discuss some of the standout moments of the night and also give a backstage look into the judging days that preceded the event.After their chat, the episode features Lewis on the ground at the awards talking to chairs of judges David Amodio, head of video sales specialists for Northern Europe at Amazon, and Laura Fenton, UK chief executive of Omnicom Media Group. With a G&T in hand, they discuss what makes a winner and the trends seen in the shortlists this year.Lewis then braved a few midnight interviews with the winners of the biggest awards – Media Agency of the Year and Sales Team of the Year. These were won by MG OMD and Telegraph Media respectively. They discuss why they think they won this year and what it will take to win again.The Media Week Awards 2024 were in partnership with Infinitum Entertainment, Alight Media, Bauer Media, Clear Channel, Mail Metro Media, Outernet, Radiocentre and Reach Solutions.Read more about the awards and the winners here: Media Week Awards 2024: winners revealedFind out more about: BRiM (Black Representation in Media)Campaign Big Awards (5 November)Campaign In-Housing Summit (5 November) Hosted on Acast. See acast.com/privacy for more information.

The 16:9 PODCAST IS SPONSORED BY SCREENFEED – DIGITAL SIGNAGE CONTENT One of the particularly interesting things about Outform is how a company that's been doing digital in retail for 20-plus years is not all that well known in digital signage circles. Not that it's hurt the Miami-based company, which has offices and manufacturing facilities all over the world, and has delivered countless tech-centered shopper engagement solutions for some of the world's biggest brands. I'd been operating mostly with the impression that Outform designed nice-looking digital fixtures for retail, but there is a lot more to the company than that. They do the whole nine yards of retail from idea through execution. I had a great chat that could have gone on for a few hours with Outform founder Ariel Haroush. We started with the company's roots and how Haroush kind of fell into scalable digital solutions for retail. We get into how the company works and the state of things like retail media. Then we spend quite a bit of time talking about Haroush's ambitious new venture, called Future Stores. It takes the notion of pop-up stores, and gives it the scale and digital experience demanded by big global brands. The first location opens in central London on October 30th. Subscribe from wherever you pick up new podcasts. TRANSCRIPT Ariel, thanks for joining me. For those who don't know, can you give a rundown of what Outform does and their background?  Ariel Haroush: Outform is a retail marketing company in essence. We've been referred to as an innovation agency because we are very much on the cutting edge of retail, experiential, and innovation in retail. The company does everything from design all the way to execution, which is quite unique because we have the ability to ideate and strategize like a typical agency that you would expect. But we are transitioning seamlessly into the execution room. So everything we ideate, we engineer, we prototype and we manufacture. So while the business has a very, I would say appeal of an agency, we are, in essence, a manufacturer at scale, and we have manufacturing facilities all over the world in three main regions in Europe, in Asia, and in the States alone, we have two manufacturing facilities, both in Chicago and in San Francisco. Did you start as a manufacturer and evolve into an agency or vice versa, or none of the above?  Ariel Haroush: My journey as the founder of Outform was quite unique. My passion for the industry actually started when I watched the movie Back to the Future. I'm sure you remember Marty flying all the way to the future with the DeLorean and then you see this billboard transform into a shark, and I was just mesmerized by it, and there's something in it that made me say, “oh my God, this is what I want to do.”  So when I started my career, I was always very much leaning to the visual aspect of things. I had an office in Times Square and I was looking at all the signage there and I went, geez, why no one is doing it on a commercial level, and that was the seed of founding Outform. So I started really with no manufacturing background, but with a lot of passion towards how spectacular signage should be, and I was able to convince one customer to give me an opportunity. Back in the days it was Siemens and I had done this huge mobile phone replicas in, one of the biggest trade shows called CeBIT and that was an experience, and one thing led to another, the second customer was Samsung, and I was moving from one customer to another, creating those experiences.  As things evolved, one of the biggest opportunities that I've got was a customer, in the United States, in Chicago that said, “Hey, are you doing all this massive, spectacular signage. Would you mind doing something smaller in scale?” I said what do you mean by that? He said, we don't need giant signage. We need something that we can fit into a retail store, and I said, okay, what do you have in mind? He said, I need 20 mobile phone replicas in a size of, not bigger than a meter or three feet. And I said, gee, that sounds like a lot of units, and back in the days I used to do those things in the Philippines, and he called me about two weeks later and he said oh, by the way, it's not 10 units, it's 500, and I was like, what? So the factory owner in the Philippines said, “Hey Ariel, we cannot do 500.” I said, so what do I need to do? He said, you need to fly to China and look for someone to do injection tools for molds.  So I took my backpack and I went into China and the guy called me again and said, it's not 500. It's actually 2000, and I'm like, what's going on? I discovered retail in essence and the scale that you have within retail. That time was actually the launch of the Razor phone. I don't know if you remember that Motorola phone. It was a massive success. I've done, in a period of about, I think it was 12 months, I did 70,000 units that went to every single store globally, because there was just a smart way of how we design it, in a way like it's cutting the ceiling or the wall or the floor. So you just apply it, and it seems like the phone is so sharp that it's cutting whatever surface you place it on. So everyone wanted to have it, and then, I realized retail is where the scale is, and the manufacturing aspect of it is what gives the business model way more substance. So with that in mind, I started to invest in factories, and one thing led to another, and I started to get into a place that, we're now buying factories, and we started to scale the business from there, and here I am today with more than a thousand people at Outform in various regions, doing what I enjoy the most, which is shaping the future of retail. Wow. Maybe there's not a when moment, but, I'm curious how you evolved into doing the agency ideation through the execution side of it as you did these things, you realized, the best people to actually manage this and deploy it and so on are my own people as opposed to trying to sub this out? Ariel Haroush: Part of the journey of working with customers, I worked with a very big tech company in Cupertino and you can guess who, and they were so secretive about everything, and we could not outsource anything in terms of the thinking side of things, and I just needed to bring people in house and I always had a tendency to creative, and I was very involved in that side and one person and then another person, and then you find yourself with a creative team and you start to conceptualize and bring in ideas, and because a lot of the stuff that we do had a highly fused tech integration, we started to create our own kind of R&D team to deal with those things. Many times I face situations where clients come to me and say, " Oh, my agency created this and they could not deliver on that, and we are super disappointed how we can ensure that it's not going to happen with you guys”, and that's always been a differentiator because everything we design we actually do. So we just start building up on those experiences, and one of the things as I built the company that I never really liked when customers or people refer to us as the vendor because the vendor is something very, in essence, commoditized type of a description, right? But I really enjoyed it when I was a partner or an agency, and I invested heavily in that because I felt this is where we create value, and every time I had a conversation with clients, which was on the C-level. It was more about how we can win in retail. It wasn't about how we're going to make it exactly, and what's the engineering and how many screws and the thickness of the material and all that good stuff, it was more about how we can influence the shopper? That's always been the passion. So investing heavily into that, and that was a differentiator for Outfrom, because, in essence, if you think about the industry in a nutshell, and you ask yourself why advertising agencies became so big as they grew, like the Ogilvy, the Y&R, the Saatchi & Saatchi, they had a really unique business model. They competed heavily on the pitch, right? And they put everything in front of it. Design, planners, strategy, and once they win the pitch, in essence, the reward was the media buying. So if you compete on a Coke pitch, you know that they're going to spend 300 million on advertising, which you buy media on and you're getting a commission on that. So that was the scalable business model.  For Outform, it's been the manufacturing side of it. That's the scalable part, but you have to put all the upfront investments to have a seat at the table, and to me, that was a model to replicate. When I look at our industry, it was very fragmented to mostly moms and pops type of operation, and they always looked at it in terms of, “I'm a manufacturer. Tell me what you need to do, and I'll make it for you.”  But that's not really the conversation customers want to have. They want to know how they can best win in retail, and they come into those experts to help them craft the proposition, and when you think about our industry, as it's getting more and more technology fused, you have to rely on people that understand the different disciplines in terms of manufacturing. So it's not just cutting wood or bending metal or using plastic. It's a combination of all of the above, including tech, including data, including how you can learn and optimize your offering as you move forward. So there's just so much built into that, and Outform was very eager to play in that area. Yeah, I've certainly through the years seen no end of companies who manufacture things. They've invented something and they're very proud of their features and specs surrounding that thing, but they go in selling that thing as opposed to, as you were describing, talking about the objective and selling a solution and providing a solution and you can see how the industry has evolved that way and how more and more, particularly large clients who are saying, I don't want to cherry pick all the components that I need for this thing. I want a partner who's going to help me hold my hand through this whole thing and execute it and, be cohesive as opposed to, ending up with a lot of finger pointing when there's a problem.  Ariel Haroush: Exactly, and if you think about it, every customer has different types of challenges. When you look at the likes of Google, and they need to educate the customers about what Google Home is all about. That's one type of challenge, and when you look at Estee Lauder trying to maximize the shelf efficiencies, that's a different type of challenge. You also many times find yourself depending on where you actually have been deployed, the mindset of the shopper from a Home Depot to a Best Buy is completely different. When you're in Home Depot, you want to know how easy it is and how much time it'll take to install. When you're in Best Buy, you want to know the technical specs and the mindset really shifts between the retailers that you're in. So the emphasis on how you maximize the conversion is different. There's just so many opportunities. Of engaging and I'm not even going and discussing the Gen Z behavior and shift in behavior that's really challenging a lot of retailers and a lot of brands, because if you think about it, the type of consumers that we have, the call it the shoppers of tomorrow, they're so different in mindset. I always like to give the examples that I have five kids by the way, my oldest one is 16 and we're driving in Miami and he said, “Hey, dad, can you change the song?” And I'm looking at him and say, it's the radio. You can change it, and he's giving me this weird look. He said, what do you mean by changing the song? I said, you can't do this on radio. He said I don't get it. So what if you don't like the song? I said, you wait, and he said, if you don't like the next one, I said, you wait. I said, dad, it makes no sense, and he's right because he's using Spotify. It makes no sense.  You got to get him a rotary dial telephone. Ariel Haroush: Amen. Amen. So we are talking about a different type of shoppers and those shoppers, if you look at the attention span generally of Gen Z compared to millennials, compared to baby boomers. I just see my kids, I would say that their attention span is on the length of a TikTok story. They're instantly getting bored, and man, it's a science. How do you get them not to flip this TikTok story or the Instagram story? And you're trying to make sense of it and to understand what actually captured their attention, and if you're in a retail environment, that's not different than your TikTok story moments, right? You have so many offerings, and you need to make sure that the shopper is actually giving attention so you can tell your story so you can potentially convert. This is what we're dealing with, and we have to be super efficient in the way we are crafting the proposition to our clients. So who are your typical customers or Outform's typical customers? I'm guessing it's much more brands than retailers themselves.  Ariel Haroush: It's a combination of both actually. We're working with many brands. We've been super active for the past 20 years dealing with the brands because in essence, they need to deploy whatever they do and not only one retailer, but multiple retailers, and we need to do it on a global basis. So the challenge around it, it's quite enormous, and we've been excelling in that landscape, but we also have a lot of retailers coming to us.  We realize that we as well need to change, and if we're not going to change, we're going to end up like the Sears and the other retailers that went under, so what do we need to do? And you can start seeing a shift in the way retailers are operating. They used to be super passive, by the way. They'd say, “We shouldn't worry. The brand will figure that out.” But the brand also realized that they can get sales online. So the retailers now need to start asking, “Am I just a showroom type of a facility? No, I need to add more value.”  So how do you do that and what's the proposition for the shoppers? So everyone is challenged around what's the future of retail.  Yeah, that's interesting because I've heard endlessly for years and had some experience myself that retailers are interested in the digital stuff and experiential and everything else, but they want the brands to put it in and they want the brands to pay for it. As Chris Riegel for Stratacash says, “They're like T Rex's, very large, but very short arms.”  Ariel Haroush: You're right, but there is a shift here because if you look at Best Buy as an example, they're realizing that a big component of the revenue is coming right now from what you refer to as retail media, which is an online terminology. If you want to get good placement on the Best Buy website, you're paying for it, and there is a big revenue contribution to their bottom line coming from that. So everyone understands that retail media is on a meteoric rise.  Now, the retailers are looking at it, so if I can generate this amount of income from my website, wait a minute, I have all this fleet of stores that can generate revenue for me and that's an opportunity that I don't necessarily want to give away to the brands. So we started to see a tremendous amount of conversations happening around how we can utilize our stores as a component of the retail media. So you're going to see a shift in terms of how retail is starting to look into it and say, there is an opportunity and untapped opportunity that we want to materialize on. Are a lot of retailers over excited about retail media because they see the big numbers, but that they maybe don't understand that 99% of that dollar figure is going to mobile and online and not a hell of a lot of it goes into in store display.  Ariel Haroush: The online numbers are staggering, right? I think by 2027, it's going to be as big as social media. So it's just huge. Now people ask: will the retail media in real life will be the next big thing? Now it's really a matter of eyeballs and a matter of conversion. Because all you're really getting when you are putting it online, you're getting X amount of eyeballs that are able to be converted and the percentage of conversion is actually a lead to sales and that's why it's such a hype right now.  But if you get X amount of millions of people passing through your store and brands are competing in your stores on conversion, they are willing to be the one spending money on getting those eyeballs. You basically just got yourself a new revenue stream. Now one should ask whether the traditional retailer just being transactional is the future, because in essence, we are living in a place. It used to be called Omnichannel, right? Omnichannel, for the listeners here, I'll use the analogyof a highway. Think about the highway with different lanes and every lane represents the different side of the Omnichannel. But we all drive today and we are crossing lanes all the time. So in essence, Omnichannel is no longer the right way of phrasing it, I call it more of a unified commerce because you can walk in the store, but you are with your phone, so you are constantly connected and you can compare prices on your phone in the store, and you can make a decision to click the button on your phone And it's gonna wait for you on your doorstep.  So what is an Omnichannel anymore? It's more unified commerce and in a world of unified commerce It doesn't matter where the purchase actually happens. So yes, you have your stores because you need to have a presence. It's almost like a business card of your brand. But in essence, the metrics of how much I'm selling in the store should not be the most applicable way of doing your KPIs if you get a halo effect that happening outside of the store, it doesn't matter. It's a unified conference.  So where are you at with the company now with Outform? Because you started this new entity that I want to talk about called Future Stores.  When we chatted, oh God, back in the spring or something like that, you had mentioned that this thing was coming and that you were continuing to be the CEO of Outform, but maybe perhaps winding that down. Ariel Haroush: No, Outform is my true love. It's a company I founded. I enjoy every moment of it because every day is a new day. But when I see what's the future of retail and when I'm asking myself, and this is something I've always been extremely passionate about, one of the things that I've seen time and time again, that many times we work with the brands and we're doing something, it doesn't really get the big bang that we all hope for, and I ask myself why. If you want to do, for example, a pop up, and let's say you want to do a pop up because you want to tell the story, and you have a product to launch. By the time you're designing the pop up, you need to design it, you need to engineer it, you need to prototype it, you need to spend three to four months and then you need to find a location that you can actually host, but the landlords are not waiting for you. So securing a location six months in advance is super difficult. So many times we do all this effort and we end up compromising and we find ourselves in a shopping mall, and there's so much work, sweat and tears built into that, that when you're actually launching it, you don't get the big bang that you expect. And to me, that was always a missed opportunity, and every investment was one off, and if you do something which is very analog driven and things change, context change, the market change, competitive landscape change, you're not unable to react. So to me, I felt there must be a better solution, and when I look at the high street, it doesn't matter where you go, whether you're in 5th Avenue, Oxford streets, Champs-Élysées, Ginza in Tokyo, in essence, you're seeing the same old brands time and time again, and you've seen Zara in one location, you've seen them probably in every location, so nothing really drives you to step inside, which is a real shame. I ask, given everything we spoke about that TikTok story mentality, I said, what if the high street can be as dynamic as our social feed and I had this vision of creating a space that can be almost like the sphere in Vegas for retail, that is fully immersive and brands can come in without the worrying of engineering and prototyping and manufacturing and finding the spot, they actually know the size and they get the best location ever because it's one of those high street flagship locations and everything is digitized and everything is immersive and they get the big bang for their investment. I said, wow, that's actually something if you're going back to the Marty moment, flying to the future, that's the moment for me where the billboard becomes a shark, where you notice something and you can not miss it. That's really the thesis behind Future Stores. Those futures stores are set on prime locations. We're talking about the best of the best. Oxford Street, 5th Avenue, where brands can do global activations in multi-cities at the same time without all the hustle and bustle of creating specific, tailor-made, manufacturing, analog driven for a specific site and when content can change from the weekend to the workdays, from the morning to the evening, when it's fully immersive, and we are launching it on October 30th. so this is about 30 days from today. Our first client will be a massive CE brand, and oh my God, people will see it in the media for sure, I'm telling you it's mind boggling. Just the storytelling, the possibilities. someone that's seen it said I feel like it's the iPhone for retail because there's just so many options,  So if I'm a massive CE brand, and I book future stores, what am I getting and what are the parameters? Do I have to book for a month? Can I book it for a day? Is it staffed for me or do I have to bring in staff? How does all that work?  Ariel Haroush: You can book it in slots of a week to two weeks to four weeks. We don't want the brand to come in and take it for six months because that's going against kind of the thesis of a high street is constantly being dynamic and we don't think the shoppers would care if it's not changing all the time.  You get everything basically. It's a full retail operation that you don't have to invest in the time in, because all the walls and the ceiling and everything, all the tech components are already built up. All you need to do is explain your content and we can help you with that as well, and you have the back of the house. So what do you basically need is basically your decision. If you need security at the door because people are going to queue outside, we can provide your security guard at the fee. But the rest is everything is okay. It's ready for usage.  So the huge project plan with the endless Gantt charts and everything else you would have to do, if you were leasing the space on your own and staffing it and designing it in the whole nine yards, that's covered off.  A CE brand can just say, I want this for two weeks. Is it available in this time window? There's obviously  some planning they still have to do, but 90% of it is gone.  Ariel Haroush: Exactly. You're really getting a turnkey solution and the beauty about it is that you can say, “Hey, I know I'm going to launch a product in late March and I need to be in an extra X amount of cities. Can I book it now?” Knowing that it's going to wait for you and knowing that you have the possibility to use your own content for it is just, I think it's the future. Now, this is my thesis, of course, but time will tell.  I wrote about this the other day and I said it's about two blocks away from Outernet London and very reminiscent of that, but there's some very big differences as well that's mostly about public art and so on, but it's the same kind of experience, right?  Where you walk in, you've got LED on the walls, you've got LED on the ceiling, and everywhere else.  Ariel Haroush: Yeah, and Outernet, good friends of mine, they did phenomenally well. Frankly speaking, it's becoming the number one destination in London and well deserved by the way, because it's people just coming in and getting inspired and I love that. I love the people getting inspired just by walking in the street, and they do amazing content, but yes, it's a different proposition because they are more of a public arts media component. We are all about future retail, while they provide a sense of awareness, we are providing the awareness piece, but also the consideration and the conversion. So there is an ROI component to it that is very clearly measured. We spoke about retail media, in essence, it is retail media in the real world because we're enabling you as a brand to get all the eyeballs, but you convert the eyeballs to people getting into the store experiencing the product with also the option to buy  What is technically in there? Is it fine pitch LED on the walls and ceiling?  Ariel Haroush: That's correct I mean we have the highest resolution of LEDs anywhere installed in London. So if you compare it to Outernet, the density of our pixel rate is much, much more advanced. That's a given because we started way later than they did, so they had to commit to a technology that is probably three years old. We have amazing brightness. You're not going to be able to see the pixels, it's just as much of a high resolution, millions of pixels around the stores, which is super impressive to see.  I think on October 30th, when we launch, people will really grasp the magnitude of it.  Who is behind this? Ariel Haroush: Myself and two other partners that I have, but I'm the driving force behind the concept.  So you have an extremely vested interest in making this work.  Ariel Haroush: Yeah, absolutely, and it's weird to say it because I am a businessman and obviously the financial world is a metric, but my reasoning for doing that was not for financial gain. I'm really passionate about where I can take this industry forward, and there's just so many possibilities. I'm 50 years old this year, so I took three weeks in India and I was trying to look for my Zen and one of the random meetings that I had in India, I met this very nice lady from the Richmond group and she was doing a one year tour. She wanted to retire and she said, you know what, I'm just going to go on my own, we had dinner and she asked me, “Ariel, tell me about your business” and I decided to speak about Future Stores versus Outform, which is a much more mature business, and she said, “okay, I get it, it sounds exciting, but what's your gain? Do you really want to just make money?” And it really poked me in an interesting way, and I said, why do you ask that in the sense that the way you asked it. She said, no, I'm just trying to understand. I said there is a motive that I'm trying to do that I'm not describing to many people, but, given how you frame it, I want to describe it to you and she said,well,  go ahead. I said, one of the things that I'm really passionate about is, I'm not going to use a big statement, but democratizing the high streets, if you think about it, it's something that I'm really passionate about and you ask why. Because frankly speaking, if you think about the high street is kept to the typical candidates that you can already list down without me even need to say it. It's those big brands that you see everywhere and they occupy all the time the high street and it's not like we're not going to engage with them, on the contrary we will, but I want to be in a position that I hold at least 25% of the time of future stores into new brands, innovative brands, brands that are not necessarily going to get the time of the day to be on the high street, but they are the up and coming brands. So we are talking right now with a couple of brands that I'm super excited about that people are going to learn about.  There are celebrity launches. There are other people that really have amazing stories to tell in the high street, and they just don't get the visibility to be on the high street. So that's another motivation that I have outside of just the financial aspiration that this concept has, and this concept, should it be successful? It will scale to a variety of different locations across the globe. London, obviously it's an advanced build or probably ready to go, but other cities you mentioned like Champs-Élysées, Tokyo, are these ones in the pipeline or are these ideas of what could happen?  Ariel Haroush: Tokyo is what could happen. But obviously, if you think about where would be the most relevant cities to start with, it's not a secret that New York, London and Paris are going to be the top three at least from my lens. Asia is a bit far away at this stage. We still need to prove the business model. But yes, we have active engagement in the other cities that I mentioned, and we are just vetting the final sites as we speak.  This is the sort of thing that is very clever and everything else without question, but it's also something that a commercial property developer could look at and go, “Yeah, I'm going to build that too and I'll give it a different name and I'll tweak it just enough to make it mine.”  How do you deal with that?  Ariel Haroush: I'll say good luck with that. The level of complexity in storytelling and working in collaboration, I would never even dream to do that if it wasn't for my experience in Outform.  I have so much experience in Outform, doing it for 20 years. I understand what it takes and how to tell stories in retail. Landlords want to be landlords, and many of them are already approaching. I said, why don't we partner? And that makes sense in order to scale it faster. But yeah, you need a certain level of expertise to know what you're doing. This is not just a typical media play. It's much more than that.  This is not just slapping up, some fine pitch LED and renting a high profile space.  Ariel Haroush: No, there is so much more built into that, because you need to think about it in a retail operation mindset, you need to think about it in a media mindset, you need to think about it from a storytelling perspective, and you really need to maximize what we call the funnel. Because if you think about the marketing funnel, it's built in such a way that you spend money on awareness and that's usually going out of home media or TV or whatever, then you spend money on consideration, which is experiential, pop ups, you name it, and then you have the conversion piece, which mostly kept to retail stores. And last but not least, the royalty component. That's the marketing funnel. We are, in essence, trying to flatten the funnel so you get your awareness, consideration and conversion all in one location, but there is also a huge component that I don't think people understand the value of it, but they will, which is the amplification. If you look at Outernet as an example, for every campaign that they're running, they have tens of millions of views of people who have never even been to Outernet, and if you look at every single thing that the Sphere did in Vegas, they have hundreds of millions of shares of something. People have never even been to Vegas, but they know about the Sphere. This has an additional impact Future Stores will be able to deliver.  If you ask me, Ariel, people tried before. Why would that be any difference? Scale and also inmindset, because when I moved to the States, someone said to me, go big or go home. And I asked, what do you mean by that? And he said, if you're not putting everything in, then it's just not good. That's what we're trying to do. You cannot compromise the location. You cannot say, let me bring this huge brand for a store that looks like a mobile store. They just are not going to do it. So if you want to get people to take you seriously, you have to go all in and that's what we've done here. So we're talking about a huge investment that we're putting into the high street. Probably if you think about London outside of the Outernet, it's probably the biggest investment ever done in a retail store, and that's what we're going after, we're going after something that is quite impactful and if it's going to deliver the amount of eyeballs that we think it would, then people will notice it, and if people will notice it, then brands will start to see the value in it.  I'm looking forward to seeing it at some point. I'm kicking myself now. I traveled through London to get to ISE in Barcelona, but I just did an overnight booking. Ariel Haroush: Oh my God. I'll be very happy to host you there. I'm going there every now and then. It's still in a kind of a installation mode, but all the screens are up, we're now doing the testing. It's a site. The ceilings are super high, so you get the full immersion and without telling who is the first client, all I can say is that, once you see the first execution, it's mind boggling. It's really above and beyond what I ever imagined it to be. So I'm super pumped and excited about where this is going to go.  October 30th, right?  Ariel Haroush: Yep.  All right. Thank you, Ariel. I think you're onto something.  Ariel Haroush: I hope so. Thank you for taking the time.

It's really more Los Angeles or Manhattan than London.

This is the thirty fourth episode of the Tiger Heart Chats podcast featuring Tiger Heart CEO Sanj Surati and Jake Rowland, Head of Business Development at Igloo Vision. This podcast was recorded on Thursday 20th June 2024. In this podcast, Jakes talks about how he got into the Audio-Visual space starting off as a dynamic DJ in a small start-up which enabled him to be empowered to now run a large-scale global business that works with some of the most important brands in the world. Some of the topics raised include:Igloo Vision - https://www.igloovision.comInfoComm - https://www.infocommshow.orgThe Sphere - https://www.thesphere.comExperientialMusic Festivals DJMediaWeb DeveloperBuildingRestaurant Management SalesMarketingStrategyDefenceSky - https://www.sky.comUK Cycling Team - https://www.britishcycling.org.uk/gbcyclingteam360 Cameras New and emerging technologiesSteve Jobs - https://en.wikipedia.org/wiki/Steve_JobsIgloo Core EngineVirtual RealitySpatial ComputingApple - https://www.apple.comMeta Quest - https://www.meta.com/Outernet - https://www.outernet.comFrameless - https://frameless.comLEDRoss Noonan - https://www.linkedin.com/in/ross-noonan-221154109/The LED Studio - https://www.theledstudio.co.ukImmersiveHologramsBrian G Burns - https://www.b2brevenue.com/aboutCharlotte Tilbury - https://www.charlottetilbury.comKate Moss - https://www.katemossagency.comEdTech Cool Tool Award - https://www.edtechdigest.com/the-edtech-awards/AV Awards - https://www.avawards.com/ChatGPT - https://openai.com/index/chatgpt/Events ManagementManchester Met - https://www.mmu.ac.ukJimmy Carr - https://www.jimmycarr.comMental HealthCovidPlaces:Las VegasUnited Kingdom  USAMiddle EastMelbourneDubaiAustraliaSan FranciscoLondonCovent Garden Manchester  Advice:Try to understand where your normal working hours are in respect to the territory you look after.Every business is different so try to find your own way.Understand your client's needs and where they will get value in what you are offering them.Try to speak to an individual to truly understand them and to see where the real value in the person is. Nothing should matter that much that it starts to take over your life.Sometimes, making yourself uncomfortable allows you to grow and toughens you up and makes you a better professional.Jake Rowland Links:https://www.linkedin.com/in/jake-rowland-96b42241/ Sanj Surati & Tiger Heart:https://www.twitter.com/tigerhearttech/https://www.instagram.com/tigerhearttech/https://www.twitter.com/sanjsurati/https://www.instagram.com/artistryinsentiment/ You can listen to the Podcast on the following links:  Apple: https://podcasts.apple.com/us/podcast/tiger-heart-chats/id1507957892?uo=4Google: https://bit.ly/2znRXIKDeezer: https://www.deezer.com/show/1048492Spreaker: https://www.spreaker.com/show/tiger-heart-chatsCastbox: https://castbox.fm/channel/id2779314Podcast Addict: https://podplayer.net/?podId=2855948Podchaser: https://www.podchaser.com/podcasts/tiger-heart-chats-1112186JioSaavn: https://www.jiosaavn.com/shows/Tiger-Heart-Chats/1/TJgps4JXdps_ Don't forget to share:#tigerheartchats https://www.tigerheartlondon.com Tiger Heart is an innovation agency that specialises in emerging technologies set up by Digital Atelier Sanj Surati. Sanj is an award winning multi-disciplined Digital Atelier with over twenty years of experience within the music, fashion and luxury industries. London-based Sanj has been working within digital and technology since 1998. He has seen the cultural shift in human habit and behaviour as we all evolve into digital consumers. Some of his successes have been burgeoning, ground breaking and, more importantly, culturally relevant.   

It's not long now until Ariane 6 is expected to launch - July 9th is the date on the schedule. It's Europe's next flagship launch vehicle, and there are high hopes for this rocket to get the next generation of European spacecraft to orbit. That's why it was a big, big punch in the gut when a major customer, who signed up for an Ariane 6 launch four years ago, backed out of the deal. To make matters worse, they're switching to SpaceX, and more. Remember to leave us a 5-star rating and review in your favorite podcast app. Miss an episode? Sign-up for our weekly intelligence roundup, Signals and Space, and you'll never miss a beat. And be sure to follow T-Minus on LinkedIn and Instagram. T-Minus Guest Our guest today is Brian Barnett, CEO of Solstar Space, speaking with me today on the Outernet and wifi for spacecraft. You can read more about Solstar Space's work here.  Selected Reading Meteosat satellite to be launched with SpaceX (EUMETSAT) Boeing delays Starliner return by 'weeks' for testing, NASA says astronauts aren't stranded (CNBC) Japan successfully puts advanced satellite into orbit using H3 rocket (Japan Times) TELSAT marKoni FM Transmitter (CISA) SERA names India as partner country for Blue Origin space flight (Reuters) Yahsat taps Musk's SpaceX for next satellite launches (AGBI) CNES awards two GEO in orbit services missions to Infinite Orbits and Telespazio France : an inspection and a life extension mission! (Infinite Orbits) COSPAR Launches Space Innovation Centre in Cyprus (Spacewatch Europe)  This desert moss has the potential to grow on Mars (Eureka Alert) Rescale Receives Success Memorandum from the Defense Innovation Unit for Its HPC Modernization Program (PR Newswire) Space Pioneer says part of rocket crashed in central China (Reuters) T-Minus Crew Survey We want to hear from you! Please complete our 4 question survey. It'll help us get better and deliver you the most mission-critical space intel every day. Want to hear your company in the show? You too can reach the most influential leaders and operators in the industry. Here's our media kit. Contact us at space@n2k.com to request more info. Want to join us for an interview? Please send your pitch to space-editor@n2k.com and include your name, affiliation, and topic proposal. T-Minus is a production of N2K Networks, your source for strategic workforce intelligence. © N2K Networks, Inc. Learn more about your ad choices. Visit megaphone.fm/adchoices

As a special Pride Month treat, Jordan Luke Gage is back In The Frame to discuss his brand new musical Redcliffe! Over the past year Jordan has been busy writing his first musical. Based on the true events of William Critchard and Richard Arnold in Bristol during the 1750s, Redcliffe is a tale of forbidden love during the persecution people faced for hundreds of years. The show was previewed as part of MT Fest in February ahead of a full workshop in May which concluded with four sold-out performances at The Other Palace Studio. Jordan has written Redcliffe's music, book and lyrics whilst also playing William. This episode features a special recording of 'Void Of Love' from Redcliffe, performed by Jordan during the musical's run at MT Fest. Jordan's stage credits include Marilyn in Taboo (Brixton Clubhouse), Strat in Bat Out Of Hell (Dominion), Romeo in the premiere of & Juliet (Manchester/Shaftesbury), JD in Heathers (Theatre Royal Haymarket) and Clyde in the UK premiere of Bonnie and Clyde (Arts & Garrick). Jordan has starred in concert productions of The Light in the Piazza (Alexandra Palace Theatre), Bat Boy (London Palladium) and Bare (London Palladium). He has done countless workshops, most recently including Thelma & Louise (Sonia Friedman). In 2022 Jordan played two sold out solo shows at HERE at Outernet. On screen, Jordan recently completed filming the indie film Alchemy Of The Word and has recently been seen as a series regular in Sky's Royal Kill List.  His other screen credits include Cilla (ITV), Cucumber (Channel 4) and How Not To Disappear Completely.  Follow Redcliffe on Instagram @redcliffemusical for updates on the musical's future. Hosted by Andrew Tomlins  @AndrewTomlins32  Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts.  Past Present FeatureA filmmaker appreciation podcast hosted by Emmy-winning director...Listen on: Apple Podcasts Spotify

Reece Kerridge (Adam/Felicia in Priscilla The Party) returns to co-host The West End Frame Show! Andrew and Reece discuss Ushers: The Front Of House Musical (The Other Palace Studio) and The Ballad of Hattie and James (Kiln Theatre) as well as the latest news about this year's London Palladium Pantomime starring Jane McDonald and Julian Clary, Oliver! transferring to the West End, 2:22 making a West End return and lots more. Some of Reece's theatre credits include The Book of Mormon (West End), understudy  SpongeBob & Squidward in SpongeBob The Musical (UK & Ireland Tour), Top Hat (The Mill at Sonning), understudy cover Lord Farquaad in Shrek The Musical (UK & Ireland Tour) and Our House (Union Theatre) as well as many pantomimes and cabarets. As a presenter Reece co-hosted the radio show Sit In The Stalls and also performs as his drag persona Gracie Lou. After spending Christmas touring arenas in Peter Pan and Elf The Musical, in which he understudied Buddy, Reece is now starring as Adam/Felicia in Priscilla The Party which has opened at HERE at Outernet.Priscilla the Party is staged by the creative team behind Priscilla Queen of the Desert The Musical re-directed by original director Simon Phillips and choreographed by Andrew Hallsworth. Priscilla the Party is booking at HERE at Outernet until Sunday 29th September 2024. Visit www.priscillatheparty.com for info and tickets. Hosted by Andrew Tomlins. @AndrewTomlins32  Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts.   

You can learn more about AWS in Orbit at space.n2k.com/aws. N2K Space is working with AWS to bring the AWS in Orbit podcast series to the 39th Space Symposium in Colorado Springs from April 8-11.  Our guests today are ​​Salem El Nimri, Chief of Space Technology at AWS Aerospace and Satellite, and Declan Ganley, Chairman and CEO at Rivada Space Networks. AWS in Orbit is a podcast collaboration between N2K Networks and AWS to offer listeners an in-depth look at the transformative intersection of cloud computing, space technologies, and generative AI. Remember to leave us a 5-star rating and review in your favorite podcast app. Miss an episode? Sign-up for our weekly intelligence roundup, Signals and Space, and you'll never miss a beat. And be sure to follow T-Minus on LinkedIn and Instagram. Selected Reading AWS Aerospace and Satellite Audience Survey We want to hear from you! Please complete our short survey. It'll help us get better and deliver you the most mission-critical space intel every day. Want to hear your company in the show? You too can reach the most influential leaders and operators in the industry. Here's our media kit. Contact us at space@n2k.com to request more info. Want to join us for an interview? Please send your pitch to space-editor@n2k.com and include your name, affiliation, and topic proposal. T-Minus is a production of N2K Networks, your source for strategic workforce intelligence. © 2023 N2K Networks, Inc.

A Japanese national will be the first non-American to land on the moon in an Artemis mission. The European Space Agency contracts Thales Alenia Space for the ExoMars 2028 mission. The US Space Force announces a new commercial space strategy, and more.  Remember to leave us a 5-star rating and review in your favorite podcast app. Miss an episode? Sign-up for our weekly intelligence roundup, Signals and Space, and you'll never miss a beat. And be sure to follow T-Minus on LinkedIn and Instagram. T-Minus Guest Our guests today are ​​Salem El Nimri, Chief of Space Technology at AWS Aerospace and Satellite, and Declan Ganley, Chairman and CEO at Rivada Space Networks. You can learn more about AWS Aerospace and Satellite on their website.  Selected Reading US, Japan strike deals on defense, space at leaders' summit- Reuters NASA, Japan Advance Space Cooperation, Sign Agreement for Lunar Rover The search for life on Mars goes on with ExoMars 2028- Thales Alenia Space USSF_Commercial_Space_Strategy Exolaunch Signs with HawkEye 360 to Provide Launch and Deployment Services for Multiple Satellite Missions- Business Wire Capella Space Joins Space ISAC as Founding Member Sidus Space Announces Second Agreement with HEO for Non-Earth Imaging Payload and Data Services Aboard Upcoming Lizzie-Sat Launch- Business Wire RTX provides Blue Canyon satellite to help solve a crucial climate challenge T-Minus Crew Survey We want to hear from you! Please complete our 4 question survey. It'll help us get better and deliver you the most mission-critical space intel every day. Want to hear your company in the show? You too can reach the most influential leaders and operators in the industry. Here's our media kit. Contact us at space@n2k.com to request more info. Want to join us for an interview? Please send your pitch to space-editor@n2k.com and include your name, affiliation, and topic proposal. T-Minus is a production of N2K Networks, your source for strategic workforce intelligence. © N2K Networks, Inc. Learn more about your ad choices. Visit megaphone.fm/adchoices

Mickey-Jo recently attended the opening night of PRISCILLA THE PARTY!, a new immersive theatrical experience that brings the iconic story of Priscilla: Queen of the Desert to a bespoke nightclub setting at HERE at Outernet in London. Check out today's new review for some further explanation of how this show works as well as Mickey-Jo's thoughts on this production and its performances... • About Mickey-Jo: As one of the leading voices in theatre criticism on a social platform, Mickey-Jo is pioneering a new medium for a dwindling field. His YouTube channel: ⁠⁠⁠⁠⁠⁠⁠MickeyJoTheatre⁠⁠⁠⁠⁠⁠⁠ is the largest worldwide in terms of dedicated theatre criticism, where he also share features, news and interviews as well as lifestyle content for over 60,000 subscribers. Since establishing himself as a theatre critic he has been able to work internationally. With a viewership that is largely split between the US and the UK he has been fortunate enough to be able to work with PR, Marketing, and Social Media representatives for shows both in New York, London, Hamburg, and Paris. He has also twice received accreditation from the world renowned Edinburgh Fringe Festival. His reviews and features have also been published by WhatsOnStage, for whom he was a panelist to help curate nominees for their 2023 and 2024 Awards as well as BroadwayWorldUK and LondonTheatre.co.uk. He has been invited to speak to private tour groups, at the BEAM 2023 new musical theatre conference at Oxford Playhouse, and on a panel of critics at an event for young people considering a career in the arts courtesy of Go Live Theatre Projects. Instagram/TikTok/X: @MickeyJoTheatre

Rivada Networks' CEO and Executive Chairman, Declan Ganley, considers the increasing convergence of terrestrial and satellite networks, and discusses the creation of Rivada's OuterNET™, a secure, global communication network of low earth orbit (LEO) satellites. Will the OuterNET spark a new era of hyper-connected communication and what will the future of enterprise connectivity look like... Read More The post OuterNET Unveiled: Networks in Orbit appeared first on MEF.

This week - NoPro arts editor Laura Hess hops into the host chair for a conversation with New England curator Leah Davis and London curator Shelley Snyder. The topic at hand?A look at Installation art and how different environments impact audience engagement. For this time out the Crew will focus on Outernet's NOW Building installations in London and works at MASS MOCA in Western Massachusetts.And after our main segment, some thoughts on the big news of the week: the closure of Sleep No More in New York.SHOW NOTESOuternetMASS MoCAAre We Asking Too Much of Public Art? - Seph Rodney, HyperallergicLDI (Discount code: SPEAKER23)Sleep No More To Close In January - Alexis Soloski, The New York TimesLe Roi Est Mort: Sleep No More Is Closing (Op-Ed) Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

GEO satellite has been with us since the dawn of the satellite age, and it's easy for us to take it for granted. GEO 2.0 makes its contribution to the Eternal Orbit campaign by inviting today's experts in geosynchronous orbit to discuss the future of this grandfather of satellite orbits. What's new, what's sexy and what is tried and true? Let's find out together in GEO 2.0. What happens when the old and young meet and bring to the world best of breed connectivity – or collide in the chase for its rich market share, capital and the future? In an industry where terrestrial and orbital, once contestants in a bitter communications technology “religious war,” have found convergence and common ground around technologies such as 5G and soon 6G, and where deals such as Apple and Globalstar show the innovation that can occur with these platforms, the next question is, “When will there be true multi-layer connectivity that can readily connect EVERYTHING without complicating the customer experiences?” Further, when will the 5 billion unconnected find the internet with ease and make the “Middle of Nowhere” no more? What do established, profitable GEO leaders, such as Hughes Network Systems, with its extraordinary new Jupiter-3 satellite now in orbit think about this and the future of connectivity and satellite industry investments? Can it work with upstarts? In this episode of GEO 2.0, based on the September edition of the New York Space Business Roundtable, you'll hear from Joe Bernabucci, Director of Strategy & Market Intelligence at Hughes, William Mudge, Vice President of Engineering Operations, USA at Speedcast and Steve Nixon, President and Co-Founder of SmallSat Alliance. They discuss if the Outernet is outer nuts and if GEO has entered a new era that will be even more potent than the first.

The 16:9 PODCAST IS SPONSORED BY SCREENFEED – DIGITAL SIGNAGE CONTENT I spent a few days in London, UK ahead of Integrated Systems Europe - in part to break up the trip and flights, but much more so to meet with several companies and see some projects that I'd only been able to see in photos and videos. The one I particularly wanted to see was Outernet London, a very ambitious, multi-faceted development in the city's center that has, as its visual centerpiece, a huge set of wall and ceiling LED screens that are fully open to the public and positioned in such a way that they can't be missed as people flow from a main exit of the busy Tottenham Court Road Underground station. I assumed, wrongly, that this exists primarily to run Digital Out Of Home advertising and compete with big screens like those in nearby Leicester Square and Piccadilly Circus. But there is much more to Outernet, as I learned walking and talking with the developments Chief Commercial Officer, Ben Maher. The audio may be a bit hit and miss, as we did this on the go and in the crowds that were there even on a chilly January afternoon. Subscribe to this podcast: iTunes * Google Play * RSS TRANSCRIPT Ben Maher: We have this incredibly famous set of assets on this side of the district, which is Denmark Street. So as a business, we've been a landlord on Denmark Street for over 25 years looking after the music stores and we've made, as we said, a huge number of acquisitions, meaning that we own nearly all of the property there by Parcel two or three, and we run a baker for Baker Policy. So if we lose a music store, we replace it with music because we wanna maintain it, sorry, I don't know how familiar you're with Denmark Street, but as an asset, we wanna maintain this as one of the nice, iconic music streets in the world.  The first music store opened in 1911, Charlie Chaplin wrote the song, Smile here in 1926. The Melody Maker was founded here in 1954. The Enemy was found here. The owner of the Enemy went around the street with a ledger of all of the music that was sold, and that became the first-ever music chart, which was compiled on this street. Elton John had his first job as a runner here, and it was the home of the labels, the writers, it was the home of the lawyers, and the management, so people would hang out here in the hope of being discovered. But importantly, talent would wanna be discovered and they'd hang out in the cafe here, this was called the Gioconda Cafe and you'll see Tim Hannaly, the home of British music. But importantly it would be people like Marc Bolan, it would be Jimmy Hendrick, and David Bowie moved and converted an ambulance onto the street and lived here. So it really was an incredible, authentic crucible for music. We've maintained the music stores. We put in a 55-room luxury hotel residence, so you stay in the rooms where Frankie Fraser, the Richardson, the Gangland fame, their bar, which was called the Pannaly Bar. Number six Here, out the back is the News House that Malcolm McLaren rented for the Sex Pistols. So you can now stay in that, that's the Anarchy Suite. It's complete with their original graffiti.  Did big pressure wash it down?  Ben Maher: No. For better or worse, it's there and it's good. It has a great two listings on it now, but again, in a building like this, incredible history, and Hypnosis were based here. They were the world leading album cover designers. So they created album covers for the likes of Led Zeppelin and Pink Floyd, Dark Side of the Moon was created in that room. When you stay in the rooms, they have names. Like Hypnotized for that room, and then Kiss the Sky is the name of the room where Hendrick used to jam. This is the store where Bob Marley bought his most famous guitar, which was destined for a dustbin for a car mechanic from Essex. This is where the Stones did some of their first-ever recordings and people recorded here all the way through to the likes of the Brit Brats, Adele, and other incredible artists. So all of this is part of the district, and as I said, we've not tried to Disney-fy this area. We've tried to preserve it. The area dates back all the way to about the 7th century when the church was created to support the Hospital. But once you build infrastructure, communities develop, so this became one of the first slums in London. It was home to 3000 residencies, and over 500 distilleries and this is where Hogarth depicted the Gin riots. So when you see things like that's where that occurred, and this is where it's depicted. You have elements like Dickens who live down the road in Bloomsbury, wrote Oliver Twist here, and Robert Stevenson. There's incredible history to the area. That is all really important when you're creating platforms and telling stories so that you understand the context within which you exist, not just the recent history. I'll come to some of the other music venues. So now we're going to enter the district. Importantly, we have 30,000 square feet of offices, we have 18 retail units, we have popups. We have 13 bars and restaurants and we obviously have screen-enabled spaces. So this first space is the arcade, The Now Arcade. As you can see, it's a full-screen enabled, three-mill pixel-pitched laden environment. All are equipped with acoustic audio. So we have venue-quality audio in all our spaces.  And the audio is on the bars down below?  Ben Maher: The district as a whole, through all the spaces, is made up of 230 million pixels. It has 192 kilometers of CAT6 table enabling this and I think it is really important, we have positioned this as a canvas. We've positioned this as a storytelling platform, and that's really important to start with content first so that you can establish the context and the interest of the audience to allow you to tell better brand stories and deliver brand messages. So that has always been the ethos of what we're doing. We don't stand with one editorial voice or polarizing thought around what we say. We try to democratize access to the platform. So we try to provide as many different interest groups and users to create for the platform because, in all honesty, screens are relatively cheap against the cost of actually feeding them, and creating environments that remain interesting all the time is the biggest challenge we have. So again, one of the things we want to do by using multi-sensory environments is to hand back some of that control to the audiences, not only to create for the platform but also to control their experiences. So although we start with audio-visual, we're on a sort of a technical journey on a path to bleed out new technologies and ensure that people can then interact and control generative experiences for themselves.  All of the spaces have cameras in them, for example, which will allow for interactivity. So you can come into this space, you might receive a standing ovation or trigger a Mexican wave. The joy of technology as it stands at the moment, and you won't hear talk of Covid. But the reality is people now understand better the reasons to be utilizing QR codes. So these screens can become a launchpad or anything: to commerce, obviously AR experiences, or anything else that we wanna leave. It makes data exchange a much cleaner and more natural sort of methodology. So really important for us to be able to control all of those elements. As we head down, this provides a queuing function for our venue as well, we have a 1500-person capacity music venue underground, which is the largest new music venue built in central London in the 1940s. This is load in, load out, for the venue. So again, we've configured the streets so that we can have a clean, easy ecological load in, and load out so vehicles can come and jack power straight from the main rather than running their engines and things like that, which is smart. As we come into the district now, you'll see that we have what was a very traditional maze of News Street. So this was Denmark Place, and we've got here the ability to gate and control the environment so we can create all sorts of experiences and fields and allow people to have events or dress a district in any interesting manner. So five different egress and ingress points across the district. On this side, we've got 14 more hotel rooms because the residences are based in 16 different buildings. So a really different unique point for the hotel.  Here we have what will be the Denmark Street Recording Studio which will be a pro bono recording studio, again, adding to the ecosystem that we have, bringing people and rewarding talent, just as Denmark Street always did. This is the more historical and music side of the district. This is the more modern screen-enabled place. On the rooftop here. We have an 8000-square-foot modern Chinese restaurant called Tattoo. We have another restaurant on the fourth floor, which will open later this quarter that's called Cavo. They have a rooftop garden here which is joined by a glass bridge, which leads over to the fourth-floor restaurant. So what you'll see here is we have 2600 LEDs across the runway here. So when we create a red carpet leading to the venue, we can light it up through LED color hues so that we can control those environments.  So you've got show control, so you can orchestrate the whole thing? Ben Maher: Brand colors, mood, you name it. We've obviously lifted up causes such as Holocaust Memorial and also for the Ukraine crisis and things like that, that's really important. We understand our environment, we understand the mood.  If you think of the context of certainly out-of-home and. storytelling, smart cities, and IoT play a big part in city planning now, and our environment should be able to adjust to those needs and requirements. We shouldn't just be screaming at audiences. We should be creating dialogue and also understanding the context within which we sit. So for example, or within GDPR, if somebody comes in, I know if they're looking for WiFi, where their SIM card originates. I know what their default language is. I don't need to invade their privacy. But I can assume when the 50th Dutch person or the 200th Canadian crosses the threshold, I might play the national anthem and change the color of the district. So that creates incredible surprise and delight.  And that would be data triggered?  Ben Maher: Completely. We can utilize a custom stack, which controls all of the programs for the district, and that proprietary technology allows us to configure different environments, to configure the different spaces, either in unison or alternatively to have them operate autonomously. And I think it's really important, our point of difference is having that versatility of space. It doesn't just do one thing. We do four core things. We can hold events in our spaces, so that could be a private or public events. We have 32s spots in our spaces, which is, essentially a standard TVC, monetization. We can do sponsorship. BMW has been a sponsor of our art program. We've presented our wellness program in association with Panadol and importantly, this new stage is gonna be about branded content, telling stories in a slightly longer form in an audiovisual sense in the public domain, and I think it was one of the most incredible moments I've had since being here, reaffirming that we've got an environment that has that versatility and what we wanna do is bring that longer storytelling moment to the form because brands are doing things with brand advocates, with talent. They're doing things based on purpose or the craft that they create. So we've had driving stories. We've had the launch of the Beatle's actual master Revolver album, the videos that went with that, and again, that creates a different environment. It creates a different context. We've done interactive games, so again, as I said, what you don't wanna be in any environment is a terrible magician. If you do your best trick on the first day, or second day, it's diminishing returns. You're not doing anything innovative or different.  That's a mistake made over and over again? Ben Maher: Yeah, and I think it's also quite been quite cathartic knowing that we don't know everything about this space because no one's ever done this anywhere in the world. So to say that we don't fully understand how the public reacts to work, we have to embrace versatility. So knowing, for example, on the left here we have popup two. On the back corner of the building, we have another popup, which is about twice the size. These spaces are fully screen-enabled and audio enabled as you see here. If they're not being used for an event, they'll be programmed with our content so that they're relevant. TMP, for example, Take More Photos is a grassroots creative collective. They release briefs on social media and people can submit their photographs and then it curates an exhibition based on the brief. So they do one on Welcome to London. So this one's Welcome to Love in London. They'll do one for International Women's Month, or they'll do one for Black History Month. They did one for the World Cup, for example. Now these are organizations that don't have budgets typically. So this is pro bono stuff, right?  Ben Maher: Very much, but again, it exactly comes down to what I said before, which is we want to give access to the platform. We wanna hear different voices to be representative and inclusive of our communities. Was that part of the pitch as well to Westminster Town Council or something like that? Look, we're building, but it's going to have all sorts of community involvement?  Ben Maher: Good question. So importantly, when we were talking before, when I showed you everything in front of us, that's Westminster, the road here literally the line down the middle is Camden. So Camden has a very different approach to Westminster. They're just different borrows and it's what you expect, different councils. So we were applying to Camden for our licenses. This area historically had a number of late licenses and bar licenses for the different premises that were here previously and have historically been a musical district. So again, it's quite an entertainment-based space.  Yeah, I was gonna say they'd be in the mindset anyways for this.  Ben Maher: Importantly, they have embraced what we're doing, but they have also gone on the journey of understanding what we're doing. Because it's very new. So that is always a challenge. The building and its main purpose of it though is an interesting public space. So if we had created a new private, totally private and shut environment, I don't think we would've been received in the same manner.  If you've got a second, you might want to stop for a second only because we're gonna watch the Summer Palace and it's about two and a half minutes long and you'll want to see this, but this is a good example of our house content. Something we commissioned to play in the public domain, which allows brands to sit alongside incredible experiences, and as you can see, people naturally get their phones out to record. I'll tell you the story about how it began. So we ran a camp home for Italian Airways before Christmas, they were one of the first brands to use the space for a commercial message, and they made us nervous. We didn't know what was gonna come cause no one had we've got best practice guides. We've got creative specs, and they created an experience where planes fly over the head of amazing landmarks in Italy and people applauded. For somebody who's worked for 25 years in advertising, yeah, that's an incredible thing to be able to say, quite a lovely experience. But this was part of the commission that we did or RFP that we did for people to create for the space, and it's an ethereal journey through space-time. But interesting it uses the ceiling as the main communication plan.  I'm a big fan of these kinds of environments where you look at it and there will be any number of people here who will assume that that's real. Ben Maher: Oh yeah, and the joy is we're using a 3mm pixel pitch so you can create that depth of illusion. The total resolution size here is about 6k, so it's not without its challenges, and we have found it unforgiving for things like raw photo footage because it's just so unforgiving on talent so then we can use templating and things like that to accommodate lower resolution assets, but still have them looking credible in the space. The use of negative space. So not always trying to fill every pixel is also incredibly powerful, so we're trying to utilize that as well. For this, I used to present this in VR, so people are presenting on teams and zoom in VR during the lockdown, trying to explain what we're doing because it's one. It's one thing explaining a new ad format, but it's a different thing explaining a new environment altogether.  Yeah, I'm somebody who's been around this medium, if you wanna call it the technology for 20+ years now and not seen something like this before, particularly the way it's stitched together with everything else, quite honestly, not just, here's this big screen. Be excited! Ben Maher: Yes, and I think we have to create, as I said, multipurpose and interesting use environments because cities deserve them. You've got, as I said, as many on the weekends as 350,000 people coming through this area and it is becoming an attraction. You, we have six to eight hours of free art programming in this building on a Sunday. And people email and go, can I see this? When is this happening? And that I think is a good testament to doing things the right way. It's new. We are learning. When we first opened the now trending space, which is the smallest of the spaces, that silver Line proved an incredibly challenging threshold for some people. Because it was like an anthropological experiment. They didn't know whether they could step in. They didn't know what the transaction was. Because they'd never seen a free public entertainment space like that, and as you'd expect children and people who'd had a drink were the first ones to cross the threshold. But then interestingly put seating in there and people act completely differently. So the psychology of the spaces is also important. Another thing that may be of interest is that this hero screen here on the south wall and the east wall here is permanent deployments, as you can see the slight lines between the wall here, these screens on the north and west are on rails and they can completely retract ah, and the building can open up. So it's one of the first buildings in the world with kinetic staging built in.  You do have doors too, so you can close the area off for private events?  Ben Maher: You can see better with the white there. You can see the slacks between how they work. So we'll be bringing new appointments to view to city centers where you'll come with a real-time of day to actually see something happen. You can see, in fact, these ones are usually completely closed and they've been open today for windows. The small area here can operate as a retail unit. It's been a trainer store for Puma. It was a classroom for Mercedes F1 MG with Toto Wolff. It was a studio for the photographer ranking. It was a red carpet zone for Sky. It's been a party for Apple, and NBCU. So again, having addressable spaces that can do a lot, this pixel pitch at 3mm is akin to what they use in the Unreal Engine SFX studios. So that's essentially the backdrop that they shoot. White, shiny floor shows content. The resolution there, as I say, is 3mm-5mm pitch on the outside here because up higher which is still the highest resolution out of in Europe currently certainly at that scale.  Yeah, I've heard a few 6mm in New York, but not 5mm.  Ben Maher: So we're really pleased with it. But at that resolution, it's interesting. We do need higher-quality content. Because of that pitch, it can be unforgiving. You'll see Netflix is doing an incredible job. They're a very frequent client of ours, but the animation on here will always look incredible cause it obviously scales infinitely almost. But they produce beautiful output and the resolution is incredible.  That space, is it also leasable for if BMW wanted to launch a new electric vehicle or something, you could block off this? Ben Maher: Absolutely. So we held the launch of the new FIFA 23 there and did the FIFA Women's Summit. We've done live boxing with DAZN and Matchroom, so we've held boxing there. We've done events for UNICEF. We've done events for Mothers of Gucci, which is a Gala event. So yeah, we can do private things, but the best way we like the district is having the public in because the more spaces that you privatize, the less inviting the world is, and we want people to come in, experience things free, be entertained, and create moments that ultimately they wanna share and create a destination In the cities we're in. What would you do if there was a big England football match and I remember Lester Square got kinda destroyed, would you just close this off? Ben Maher: So we face the challenges that any public destination would face, and we have to manage the environment. So we do risk assessments on anything. We have a really good security team and we do all of the listening and monitoring of those feeds to know what's happening. We get advice from our partners like TFL, which are local. We've got Camden, and then we liaise with the greater London authorities and also the Emergency response services. So we got a good understanding of what's happening. But yes, we'll make a call based on what's going on to decide how we manage the district because we wanna keep people safe.  How many people work on this, setting aside security and all that, working with the canvas, and everything else? Ben Maher: So the Outernet team as a whole is around 80 people. So that'll divide up between everything from the scheduling to the sales teams to the data and center people, creative teams, et cetera. When did it open? Ben Maher: Officially, the arcade and the trending spaces opened around late August, and what they're now building came online from midday each day in November. So it's not been open for long, we're still very much in our infancy but it's nice as I said, to see the behavior of the public and have been here just over four years, to see it come to fruition is very rewarding.  Did it go through a lot of revisions?  Ben Maher: Yes, in terms of what you were good at? I think there were about 11 years of planning before I was even anywhere near this, and then once the planning is in place, you have to then reinterpret it as an experience as a platform, both for how stories are told, how stories are configured, how content is rendered out, how content is served and then how it can be taken to market for brands, storytellers, creators, you name it. So yes, a lot of revisions, and we're still revising.  There's a number of businesses, operating hotels, everything else. Is this element of it or its own business unit with its own P&L? Ben Maher: Outernet is a media business, and we control the screen-enabled spaces that you see above ground here.  I'm gonna assume that you're not plugged into programmatic or anything like that because it's a very distinct kinda canvas. Ben Maher: That is correct. We're not plugged into programmatic. It's not to say that we would never do it, but the reality is the way that the content needs to be served today, it is very unique. As I said, it's a proprietary stack. It uses lots of familiar techs but it's more programmed like a channel like a traditional broadcast channel as opposed to a media. There's a little bit of rendering that's required, let's just say.  I assume you know who was the LED supplier? Ben Maher: The screens are from AOTO. We went and did an analysis globally of the best screen providers and for what we needed AOTO had a great product, and this is certainly the biggest one of the first in, certainly the biggest deployment that they've done of this product. We're running one triple GPS and are now building a load. We did go as far as doing a sort of quality assessment. We visited factories. We even went as far as looking at where raw materials were mined, because of the importance of having single-batch silicon on a canvas of this scale to ensure that you didn't get that different, particularly obviously on the reds within this car, within this canvas was really important. Another important thing about the LEDs, we degrade panels at the same pace that they are running, so that if we need to replace them, we're replacing them either from our own environments or right into the environment. So again, they're in the same life stage of the panels to ensure high quality.  You have a pretty big spares pool, I would imagine? Ben Maher: We try our best, it's a revolving. If you look at this, this is a drone shoot done by one of the Wrigley Scott Associate directors that we met, and he shot it on an Icelandic beach and it is a music video. But if you look at how some of the B rolls so creating doesn't need all new assets, it can come from existing architecture. The supplier of this kind of creativity told you, here's what we would like you to do with it, or do they give you a license to say, look we'd like to do an edit, this is how it's gonna look?  Ben Maher: It depends on the creator, and it depends on where they are with them. If they're shooting for us, then we'd say, this is the brand kit and this is what you need to produce and this is how you need to play it out. We're always updating our learnings. We get new challenges and new opportunities and we learn from those. But as we see these mega canvases across the world. These sorts of fantastic pieces become more relevant because they'll play out across networks. Across other major cities. I think one of the questions you posed was, is London a model for elsewhere? It is, and we're in discussions in New York, LA, the Middle East, and Asia, at launching these networks and then sharing experiences, interestingly, might always be this exact look and feel. This was put together over 26 years across a horizontal plane. If you go to Manhattan, you're probably gonna have to use a vertical plane, and so it becomes a completely different onboarding process and journey. So it's gonna be interesting how we take our learnings and then we utilize those in other environments.  If you're gonna take this to other locations, does it have to be multifaceted in the same way, and that there's a retail component, there's a hospitality component, there's a restaurant component? Ben Maher: Every case is different. So if you look at environments creating a campus or a district in other cities, particularly New York, or more challenging real estate payment tables or even the planning commissions. So we have to look at them in each case often partnering with other established institutions is wise. We're lucky enough to have a huge foot here. In places like Manhattan, you have those big footfalls. In the other cities, you don't necessarily have this natural footfall. So you have to create a different style of destination or with another key destination to ensure the right sort of, so yeah each case on its own and understanding the needs and nuances of those cities and audiences as well. Yeah, because there are a lot of immersive attractions popping up now. They're almost all projection, but they're very much ticketed locations and it's programmed and it starts at this time and you're there for 45 minutes and exit through the gift shop.  Ben Maher: We're very happy to have you exit through the gift shop here as well. And don't get me wrong, there is some incredible projection technology out there. We've looked at it in our venues and in other places. We have other locations with theaters and other things and, we would certainly consider projection there, but for the kinda canvas and certainly some of the gaming engines and things and future-proofing, we wanted to do this pixel pitch to create a very unique and beautiful canvas that to be fair, I don't think we could have achieved in the same way with projection.  Yeah, it's very interesting. I've written about it and but it's so much more interesting to see it in person, but I think more than anything else, to kinda understand the macro idea as opposed to, oh look, a very big set of screens.  Ben Maher: What are these guys doing?  Why did they do that? Ben Maher: Which again, isn't a difficult question always, and I think just seeing the way the public interacts with it has been enough of a validation that cities deserve these interesting cultural spaces and they deserve to be free and in the public domain.  We're early in our journey. We need more brands coming and telling their stories as well, but telling them in a way that will ingratiate themselves to the public and, out-of-home has done an incredible job at providing public utility forever, in major cities. If we can this model out, certainly for multisensory spaces delivering that as well, I think it sets a good precedent for other cities and other developers across world. Are you affected at all by energy conservation requirements or requests?  Ben Maher: Yes, of course. We are obviously subject to the rising costs of energy as anyone naturally would be, but we have developed the most energy-efficient product that was available on the market. So the sort of coolness and the control of the environment, importantly, isn't prohibitive to doing this. We're not creating a huge carbon footprint that we cannot manage. We have all the relevant ESG scorecards. We're working with the ISO qualifications for energy and for our social corporate responsibilities. But it's also this sort of magnet or those people who are concerned about all the voice energy on these things, do they really need them versus other stuff that's drawing way more energy, but it's not anything you think about? Ben Maher: I think the fact that we're providing a storytelling platform and we're not just screaming at people in the public domain. We're supporting arts and culture everywhere. We have a charitable foundation that donates time, and money for different projects. So we've done projects around sustainability with Unger. We're doing things around social mobility. We've done things for AIDS charities, so we work with lots of different interest groups to provide them with platforms. We even audit the popups so that when we're looking at the brands we're working with, we're not just working with the same generic brands that you get on every high street in the world, right? We wanna ensure that these spaces are different and unique. So whether it's non-white owned businesses, whether it's LGBTQ+ owned business, female-owned, sustainable business, so again, being a conscious member of society, we don't just wanna be a bastian for people who want a big ass billboard.  So I think we've gone around things in a very different way. There is some incredible landmark out home structures in the UK and across Europe. But I do think we have good USPs and we do complement what is already in the market but with enough points of difference, yeah. We wanna attract people to this space and not cannibalize out-of-home budgets by sticking the same offering up. So if we can get more AV budget and that encourages people to do better and more in out-of-home, then that's a fantastic thing.  That's very impressive. Obviously, people like it.  Ben Maher: We're getting there. There's a piece called Heaven's Gate that is the new art exhibition and it is on Sunday and it was absolutely crackers in here, it was just crazy to see how people enjoyed it and it just says conceiving something and then seeing it come to fruition is such a unique and pleasurable thing to be able to do. So we're very proud of what we've done here.

Outernet is an all-inclusive entertainment district in London, reimagining the musically iconic Denmark Street – where acts such as David Bowie and the Sex Pistols kicked off their careers – bringing together music, art, film, gaming and retail. Using advanced screen technology, Outernet offers a new way for creatives and leading brands to produce and experience content, partnering with the likes of Ridley Scott and the Royal College of Art.Philip began his career learning the technical aspects of broadcasting, becoming Senior Vice President of Global Digital Media for MTV Networks in 2007, and then Executive Vice President and Managing Director of its parent company Viacom a year later. He explores how his extensive knowledge of tech led to his team launching the first music video on a mobile phone – and explains what the metaverse really is for the uninitiated. 

IN THIS EPISODE WE BREAK UP WHAT THE INTERNET AND OUTERNET ARE AS WELL AS THEIR UNIVERSAL AND OMMI- VERSAL CONNECTION THEY HAVE. #UnitedFuturtarians #UNONC #UNITEDFUTURTARIANSRADIO #200RISING #UNITED --- Send in a voice message: https://anchor.fm/area-51-nick-jackson-51-a/message Support this podcast: https://anchor.fm/area-51-nick-jackson-51-a/support

Jordan Luke Gage (Clyde in Bonnie & Clyde) co-hosts The West End Frame Show! Andrew and Jordan discuss the opening of The Theatre Cafe Diner, & Juliet starring Collette Guitart, Billy Nevers & Joe Foster, Ruckus and Wicked as well as the latest news about Newsies, Bad Cinderella, The Wizard of Oz, Rebecca Wickes and lots more. Since making his theatrical debut as Marilyn in Taboo at the Brixton Clubhouse, Jordan Luke Gage has become one of the UK's biggest theatrical stars. Jordan's West End credits include being the first replacement Strat in Bat Out Of Hell (Dominion), originating the role of Romeo in & Juliet (Manchester/Shaftesbury), starring as JD in Heathers (Theatre Royal Haymarket) and most recently he played Clyde in the UK premiere of Bonnie and Clyde (Arts).Jordan is currently preparing for two sold out solo shows at the new venue HERE at Outernet on 23rd October ahead of playing Fabrizio Naccarelli in a concert staging of The Light in the Piazza at the Alexandra Palace Theatre on 27th November. Follow Jordan on Instagram: @jordanlukegageJordan previously appeared on S6 Ep7 of our interviews podcast, In The Frame.Hosted by Andrew Tomlins. @AndrewTomlins32  Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts.  

Was kann Frankfurt von Dubai in punkto DOOH lernen, Florian Rotberg? Wenn es um die Digitalisierung des öffentlichen Raums in aller Welt geht, kennt sich kaum jemand so gut aus wie der Gründer und Geschäftsführer der Beratungsgesellschaft Invidis. Seit Jahren begleitet er sämtliche Entwicklungen an der Schnittstelle von Internet und Outernet. Und ist damit der ideale Gesprächspartner im FAW-Podcast, der sich diesmal mit den wichtigsten Trends in den Märkten von Digital Signage und Digital Out of Home beschäftigt.

Rapper Kiraly Payne joins Devonn and Vontrell to talk music, video games, his rap group the OUTERNET and more!!  Kiraly Payne's music is available on major streaming platforms.  IG: https://www.instagram.com/kiralypayne/?hl=en  Twitter: https://twitter.com/KiralyPayne?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor  In School Detention is a weekly podcast show hosted by Devonn Overstreet, Pierce Anderson and Vontrell Williams.  Come sit down with us and listen to our views of life through the eyes of 20 somethings trying to figure out life as we go. As we grow and change, so will the podcast.  Thank you!  Devonn: Facebook- Devonn Overstreet  Twitter- @Dstreetz815  IG-devonnalan  Pierce:  Facebook- Pierce Anderson  Twitter- JUSTDIDIT2345  IG-pb00gs Vontrell IG:vontrellduh Snap:Vontrellduh

We’re living in the Outernet. Wrapping up some light tour stories from last winter, we talk coverage, and probably even freestyle rap due to mystical drum machine powers. Can’t remember! And I think we all know that’s the sign of a good cast. www.mountebank.band IG: @mountebank.band on Spotify music "Beneath the Cascade" by Dane Arnold & the Soup this cast is anchored thanks to anchor.fm photo by Robert Hein @lowkeythelowlife https://www.lowlifevisuals.com/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/feast/message Support this podcast: https://anchor.fm/feast/support

After 33 episodes, season 1 of Love Extremist Radio comes to a close. Ethan and his mom Louise talk about the genesis of the podcast, lessons learned and how Ethan is spreading love in his life beyond this show. Thanks to all who have shared, commented and rated this podcast. Please continue to spread the word and the love amongst your communities! Find Ethan on Instagram @ethanlipsitz Order Pins, Learn More and Sign Up for Email Updates at www.extremist.love Learn more about The Outernet at www.welcometotheouter.net and on Instagram

In this episode, we talk about another failing of MS Edge and then onto the infamous Bash Bunny, with a finish of the Outernet.

Reach the parts of the world that aren't covered by the Internet!

In this episode we’re joined by Thane Richard, the COO of Outernet – the new company with an incredible mission: to broadcast the most important content of the web to the two thirds of the world – or 4.3 billion people – that do not have access to the internet. Providing access to people is a competitive business. Facebook wants to use a fleet of drones. Google is trying out weather balloons in their Project Loon, and Tesla’s Elon Musk wants to use low-cost satellites. But Outernet is offering an alternative: an offline FREE library accessible to anyone, anywhere. And the role of our guest, Thane, is a big one. He decides what content is broadcast. Outernet's crowdfunding campaign on Indiegogo was ambitious too – they wanted to fund a receiving device called Lantern that would shine the light of information into remote corners of the world. And because it works offline, Lantern could provide vital news during natural disasters, making it an essential addition to one’s emergency disaster kit. Their work has been featured widely: on the BBC, Wired, Forbes and others. Outernet’s goal on Indiegogo was to raise $200,000 to bring Lantern into the world… And almost 7,000 backers took the total up to $626,000. An impressive result. So let’s find out how they did it. Find notes for this episode on CrowdSceneShow.com. If you enjoy this episode, posting a positive review on iTunes really helps the show – thanks!

Justin and Jason discuss the move from Perioscope to Meerkat, Justin's health update and why he got rid of his treadmill, how Colby blew the curve on the math final, the field trip to Caltech and the visit from the district superintendent, BVP's anti-portfolio, how to keep from reverting to the mean, teaching kids about money and investments, the story behind CryptoIQ, Justin's "billion dollar" secret project, Jason's idea of how to build the Memory Hole on top of Instapaper, Kurzweil's cyborg predictions, the MagicLeap platform, the possibility of doing another TechZing Summit, the Outernet and whether its signal could be jammed, low-power devices running off WiFi and uBeam's ultrasound charging technology, ideas on how to interview technical candidates, the difficulty of learning advanced mathematics on your own and whether Justin's obsession with taking shortcuts has hamstrung him in other ways.

Deze week bespreekt de techredactie van NU.nl de volgende onderwerpen in De week van NUtech: [00:40] De Tweede Kamer debatteerde deze week over het auteursrecht en het recent ingevoerde downloadverbod. Er bleek weinig animo te zijn om het auteursrecht in Nederland grondig te hervormen; in plaats daarvan wil staatssecretaris Teeven (Justitie) wachten op een voorstel van de Europese Commissie. [05:48] Onverwacht maakte Microsoft de mobiele apps van Office deze week gratis, waar eerder nog een abonnement op Office 365 moest worden genomen. Waarom maakt Microsoft deze verandering en hoe past dit in de strategie van het bedrijf? [09:13] Een Amerikaans-Nederlandse startup zendt "het beste van het internet" uit via satellieten. Dit 'Outernet' moet onder meer informatie leveren aan arme landen en plekken waar het internet wordt gecensureerd. Robert Micca, een van de initiatiefnemers, vertelt ons over de ambitieuze plannen van het Outernet. [15:28] Veel Nederlanders klaagden deze week over de blauwe vinkjes in Whatsapp, die aantonen of een bericht is gelezen. Maar moeten we ons daar eigenlijk wel zo boos over maken? En waarom heeft de duurste app ter wereld al meer dan een jaar geen grote nieuwe functies geïntroduceerd?

(NSFW!) George Lucas Museum kills the show. Marvel whips it out. ASM3/Venom/SSix..who knows? Constantine will smoke only cigs. Powers cast. DD casts doomed gf. Flash/Arrow crossover ep. Marvel changes upset Shannon. Wanna sell more comics? Put US in them. Purge & Sex Tape review. Thot. SadLad. #geekshowcon Lots more!

(NSFW!) George Lucas Museum kills the show. Marvel whips it out. ASM3/Venom/SSix..who knows? Constantine will smoke only cigs. Powers cast. DD casts doomed gf. Flash/Arrow crossover ep. Marvel changes upset Shannon. Wanna sell more comics? Put US in them. Purge & Sex Tape review. Thot. SadLad. #geekshowcon Lots more!

Продолжаем околотелекоммуникационные темы. Кирилл Крылов в четырнадцатом выпуске подкаста linkmeup. Тема: сетевая инфраструктура АЭС. Что ставят, как отслеживают, какие особые требования предъявляются к оборудованию и персоналу. Новости выпуска: Обнаружена опаснейшая уязвимость в OpenSSL: Heartbleed (1, 2, 3, 4)Cisco начинает выпуск IP-телефонов в России (link)Опять про Li-Fi (link)Бесплатный доступ в Интернет по всему миру(Outernet, Google Loon, забавное) Скачать файл подкаста. Добавить RSS в подкаст-плеер. Под катом вы найдёте презентацию к подкасту. К сожалению, Slideshare перестал подгружать звук, поэтому на этот раз слайды будут отдельно, подкаст отдельно. Читать дальше

Продолжаем околотелекоммуникационные темы. Кирилл Крылов в четырнадцатом выпуске подкаста linkmeup. Тема: сетевая инфраструктура АЭС. Что ставят, как отслеживают, какие особые требования предъявляются к оборудованию и персоналу. Новости выпуска: Обнаружена опаснейшая уязвимость в OpenSSL: Heartbleed (1, 2, 3, 4)Cisco начинает выпуск IP-телефонов в России (link)Опять про Li-Fi (link)Бесплатный доступ в Интернет по всему миру(Outernet, Google Loon, забавное) Скачать файл подкаста. Добавить RSS в подкаст-плеер. Под катом вы найдёте презентацию к подкасту. К сожалению, Slideshare перестал подгружать звук, поэтому на этот раз слайды будут отдельно, подкаст отдельно. Url podcast:https://archive.org/download/linkmeup-V014/linkmeup-V014.mp3

Продолжаем околотелекоммуникационные темы. Кирилл Крылов в четырнадцатом выпуске подкаста linkmeup. Тема: сетевая инфраструктура АЭС. Что ставят, как отслеживают, какие особые требования предъявляются к оборудованию и персоналу. Новости выпуска: Обнаружена опаснейшая уязвимость в OpenSSL: Heartbleed (1, 2, 3, 4)Cisco начинает выпуск IP-телефонов в России (link)Опять про Li-Fi (link)Бесплатный доступ в Интернет по всему миру(Outernet, Google Loon, забавное) Скачать файл подкаста. Добавить RSS в подкаст-плеер. Под катом вы найдёте презентацию к подкасту. К сожалению, Slideshare перестал подгружать звук, поэтому на этот раз слайды будут отдельно, подкаст отдельно. Url podcast:https://archive.org/download/linkmeup-V014/linkmeup-V014.mp3

Dr. Tilman Buchner, Leiter des Corporate Centers für Innovation und Produkt bei Autoscout24 in München, über die mobile Autoscout24 App mit Visual Search

Twan Jansen, einer der Gründer von YOUASME MEASYOU aus den Niederlanden, über Augmented Reality Pop-Up Stores

Philipp Hengl, Innovative & Ambient Media Supervisor bei GEWISTA, stellt das A1 Station Branding und WinPin vor

Philipp Eibach, Gründer von wahwah.fm, stellt seinen mobilen Social Music Dienst vor

Steven Wörns und Julia Kramer von Jung von Matt / Spree stellen The Witness - The First Movie in the Outernet vor.