Browse content similar to 07/09/2013. Check below for episodes and series from the same categories and more!
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Six months of work and it's finally finished. | 0:00:04 | 0:00:07 | |
Right, bored of that now. | 0:00:07 | 0:00:08 | |
GLASS SMASHES | 0:00:08 | 0:00:10 | |
We're living in throwaway times. | 0:00:25 | 0:00:27 | |
But this week on Click, we're turning mass-produced rubbish | 0:00:27 | 0:00:30 | |
into personalised paraphernalia, | 0:00:30 | 0:00:32 | |
to find out if we'd value our stuff more | 0:00:32 | 0:00:35 | |
if we had a hand in designing it ourselves. | 0:00:35 | 0:00:38 | |
We'll find out how much crowdworking really can earn you | 0:00:38 | 0:00:41 | |
from the comfort of your desk. | 0:00:41 | 0:00:44 | |
Why did the comedian get his dongle out? | 0:00:44 | 0:00:46 | |
To get a bigger audience, of course. | 0:00:46 | 0:00:48 | |
We're on stage with the performers who rely on tech | 0:00:48 | 0:00:51 | |
to get their laughs. | 0:00:51 | 0:00:53 | |
And we'll bring you the latest tech news from around the world, | 0:00:53 | 0:00:56 | |
plus an app that will help you retrace your day in Webscape. | 0:00:56 | 0:01:00 | |
Welcome to Click. | 0:01:03 | 0:01:05 | |
I'm Spencer Kelly. | 0:01:05 | 0:01:07 | |
We've all got used to products which are as cheap as chips, | 0:01:07 | 0:01:10 | |
put together in some far-flung factory | 0:01:10 | 0:01:12 | |
and then shipped around the world, to a high street near you. | 0:01:12 | 0:01:15 | |
But what if, instead of choosing from a catalogue, | 0:01:15 | 0:01:18 | |
YOU helped design it. | 0:01:18 | 0:01:19 | |
Thank you, Chris. Nice catch by the way. | 0:01:19 | 0:01:21 | |
That's what producers are really used for on the programme. | 0:01:21 | 0:01:24 | |
What if you could change the design? Share it? | 0:01:25 | 0:01:28 | |
And what if, instead of ordering a delivery, | 0:01:28 | 0:01:30 | |
you could 3D print it at home? | 0:01:30 | 0:01:33 | |
Would it change how much we value our stuff? | 0:01:33 | 0:01:37 | |
David Reed reports on what some designers are calling | 0:01:37 | 0:01:39 | |
the new Industrial Revolution. | 0:01:39 | 0:01:41 | |
Technology's given designers so much. | 0:01:46 | 0:01:49 | |
Their computer-assisted designs can be etched or engraved with lasers, | 0:01:49 | 0:01:52 | |
or printed in 3D - a whole new box of tools. | 0:01:52 | 0:01:56 | |
But also leeching in from the online world - | 0:01:56 | 0:01:58 | |
a whole new set of design ideas. | 0:01:58 | 0:02:01 | |
The WikiHouse Project aims | 0:02:03 | 0:02:04 | |
to bring house building into the internet age, | 0:02:04 | 0:02:07 | |
by making available open-sourced plans for houses | 0:02:07 | 0:02:10 | |
built out of one principal material. | 0:02:10 | 0:02:13 | |
They've pioneered a construction formula, to make well-priced, | 0:02:13 | 0:02:16 | |
well-built houses from wood. | 0:02:16 | 0:02:19 | |
OK, so it looks like a shed, but it's early days. | 0:02:19 | 0:02:23 | |
And isn't this what open source is all about? | 0:02:23 | 0:02:25 | |
You download for free | 0:02:25 | 0:02:26 | |
and elaborate something grander, using the same system. | 0:02:26 | 0:02:31 | |
WikiHouse, fundamentally, | 0:02:31 | 0:02:32 | |
the idea is to make an open-sourced construction set. | 0:02:32 | 0:02:35 | |
In real terms, what that means is... | 0:02:35 | 0:02:38 | |
using digital fabrication, we can make it possible to share | 0:02:38 | 0:02:41 | |
designs of houses, that effectively anyone can just download and | 0:02:41 | 0:02:45 | |
adapt for their own needs and their own site, and essentially print out. | 0:02:45 | 0:02:49 | |
They don't need any tools, they don't need any construction skill | 0:02:49 | 0:02:52 | |
and, hopefully, they don't need too much money. | 0:02:52 | 0:02:54 | |
But what they can get is a very high-performance product. | 0:02:54 | 0:02:57 | |
On show at London's Design Museum, | 0:03:00 | 0:03:02 | |
an exhibition exploring how digital technology is blurring the lines | 0:03:02 | 0:03:06 | |
between those coming up with product ideas, | 0:03:06 | 0:03:08 | |
those who make them and those who use them. | 0:03:08 | 0:03:12 | |
Wiki's open source, crowdsourcing, | 0:03:12 | 0:03:15 | |
these are familiar ways of getting things done online | 0:03:15 | 0:03:18 | |
that are now getting a comfortable reception in the world of design. | 0:03:18 | 0:03:23 | |
Take this sofa. | 0:03:26 | 0:03:28 | |
Seats two, but a crowd was involved in its design. | 0:03:28 | 0:03:31 | |
The company put out an internet call for entries | 0:03:32 | 0:03:35 | |
and got its online community to vote on their favourite. | 0:03:35 | 0:03:39 | |
The winner's on show at the Design Museum | 0:03:39 | 0:03:41 | |
and for sale on the company website. | 0:03:41 | 0:03:45 | |
Digital machining means that you can make small batches of objects, | 0:03:45 | 0:03:49 | |
and there's no economy of scale - | 0:03:49 | 0:03:51 | |
each one will cost exactly the same, no matter how many you make. | 0:03:51 | 0:03:54 | |
But that also enables each one to be different. | 0:03:54 | 0:03:56 | |
And that's where the consumer comes in. | 0:03:56 | 0:03:58 | |
You can actually take on the input of the consumer | 0:03:58 | 0:04:00 | |
and make each individual project bespoke | 0:04:00 | 0:04:02 | |
and customised for that particular consumer. | 0:04:02 | 0:04:04 | |
To go one step beyond this, | 0:04:06 | 0:04:07 | |
a London designer is proposing users collaborate in the design process, | 0:04:07 | 0:04:11 | |
adding a personal component to his original designs. | 0:04:11 | 0:04:16 | |
With this system, an object is only produced if it is bought, | 0:04:18 | 0:04:22 | |
so no surpluses and the personal touch | 0:04:22 | 0:04:25 | |
means, perhaps, the user values the object more. | 0:04:25 | 0:04:29 | |
I think that even the small object that is... | 0:04:32 | 0:04:36 | |
..almost has no value, in terms of money... | 0:04:37 | 0:04:41 | |
If you will add something to it, | 0:04:41 | 0:04:44 | |
you are topping up the value rates, in some way, for you. | 0:04:44 | 0:04:49 | |
And then you will keep it for years. | 0:04:49 | 0:04:51 | |
A number of design websites are now harnessing | 0:04:51 | 0:04:54 | |
the power of the internet to generate crowdsourced ideas. | 0:04:54 | 0:04:59 | |
At Quirky, for example, members not only vote for original ideas, | 0:04:59 | 0:05:03 | |
but shape every stage of the creation process, | 0:05:03 | 0:05:06 | |
influencing what the final product will look like. | 0:05:06 | 0:05:08 | |
Even helping to name it and deciding on a price tag. | 0:05:08 | 0:05:12 | |
These platforms might seem like an opportunity, but could they | 0:05:12 | 0:05:15 | |
actually be undermining the future for young designers? | 0:05:15 | 0:05:20 | |
There is an economic reality which we're facing | 0:05:20 | 0:05:22 | |
and the design industry has been very hit very badly. | 0:05:22 | 0:05:25 | |
Graduates come out, there are no jobs. | 0:05:25 | 0:05:27 | |
I do worry that they will perhaps not have been equipped properly | 0:05:27 | 0:05:31 | |
to recognise what is a rip-off and what isn't. | 0:05:31 | 0:05:34 | |
A lot of the mainstream crowdsourcing websites from... | 0:05:34 | 0:05:37 | |
the impression I get is that they just automate this and amplify it. | 0:05:37 | 0:05:42 | |
And they put a gloss over it | 0:05:42 | 0:05:44 | |
and pretend that it's not free pitching, but essentially it is. | 0:05:44 | 0:05:47 | |
So, personalised products and cut-and-paste homes, | 0:05:49 | 0:05:52 | |
democratic design, is this really the glittering future? | 0:05:52 | 0:05:56 | |
Well, not everyone is convinced. | 0:05:56 | 0:05:59 | |
Digits2Widgets specialises in high-end 3D printing. | 0:06:00 | 0:06:04 | |
They question whether just because everyone now CAN, | 0:06:04 | 0:06:07 | |
they're necessarily going to WANT TO design and produce. | 0:06:07 | 0:06:12 | |
If you walk down the high street and pass 100 people on the street, | 0:06:13 | 0:06:17 | |
can you seriously suggest that each and every one of those people | 0:06:17 | 0:06:21 | |
is actually motivated, interested, creative enough, | 0:06:21 | 0:06:25 | |
have the time or the inclination | 0:06:25 | 0:06:27 | |
to go home and make their own bits and bobs? | 0:06:27 | 0:06:29 | |
I don't think so. | 0:06:29 | 0:06:30 | |
This innovative birdhouse is a 3D printing project | 0:06:30 | 0:06:34 | |
by a couple of young designers. | 0:06:34 | 0:06:36 | |
For fledglings to the profession, these are testing times - | 0:06:36 | 0:06:39 | |
digital technology has ushered in a new era for so many industries. | 0:06:39 | 0:06:43 | |
And it hasn't always been good news for those with a skill to sell. | 0:06:43 | 0:06:48 | |
If we could harness user participation and collaboration, | 0:06:48 | 0:06:51 | |
while still guaranteeing a fair deal for designers, | 0:06:51 | 0:06:55 | |
that really would be a revolution. | 0:06:55 | 0:06:57 | |
David Reed, quite possibly looking ahead | 0:06:59 | 0:07:01 | |
to the end of our throwaway culture. | 0:07:01 | 0:07:03 | |
Anyway, that's enough of that report. Let's move on - here's News. | 0:07:03 | 0:07:07 | |
What was once the world's biggest mobile handset maker, | 0:07:09 | 0:07:12 | |
Nokia, has been snapped up by Microsoft. | 0:07:12 | 0:07:14 | |
The ailing Finnish tech giant had already ditched | 0:07:14 | 0:07:17 | |
its own bespoke mobile operating systems, | 0:07:17 | 0:07:19 | |
in favour of the Windows Mobile platform... | 0:07:19 | 0:07:21 | |
in an attempt to turns its fortunes around. | 0:07:21 | 0:07:24 | |
Now, Microsoft has bought out | 0:07:24 | 0:07:25 | |
the entire mobile phone operation of the company. | 0:07:25 | 0:07:29 | |
The Seattle-based firm's boss Steve Ballmer said Microsoft | 0:07:29 | 0:07:32 | |
"Had to move more quickly from being a PC | 0:07:32 | 0:07:34 | |
"and laptop firm to one that provided mobile devices and services." | 0:07:34 | 0:07:39 | |
The battle for the smartwatch hots up, after Samsung unveiled | 0:07:40 | 0:07:42 | |
its highly-anticipated Galaxy Gear. | 0:07:42 | 0:07:45 | |
With a colour screen, 1.9 megapixel camera, speaker, | 0:07:45 | 0:07:48 | |
microphone and 4GB of storage, the watch can be linked to your phone | 0:07:48 | 0:07:53 | |
and used to make voice calls - | 0:07:53 | 0:07:54 | |
though this only works if your phone itself is a Samsung Galaxy. | 0:07:54 | 0:07:59 | |
It will retail at around 300. | 0:07:59 | 0:08:02 | |
Similar products from Apple, Microsoft and Google | 0:08:02 | 0:08:05 | |
are expected soon. | 0:08:05 | 0:08:06 | |
Google has announced the official name | 0:08:07 | 0:08:09 | |
of the latest version of its Android mobile operating system. | 0:08:09 | 0:08:12 | |
Following a sweet-treat theme, version 4.4 will be Android KitKat, | 0:08:12 | 0:08:17 | |
after the chocolate-covered wafer biscuit made by Nestle. | 0:08:17 | 0:08:21 | |
The terms of the brand tie-up were unclear. | 0:08:21 | 0:08:24 | |
Google recently announced that Android has just had | 0:08:24 | 0:08:27 | |
its one billionth activation since its birth in 2008. | 0:08:27 | 0:08:31 | |
The new version will be out this autumn. | 0:08:31 | 0:08:33 | |
Finally, how about accessing your e-mail in a heartbeat, | 0:08:34 | 0:08:36 | |
with your pulse? | 0:08:36 | 0:08:38 | |
Californian start-up Bionime has revealed a wristband | 0:08:38 | 0:08:41 | |
that recognises your electro cardiogram - | 0:08:41 | 0:08:44 | |
effectively the unique elements of each person's pulse - | 0:08:44 | 0:08:47 | |
when they place their finger on the censor. | 0:08:47 | 0:08:49 | |
Its makers say it's as effective as fingerprint scans but harder to fool. | 0:08:49 | 0:08:54 | |
The bracelet then uses low-powered Bluetooth | 0:08:54 | 0:08:57 | |
to tell a dedicated app that it is indeed you, so you can log in. | 0:08:57 | 0:09:02 | |
Bionime says it could be used to replace ID cards or house keys. | 0:09:02 | 0:09:06 | |
Now, as we said last week, there's an awful lot of crowdsourcing | 0:09:11 | 0:09:15 | |
going on at the moment. | 0:09:15 | 0:09:16 | |
We've just heard about crowdsourcing sofas and, last week, | 0:09:16 | 0:09:20 | |
we asked the question, | 0:09:20 | 0:09:21 | |
"Is it possible to earn a living by crowdworking?" | 0:09:21 | 0:09:24 | |
In fact, we set LJ Rich the challenge of spending a week | 0:09:24 | 0:09:27 | |
picking up casual crowdwork that she could do at her desk. | 0:09:27 | 0:09:31 | |
Her earnings would go to charity. | 0:09:31 | 0:09:34 | |
And this is how she got on. | 0:09:34 | 0:09:35 | |
I'm not averse to a bit of hard graft, | 0:09:38 | 0:09:39 | |
but how hard can it be to earn money through a computer? | 0:09:39 | 0:09:44 | |
So, first day at work - look sharp, time to sign up with a few sites. | 0:09:44 | 0:09:48 | |
I've decided on two rules. | 0:09:49 | 0:09:50 | |
First, any cash I do earn will secretly go to charity | 0:09:50 | 0:09:53 | |
and second, I don't want to be earning money online | 0:09:53 | 0:09:56 | |
for something I don't want to do on daytime television. | 0:09:56 | 0:09:59 | |
First up, InboxPounds, a site providing surveys | 0:10:02 | 0:10:05 | |
and odd jobs to casual clickers. | 0:10:05 | 0:10:07 | |
Nice, a full £1 bonus for signing up. | 0:10:07 | 0:10:10 | |
Answering a 15-minute survey about an advert gets me 25p. | 0:10:10 | 0:10:14 | |
Next, watch a video - 1p. | 0:10:14 | 0:10:17 | |
Liking Samsung on Facebook - 1p. | 0:10:17 | 0:10:19 | |
Yes, you heard right, I got paid for a Like, I'm not proud. | 0:10:19 | 0:10:23 | |
Seems promising, but no cash in hand till I earn £20. | 0:10:23 | 0:10:27 | |
SwagBox is a site offering points, which eventually add up to money, | 0:10:31 | 0:10:34 | |
either through PayPal or internet vouchers. | 0:10:34 | 0:10:37 | |
Watch videos, play games, earn. | 0:10:37 | 0:10:40 | |
A day's casual gaming, searching and video-watching | 0:10:40 | 0:10:44 | |
earns 102 swagbucks, which converts to rather less in real money. | 0:10:44 | 0:10:48 | |
Next up, CastingWords.com. | 0:10:51 | 0:10:54 | |
I've joined an army of transcribers, listening to audio | 0:10:54 | 0:10:57 | |
and typing out the words. | 0:10:57 | 0:10:58 | |
Sounds simple enough for a fast typist like me, | 0:10:58 | 0:11:01 | |
but just one assignment took me nearly an hour | 0:11:01 | 0:11:04 | |
and, to add insult to injury, | 0:11:04 | 0:11:06 | |
my promised pay was docked heavily for not fitting house style. | 0:11:06 | 0:11:10 | |
I was demoted and can now only review other people's work | 0:11:10 | 0:11:15 | |
for a few cents a piece. | 0:11:15 | 0:11:16 | |
Other micro-working sites, like Amazon's Mechanical Turk | 0:11:19 | 0:11:22 | |
pay for so-called "human intelligence tasks" or "hits". | 0:11:22 | 0:11:26 | |
These can be for creative writing, coding and more. | 0:11:26 | 0:11:29 | |
Sadly, I couldn't register, | 0:11:29 | 0:11:32 | |
but I was able to sign up to an alternative site, Clickworker. | 0:11:32 | 0:11:35 | |
First, pass an English test and a creative writing test. | 0:11:35 | 0:11:39 | |
Thanks to my 100% score, I've landed a plum assignment - | 0:11:39 | 0:11:42 | |
creative writing for mail-order catalogue entries | 0:11:42 | 0:11:46 | |
for tennis clothing based on translated German text. | 0:11:46 | 0:11:50 | |
It's comparatively lucrative, though, | 0:11:50 | 0:11:52 | |
at 1.25 Euros for just over 100 words. | 0:11:52 | 0:11:55 | |
Though, you're at the mercy of the marker, who gives you nothing | 0:11:55 | 0:11:58 | |
if they're not impressed. | 0:11:58 | 0:12:00 | |
This happened on my last three tasks. So much for my 100% score. | 0:12:00 | 0:12:04 | |
Finally, I turned to Fiverr.com, | 0:12:07 | 0:12:09 | |
a site where the crowd advertises services as "gigs" for 5. | 0:12:09 | 0:12:14 | |
Some services are frankly mystifying. | 0:12:14 | 0:12:17 | |
I offered my paying customers the option of poetry, | 0:12:17 | 0:12:20 | |
music composing and bad-pun headline writing. | 0:12:20 | 0:12:24 | |
The inevitable witty friend off Facebook asked me | 0:12:24 | 0:12:26 | |
for something virtually impossible - | 0:12:26 | 0:12:28 | |
30 seconds of a Miles Davis-style piano theme, for 5, in four days. | 0:12:28 | 0:12:34 | |
Oh, well, his money's as good as anyone else's. | 0:12:34 | 0:12:36 | |
Although these assignments took the longest to complete, | 0:12:39 | 0:12:42 | |
I found this approach by far the most fun and enterprising. | 0:12:42 | 0:12:45 | |
Fiverr.com takes a healthy 20% cut, leaving me with 4. | 0:12:45 | 0:12:51 | |
And the payment process is positively glacial, taking 14 days. | 0:12:51 | 0:12:56 | |
So, working week over, how did I do? | 0:12:56 | 0:12:59 | |
OK, well, not as much as I was hoping | 0:13:01 | 0:13:03 | |
but with what I've learnt this week, | 0:13:03 | 0:13:05 | |
I feel there's a real potential to earn a much healthier weekly wage | 0:13:05 | 0:13:10 | |
if I did this experiment again next week. | 0:13:10 | 0:13:12 | |
But as well as the cost of a connection, | 0:13:12 | 0:13:14 | |
workers need fast-typing skills, a decent social media reach, | 0:13:14 | 0:13:18 | |
or a unique and bankable ability to get these jobs. | 0:13:18 | 0:13:22 | |
Sounds like the real world. | 0:13:22 | 0:13:24 | |
LJ Rich, who most certainly won't be giving up her day job. | 0:13:27 | 0:13:31 | |
However, if you have made it work for you, by finding work for you, | 0:13:31 | 0:13:35 | |
then let us know how you've done it and, indeed, what you do. | 0:13:35 | 0:13:37 | |
Have you heard the one about the struggling comedian? | 0:13:45 | 0:13:48 | |
He uses his smartphone to find fame and fortune. | 0:13:48 | 0:13:52 | |
It's not that funny. | 0:13:52 | 0:13:54 | |
Fortunately, comedian Carl Donnelly is. | 0:13:54 | 0:13:57 | |
Now, he's been performing at the Edinburgh Fringe Festival | 0:13:57 | 0:13:59 | |
this summer and we asked him to take us | 0:13:59 | 0:14:02 | |
on a tour of the comedy scene, to see just how necessary technology | 0:14:02 | 0:14:06 | |
is becoming in both building an audience | 0:14:06 | 0:14:08 | |
and even in performing the gags themselves. | 0:14:08 | 0:14:11 | |
-£5.50. -March straight to the front, look him straight in the eye | 0:14:14 | 0:14:17 | |
and say, "You know what? | 0:14:17 | 0:14:18 | |
"You try switching it off then back on again." | 0:14:18 | 0:14:21 | |
If John Connor had really wanted to stop the Terminator, | 0:14:22 | 0:14:24 | |
he could have just have left a bag in the bagging area. | 0:14:24 | 0:14:27 | |
Look at that. Look at this. O-G, the Programming Nation. | 0:14:27 | 0:14:30 | |
In the old days, observational comedy was all about mother-in-laws | 0:14:35 | 0:14:38 | |
and moustaches... | 0:14:38 | 0:14:41 | |
I think it was a legal requirement. | 0:14:41 | 0:14:43 | |
Whereas nowadays, you're more likely to hear comedians | 0:14:43 | 0:14:46 | |
talking about online shopping or Facebook. | 0:14:46 | 0:14:49 | |
If anything, now, I think it helps to reference technology, | 0:14:49 | 0:14:53 | |
just to find a common ground with an audience. | 0:14:53 | 0:14:55 | |
I saw this the other day, | 0:14:55 | 0:14:57 | |
this is an Emergency Broadband Response Vehicle. | 0:14:57 | 0:15:00 | |
'Ex-IT specialist Dan Willis is a comic who does exactly that. | 0:15:00 | 0:15:04 | |
'His show, called "PC, Mac and Me" is chock-a-block with tech, | 0:15:05 | 0:15:08 | |
'which suits this unashamed geek just fine.' | 0:15:08 | 0:15:11 | |
You've actually got everything you want in an iPhone | 0:15:11 | 0:15:14 | |
or in an Android, or in a Windows-based phone. | 0:15:14 | 0:15:17 | |
And it's just great, everything's just continually moving. | 0:15:17 | 0:15:20 | |
As long as it keeps moving in a direction, | 0:15:20 | 0:15:22 | |
I'll pick up new material | 0:15:22 | 0:15:23 | |
and just keep writing jokes about it. | 0:15:23 | 0:15:25 | |
But it should look like that... | 0:15:25 | 0:15:27 | |
That's the geekiest joke written in the history of comedy. | 0:15:29 | 0:15:31 | |
Dan's laptops, phones, | 0:15:31 | 0:15:33 | |
projectors and remotes are firmly at the heart of his production. | 0:15:33 | 0:15:36 | |
Without them, the show would not go on. | 0:15:36 | 0:15:38 | |
'Not to mention a cheeky peek helps remind him | 0:15:40 | 0:15:42 | |
'where he is in his routine.' | 0:15:42 | 0:15:44 | |
Where are we? If we fly on towards the end of the show... | 0:15:44 | 0:15:46 | |
'But, as his remote steers the ship, | 0:15:46 | 0:15:48 | |
'other acts invite whole audiences to take the helm.' | 0:15:48 | 0:15:51 | |
Your time...starts now. | 0:15:51 | 0:15:54 | |
Equipping his crowd with personal controls, | 0:15:54 | 0:15:56 | |
Nathan Penlington puts his audience in a director's chair. | 0:15:56 | 0:16:00 | |
They alter the show's plot with a touch of a button, | 0:16:00 | 0:16:03 | |
which means the length of the performance is in their hands. | 0:16:03 | 0:16:07 | |
And if it's not funny, well, they've only got themselves to blame. | 0:16:07 | 0:16:10 | |
Well, the audience direct completely what happens in the show. | 0:16:10 | 0:16:14 | |
It's been completely different every day. | 0:16:14 | 0:16:16 | |
There are 1,566 different possible shows. | 0:16:16 | 0:16:20 | |
Some of those stories are incredibly emotional and takes us | 0:16:20 | 0:16:23 | |
on a very different journey. | 0:16:23 | 0:16:24 | |
Some are very funny, but it depends entirely on the audience. | 0:16:24 | 0:16:28 | |
Behind the scenes, one computer acts as a server for 200GB of video media. | 0:16:28 | 0:16:33 | |
Or, as we like to call it in the business, "loads". | 0:16:33 | 0:16:36 | |
The other calculates the results of the live votes | 0:16:38 | 0:16:41 | |
to determine what's played out. | 0:16:41 | 0:16:42 | |
Again, thank you very much for coming. | 0:16:42 | 0:16:45 | |
Having a unique voice is crucial to standing out in comedy. | 0:16:48 | 0:16:52 | |
Take Joe Pasquale's high-pitched squawk | 0:16:52 | 0:16:54 | |
or my own soft, smooth, sophisticated tones. | 0:16:54 | 0:16:57 | |
But what if you have no voice at all, | 0:16:57 | 0:16:59 | |
how could you possibly be heard? | 0:16:59 | 0:17:01 | |
-ROBOTIC VOICE: -The look on their faces | 0:17:02 | 0:17:04 | |
as I began to sing was priceless. | 0:17:04 | 0:17:07 | |
Diagnosed with cerebral palsy at an early age, | 0:17:07 | 0:17:09 | |
comic Lee Ridley lost his ability to talk. | 0:17:09 | 0:17:12 | |
Performing his entire show through his iPad, | 0:17:13 | 0:17:15 | |
Lee has found a new audience, as well as a new voice. | 0:17:15 | 0:17:18 | |
You may be wondering why I chose to sound like | 0:17:18 | 0:17:21 | |
a posh version of RoboCop. | 0:17:21 | 0:17:23 | |
Lee's tablet has given him a new lease of life, | 0:17:23 | 0:17:25 | |
as well as a career. | 0:17:25 | 0:17:26 | |
Without it, he wouldn't be a stand-up. | 0:17:26 | 0:17:29 | |
Technology, then, is changing the way we comedians perform, | 0:17:30 | 0:17:33 | |
but it's also changing our relationship with our audience. | 0:17:33 | 0:17:36 | |
YouTube star Bo Burnham and award-winning Tweeter Rob Delaney, | 0:17:37 | 0:17:41 | |
were propelled into celebrity status almost overnight. | 0:17:41 | 0:17:44 | |
I just have to state, for the record, that I am not jealous at ALL. | 0:17:45 | 0:17:50 | |
Aaargh! | 0:17:50 | 0:17:52 | |
Technology and, quite specifically, social media, | 0:17:52 | 0:17:55 | |
has had a real democratising effect on... | 0:17:55 | 0:18:00 | |
comedic possibilities. | 0:18:00 | 0:18:02 | |
You do your thing, your way... | 0:18:02 | 0:18:05 | |
in your place, in your time. | 0:18:05 | 0:18:08 | |
You put it up on YouTube or Facebook or wherever. | 0:18:08 | 0:18:11 | |
You create a website and you get a following. | 0:18:11 | 0:18:14 | |
So you're doing everything on YOUR terms. | 0:18:14 | 0:18:16 | |
But with universal reach comes a risk of viral plagiarism. | 0:18:18 | 0:18:22 | |
From me posting it on Twitter to me getting a message from somebody | 0:18:22 | 0:18:25 | |
saying they had received it in a text, it was 45 minutes. | 0:18:25 | 0:18:30 | |
So I posted it up. | 0:18:30 | 0:18:31 | |
Then, within a few minutes of that, started being disseminated | 0:18:31 | 0:18:34 | |
on all these websites that spread joke information around. | 0:18:34 | 0:18:37 | |
It got distributed, | 0:18:37 | 0:18:39 | |
so I have to actually make a point in my show of saying | 0:18:39 | 0:18:41 | |
where the origin of these jokes on the internet have come from | 0:18:41 | 0:18:44 | |
and the answer is, they come from comics and from writers. | 0:18:44 | 0:18:47 | |
So there are pitfalls, | 0:18:47 | 0:18:48 | |
but clearly technology has helped a new wave of comics | 0:18:48 | 0:18:51 | |
find their niche and tech-loving audiences to become more immersed | 0:18:51 | 0:18:55 | |
in the comedy they enjoy on, and off, stage. | 0:18:55 | 0:18:58 | |
Cheers, guys. | 0:18:58 | 0:19:00 | |
Keep enjoying technology, guys. Just use it for your own things... | 0:19:00 | 0:19:04 | |
Carl Donnelly, proving that building a big audience | 0:19:07 | 0:19:09 | |
is no laughing matter, | 0:19:09 | 0:19:11 | |
except for when it is. | 0:19:11 | 0:19:13 | |
Now, one thing that's not so funny is the raft of privacy stories | 0:19:13 | 0:19:17 | |
we've been hearing about of late. | 0:19:17 | 0:19:18 | |
If you've been following the revelations about PRISM | 0:19:18 | 0:19:21 | |
and other security issues, | 0:19:21 | 0:19:22 | |
you'll know that these things have enough tracking technology | 0:19:22 | 0:19:25 | |
inside them to make it possible to follow your every move, | 0:19:25 | 0:19:28 | |
even when you're not making a phone call. | 0:19:28 | 0:19:30 | |
Now, some people, understandably, find this intensely disturbing, | 0:19:30 | 0:19:34 | |
but others are embracing it, | 0:19:34 | 0:19:35 | |
as Kate Russell's been finding out in this week's Webscape. | 0:19:35 | 0:19:38 | |
# I've been everywhere, man. | 0:19:40 | 0:19:42 | |
# Looking for someone... # | 0:19:42 | 0:19:44 | |
Have you ever wondered what on Earth you did with your day? | 0:19:44 | 0:19:47 | |
Placeme is a free smartphone app that uses GPS | 0:19:47 | 0:19:51 | |
and Wi-Fi to make a map of everywhere you go. | 0:19:51 | 0:19:55 | |
It works in the background, quietly logging your mobile life, | 0:19:55 | 0:19:58 | |
so you can retrace your footsteps whenever you like. | 0:19:58 | 0:20:02 | |
You can also search back through your history, | 0:20:02 | 0:20:05 | |
say to find that awesome sushi restaurant you went to last month, | 0:20:05 | 0:20:09 | |
but can't remember the name of. | 0:20:09 | 0:20:11 | |
Right now, the app just logs the places you visit, | 0:20:11 | 0:20:14 | |
encrypting the data and storing it privately, for your own records. | 0:20:14 | 0:20:17 | |
But the developers have suggested that in the future they could | 0:20:17 | 0:20:21 | |
use this insight to deliver useful information, without you even asking, | 0:20:21 | 0:20:26 | |
such as warning you about traffic problems on your regular route home | 0:20:26 | 0:20:30 | |
or letting you know you do your weekly food shop | 0:20:30 | 0:20:33 | |
at the most expensive supermarket in the street. | 0:20:33 | 0:20:35 | |
# Cos the music makes me feel like you | 0:20:37 | 0:20:40 | |
# When I see that look on your face... # | 0:20:40 | 0:20:42 | |
As well as knowing where you go, | 0:20:42 | 0:20:44 | |
computers are pretty good at figuring out what you like, | 0:20:44 | 0:20:48 | |
with just a keyword or two to work from. | 0:20:48 | 0:20:51 | |
Stereomood capitalises on this technology, | 0:20:51 | 0:20:54 | |
to create a playlist to reflect your mood. | 0:20:54 | 0:20:56 | |
Just tell it how you feel. | 0:20:56 | 0:20:58 | |
The tracks played through this free streaming music service | 0:21:04 | 0:21:07 | |
are taken from reviews | 0:21:07 | 0:21:09 | |
and recommendations from some of the best music blogs on the web. | 0:21:09 | 0:21:12 | |
So the playlists are eclectic and, often, obscure. | 0:21:12 | 0:21:16 | |
It'll be a journey of discovery for most casual music lovers. | 0:21:16 | 0:21:20 | |
There's the obligatory click-to-buy link if you hear something you love. | 0:21:20 | 0:21:24 | |
Log in to record your preferences | 0:21:24 | 0:21:26 | |
for an increasingly pleasurable experience. | 0:21:26 | 0:21:28 | |
There are also free apps for iPhone and Android, | 0:21:28 | 0:21:31 | |
though, watch your data usage when streaming anything. | 0:21:31 | 0:21:35 | |
# Cos the music makes me feel like you | 0:21:35 | 0:21:38 | |
# When I see that look on your face. # | 0:21:38 | 0:21:41 | |
MUSIC: "Danger! High Voltage" by Electric Six | 0:21:41 | 0:21:44 | |
You might hear a lot of talk about viruses and malware, | 0:21:44 | 0:21:48 | |
but how are you supposed to know | 0:21:48 | 0:21:49 | |
whether your protection is up to scratch, | 0:21:49 | 0:21:51 | |
without putting yourself in harm's way | 0:21:51 | 0:21:54 | |
# Danger! Danger! | 0:21:54 | 0:21:56 | |
# High voltage! # | 0:21:56 | 0:21:57 | |
Just head over | 0:21:57 | 0:21:58 | |
to the Anti-Malware Testing Standards website to find out. | 0:21:58 | 0:22:02 | |
The download files linked on this site aren't malicious, | 0:22:05 | 0:22:09 | |
but they've been programmed to appear so, by industry standards. | 0:22:09 | 0:22:13 | |
So, if your computer lets you download them, | 0:22:13 | 0:22:16 | |
you need to look at upgrading your security solutions, | 0:22:16 | 0:22:18 | |
like your firewall and anti-virus software. | 0:22:18 | 0:22:21 | |
Google-owned panoramio, | 0:22:25 | 0:22:27 | |
a site that showcases millions of geo-location-tagged photos | 0:22:27 | 0:22:31 | |
from an enthusiastic community of amateur and professional snappers, | 0:22:31 | 0:22:36 | |
got a big revamp this week, with a focus | 0:22:36 | 0:22:39 | |
on enhancing the visuals, as you browse through these stunning vistas. | 0:22:39 | 0:22:43 | |
Back to school this week for lots of you | 0:22:51 | 0:22:53 | |
and NoRedInk wants to help you get to the head of the class, | 0:22:53 | 0:22:57 | |
with a simple web-app to improve grammar. | 0:22:57 | 0:23:00 | |
Teachers can register for a class code, to track all | 0:23:04 | 0:23:07 | |
of their students' progress. | 0:23:07 | 0:23:08 | |
UK viewers who take pride in their neighbourhood | 0:23:17 | 0:23:20 | |
can now do their bit to keep the streets looking smart, | 0:23:20 | 0:23:23 | |
with the help of FixMyStreet, | 0:23:23 | 0:23:25 | |
where you can easily report any issues you spot in your area, | 0:23:25 | 0:23:29 | |
like graffiti, flytipping, potholes and broken paving slabs. | 0:23:29 | 0:23:34 | |
The charity-run site is free to use and will pass your reports | 0:23:34 | 0:23:37 | |
onto the relevant council department to be fixed, | 0:23:37 | 0:23:40 | |
so that you can get back out into the last of this beautiful sunshine | 0:23:40 | 0:23:43 | |
to enjoy your neighbourhood. | 0:23:43 | 0:23:46 | |
MUSIC: "Down Our Street" by The Subways | 0:23:46 | 0:23:50 | |
Thank you, Kate. | 0:23:52 | 0:23:53 | |
Kate Russell's Webscape and her links are all up at our website, | 0:23:53 | 0:23:56 | |
of course, if you missed them... The only address you'll ever need. | 0:23:56 | 0:24:01 | |
Unless you're contacting us, when you can use the e-mail address | 0:24:01 | 0:24:04 | |
or the Twitter address... | 0:24:04 | 0:24:07 | |
You can also find us on Facebook and Google+, too. | 0:24:07 | 0:24:10 | |
But that's it for now, so thanks for watching | 0:24:10 | 0:24:12 | |
and we'll see you next time. | 0:24:12 | 0:24:14 | |
Subtitles by Red Bee Media Ltd | 0:24:22 | 0:24:25 |