Browse content similar to 20/09/2014. Check below for episodes and series from the same categories and more!
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Where are the extremists hiding? | 0:00:00 | 0:00:03 | |
Without realising it, they've already told the world. | 0:00:03 | 0:00:06 | |
This week on Click, we meet the man who is tracking | 0:00:22 | 0:00:25 | |
down the terrorists by looking at information hidden in plain sight. | 0:00:25 | 0:00:30 | |
And we'll check out the technology the extremists might be able | 0:00:30 | 0:00:34 | |
to use to remain hidden. | 0:00:34 | 0:00:36 | |
Could twin lasers rescue 3-D cinema? | 0:00:36 | 0:00:40 | |
We're at a world first in Amsterdam to find out. | 0:00:40 | 0:00:43 | |
We're also making music with our minds | 0:00:44 | 0:00:46 | |
and we have some money-saving tips for you in Webscape. | 0:00:46 | 0:00:49 | |
Welcome to Click. I'm Spencer Kelly. | 0:00:54 | 0:00:57 | |
Technology touches every aspect of our lives these days of course | 0:00:57 | 0:01:00 | |
and most of the time, it is used for good. | 0:01:00 | 0:01:03 | |
But sometimes it is used for ill, too, | 0:01:03 | 0:01:06 | |
and that certainly seems to be the case with the news coming | 0:01:06 | 0:01:08 | |
out of Syria and Iraq recently, | 0:01:08 | 0:01:11 | |
which has been unremittingly grim. | 0:01:11 | 0:01:14 | |
Today, another barbaric act... | 0:01:14 | 0:01:16 | |
Islamic State has been waging a campaign of terror with | 0:01:16 | 0:01:19 | |
horrific results. | 0:01:19 | 0:01:21 | |
One particularly new aspect to this had been its extensive | 0:01:21 | 0:01:25 | |
and expert use of social media to broadcast its message, | 0:01:25 | 0:01:29 | |
both to create fear and to bring in new recruits. | 0:01:29 | 0:01:32 | |
Some Twitter users this week started urging others to stop sharing | 0:01:34 | 0:01:38 | |
the group's material under the hashtag #isismediablackout, | 0:01:38 | 0:01:42 | |
but it only really had limited success. | 0:01:42 | 0:01:44 | |
But we've come to Leicester to meet one person who's | 0:01:44 | 0:01:47 | |
using his skills to turn Islamic State's own propaganda against it. | 0:01:47 | 0:01:51 | |
This is Eliot Higgins, father of one, resident of Leicester | 0:01:54 | 0:01:58 | |
and a self-employed investigative journalist. | 0:01:58 | 0:02:02 | |
Working from a small office, he is the founder of Belling Cat, | 0:02:02 | 0:02:06 | |
a website which uses open source databases | 0:02:06 | 0:02:08 | |
and the power of the crowd to analyse photos | 0:02:08 | 0:02:11 | |
and videos posted online by insurgents in Syria and Iraq | 0:02:11 | 0:02:14 | |
and then tries to work out where they were taken. | 0:02:14 | 0:02:18 | |
For example, by spotting detail like bridges, unusual buildings | 0:02:18 | 0:02:22 | |
and other notable features in the background of these | 0:02:22 | 0:02:24 | |
propaganda shots of a training camp somewhere in Iraq, Eliot | 0:02:24 | 0:02:28 | |
was able to match the photos to similar shots taken by locals | 0:02:28 | 0:02:31 | |
and to satellite images to pinpoint the camp's location. | 0:02:31 | 0:02:36 | |
Earlier this year, after flight MH17 crashed in Ukraine, | 0:02:36 | 0:02:40 | |
he monitored pictures posted on Facebook, Instagram | 0:02:40 | 0:02:43 | |
and Twitter by people in the area, | 0:02:43 | 0:02:46 | |
to track the journey of an unusual military vehicle that he thinks | 0:02:46 | 0:02:50 | |
was carrying a surface to air missile on that day. | 0:02:50 | 0:02:53 | |
He even believes he's been able to pinpoint | 0:02:53 | 0:02:55 | |
the field from which it was launched. | 0:02:55 | 0:02:58 | |
This is from a video filmed in Ukraine where there's the white | 0:02:58 | 0:03:01 | |
splodge on the rail, and this one - this is from Russia, which is | 0:03:01 | 0:03:04 | |
the same one, the same white splodge. | 0:03:04 | 0:03:07 | |
It might look small, but this operation does cost money. | 0:03:07 | 0:03:10 | |
Eliot gave up his job to do this full-time and he's recently raised | 0:03:10 | 0:03:14 | |
over £50,000 through Kickstarter to sustain and expand his operation. | 0:03:14 | 0:03:19 | |
It really started when I was looking at the conflict in Libya. | 0:03:19 | 0:03:22 | |
I've just been interested in current events. | 0:03:22 | 0:03:24 | |
I saw there was a lot of information being posted on sites | 0:03:24 | 0:03:26 | |
like YouTube and Twitter and Facebook that was being completely ignored. | 0:03:26 | 0:03:29 | |
It seemed to me some of this information was quite interesting. | 0:03:29 | 0:03:33 | |
The problem was the whole question of "how do we know if it's true?" | 0:03:33 | 0:03:36 | |
So I started teaching myself ways to verify this information. | 0:03:36 | 0:03:39 | |
One of the first videos I looked at, it had a big main road in it, | 0:03:39 | 0:03:42 | |
a mosque in it... | 0:03:42 | 0:03:44 | |
They said it was in a certain town, so I went to the town, | 0:03:44 | 0:03:46 | |
found the road, found the same mosque | 0:03:46 | 0:03:48 | |
and was able to verify it was the same town using that information. | 0:03:48 | 0:03:52 | |
And while you might have assumed that Government agencies | 0:03:52 | 0:03:55 | |
are already doing this kind of stuff and with better resources | 0:03:55 | 0:03:58 | |
than just one laptop, Eliot doesn't think they are. | 0:03:58 | 0:04:02 | |
I've been contacted by all kinds of different agencies, | 0:04:02 | 0:04:05 | |
different departments of the same agency saying, "This is interesting, how do you do it?" | 0:04:05 | 0:04:10 | |
It's something I'm very willing to show them | 0:04:10 | 0:04:12 | |
because I think it's open source information. | 0:04:12 | 0:04:14 | |
If I can figure out where someone is stood | 0:04:14 | 0:04:17 | |
when they're filming a video, and they're doing that | 0:04:17 | 0:04:19 | |
week on week on week, that means the person with the artillery | 0:04:19 | 0:04:22 | |
and rocket launchers can also figure that out and target that position. | 0:04:22 | 0:04:26 | |
In fact, just last week, | 0:04:26 | 0:04:27 | |
Eliot claimed to have pinpointed a location south of Raqqa in Syria, | 0:04:27 | 0:04:31 | |
where American journalist James Foley was killed by militants. | 0:04:31 | 0:04:35 | |
You can probably make out... | 0:04:35 | 0:04:37 | |
These are most likely to be trees, rather than individual structures. | 0:04:37 | 0:04:40 | |
But this is a best estimate based on what we know. | 0:04:40 | 0:04:43 | |
I'm sure it's in this region. | 0:04:43 | 0:04:44 | |
So, if technology can be used to expose extra information | 0:04:47 | 0:04:52 | |
about extremist groups, | 0:04:52 | 0:04:53 | |
the next logical step is for those groups to try and hide even deeper. | 0:04:53 | 0:04:59 | |
Jen Copestake has been looking at how new privacy technology | 0:04:59 | 0:05:02 | |
may help them to keep their activities in the dark. | 0:05:02 | 0:05:05 | |
Amir Taaki is one of the key programmers behind a tool | 0:05:08 | 0:05:11 | |
which could potentially | 0:05:11 | 0:05:12 | |
hide the identity of people using the crypto currency, Bitcoin. | 0:05:12 | 0:05:16 | |
Along with Cody Wilson, the creator of the 3-D printed gun, | 0:05:16 | 0:05:20 | |
he's made the Dark Wallet - software to anonymise Bitcoin transactions. | 0:05:20 | 0:05:25 | |
Already the US government and European banking authorities | 0:05:25 | 0:05:28 | |
are looking at regulating the use of Bitcoins and are particularly | 0:05:28 | 0:05:32 | |
concerned about how the Dark Wallet | 0:05:32 | 0:05:34 | |
could be used as a money-laundering tool. | 0:05:34 | 0:05:37 | |
These fears grew recently | 0:05:37 | 0:05:38 | |
when a blog linked to Islamic State was published. | 0:05:38 | 0:05:41 | |
It included an instruction manual for how to stay undercover online. | 0:05:41 | 0:05:46 | |
It emphasised the Dark Wallet would have many benefits, | 0:05:46 | 0:05:49 | |
including the ability to easily... | 0:05:49 | 0:05:51 | |
We first met Amir in Barcelona. | 0:06:08 | 0:06:10 | |
Now, he's living in a squat in the heart of central London. | 0:06:10 | 0:06:14 | |
In June 2013, this was the centre of the G8 protests. | 0:06:15 | 0:06:19 | |
They were sent 1,200 counterterrorism police | 0:06:21 | 0:06:25 | |
to evict the place | 0:06:25 | 0:06:27 | |
and if you see the red paint was where people were fighting | 0:06:27 | 0:06:30 | |
with paint bombs against the police and many people were arrested. | 0:06:30 | 0:06:34 | |
The G8 released a document naming Dark Wallet as a key | 0:06:34 | 0:06:38 | |
money-laundering threat and now Dark Wallet is in the G8 building. | 0:06:38 | 0:06:42 | |
Staying in the squat is a group of expert programmers | 0:06:43 | 0:06:46 | |
working on other software to help anonymise your life online. | 0:06:46 | 0:06:50 | |
They all share the belief that anything an individual | 0:06:50 | 0:06:52 | |
does should be completely free from government interference. | 0:06:52 | 0:06:56 | |
They built the Dark Wallet because they don't believe | 0:06:56 | 0:06:58 | |
anyone should be able to see what you spend your money on online. | 0:06:58 | 0:07:01 | |
But there's a flip side - we came to speak to them about how they'd feel | 0:07:01 | 0:07:05 | |
if their technology is going to be used by extremists | 0:07:05 | 0:07:07 | |
like the Islamic State. | 0:07:07 | 0:07:09 | |
If there was a link with Dark Wallet to an Isis fighter who was | 0:07:09 | 0:07:15 | |
involved in beheading somebody | 0:07:15 | 0:07:17 | |
and you knew that, would you feel comfortable? | 0:07:17 | 0:07:20 | |
Um, yeah. | 0:07:20 | 0:07:21 | |
In fact, I shut down my Twitter account | 0:07:21 | 0:07:23 | |
because they were shutting down Isis accounts. | 0:07:23 | 0:07:26 | |
I don't think... | 0:07:26 | 0:07:28 | |
trying to censor information is the way to go. | 0:07:28 | 0:07:34 | |
Have you had any contact with anyone directly from Isis, | 0:07:34 | 0:07:37 | |
-asking you to help them? -No. No way, I don't like Isis. | 0:07:37 | 0:07:40 | |
So is it a question of you wouldn't stop them from using the Dark Wallet? | 0:07:40 | 0:07:46 | |
No, you can't stop people using technology | 0:07:46 | 0:07:49 | |
because of your personal bias. | 0:07:49 | 0:07:52 | |
I think obviously terrorists will use it | 0:07:52 | 0:07:54 | |
and you know, the benefits certainly outweigh the risks. | 0:07:54 | 0:07:58 | |
Equally, obviously terrorists go use the internet. | 0:07:58 | 0:08:01 | |
Obviously terrorists use freedom of speech. | 0:08:01 | 0:08:04 | |
And we've accepted that that is a trade-off we must make. | 0:08:04 | 0:08:08 | |
It's a sort of libertarian worldview | 0:08:08 | 0:08:10 | |
and at the extreme edges of that, there are those who say | 0:08:10 | 0:08:14 | |
it doesn't really matter what people do with this technology, even if | 0:08:14 | 0:08:18 | |
the whole world is sort of torn up - | 0:08:18 | 0:08:22 | |
what's more important is that we are creating the technology | 0:08:22 | 0:08:25 | |
that is going to guarantee individual liberty from governments. | 0:08:25 | 0:08:30 | |
If it comes to pass that Isis have started using Bitcoin or | 0:08:30 | 0:08:33 | |
Dark Wallet, or any other type of technology of this type, | 0:08:33 | 0:08:38 | |
then public concern and public opinion about these | 0:08:38 | 0:08:42 | |
technologies will change dramatically. | 0:08:42 | 0:08:45 | |
But these programmers don't care about public opinion. | 0:08:45 | 0:08:48 | |
For them, freedom from scrutiny is above all. | 0:08:48 | 0:08:51 | |
In the past, opinions and discussions like this may have | 0:08:51 | 0:08:54 | |
stayed in the squats, but today, combined with their coding | 0:08:54 | 0:08:57 | |
skills, their beliefs are starting to ripple around the world. | 0:08:57 | 0:09:00 | |
Jen Copestake with some pretty thought-provoking stuff. | 0:09:03 | 0:09:06 | |
We'd love to hear your thoughts on the subject - e-mail... | 0:09:06 | 0:09:09 | |
Or tweet us at... | 0:09:09 | 0:09:12 | |
Now, in last week's tech news, | 0:09:12 | 0:09:13 | |
we correctly predicted that Microsoft was about to buy | 0:09:13 | 0:09:16 | |
the makers of Minecraft for 2.5 billion. | 0:09:16 | 0:09:18 | |
Let's see what we get right this week. | 0:09:18 | 0:09:21 | |
In a sign that smart watches may just be starting to gain some | 0:09:21 | 0:09:24 | |
momentum, motorists in the UK are being | 0:09:24 | 0:09:27 | |
warned about the dangers of using the devices while driving. | 0:09:27 | 0:09:30 | |
A spokesman from the Department of Transport says accidents | 0:09:30 | 0:09:33 | |
caused by such activity would result in severe penalties. | 0:09:33 | 0:09:37 | |
The US space agency NASA has announced which companies | 0:09:37 | 0:09:40 | |
it's backing to take the country's astronauts back into space. | 0:09:40 | 0:09:44 | |
Since retiring their own shuttles in 2011, | 0:09:44 | 0:09:46 | |
the Americans have had to rely on Russian ships to get off the ground. | 0:09:46 | 0:09:50 | |
The decision sees 6.2 billion | 0:09:50 | 0:09:52 | |
being paid out to companies Boeing and SpaceX | 0:09:52 | 0:09:55 | |
in order to develop their human spaceflight capabilities. | 0:09:55 | 0:09:59 | |
If all goes to plan, NASA will have rockets by the end of 2017. | 0:09:59 | 0:10:04 | |
Panasonic has unveiled a hybrid smartphone camera with | 0:10:04 | 0:10:08 | |
a huge 1-inch, 20 megapixel sensor, | 0:10:08 | 0:10:11 | |
more normally found in its dedicated cameras. | 0:10:11 | 0:10:14 | |
Unveiled at the Photokina tradeshow in Cologne, the extra optical | 0:10:14 | 0:10:18 | |
heft in the Lumix DMC-CM1 should improve sensitivity | 0:10:18 | 0:10:23 | |
in low light and allow the phone to shoot ultra high-def video. | 0:10:23 | 0:10:26 | |
With Samsung Galaxy's K zoom also on the market, | 0:10:26 | 0:10:30 | |
large-lens phone cameras seem to be something of a trend at the moment. | 0:10:30 | 0:10:34 | |
And it's the programmers' in-joke | 0:10:34 | 0:10:36 | |
that has become the surprise gaming hit. | 0:10:36 | 0:10:39 | |
Goat Simulator is trotting off PC and onto Android and IOS devices. | 0:10:39 | 0:10:44 | |
The game, which is a tongue-in-cheek third person - | 0:10:44 | 0:10:46 | |
or should that be third goat - adventure, | 0:10:46 | 0:10:48 | |
allows the player to take their goat to the fair or ride a bike. | 0:10:48 | 0:10:51 | |
The game also has intentionally buggy sections | 0:10:51 | 0:10:55 | |
and slightly rubbish controls. | 0:10:55 | 0:10:56 | |
Now, if you own a home cinema system, | 0:11:01 | 0:11:03 | |
the chances are you haven't been to the actual cinema in quite a while. | 0:11:03 | 0:11:07 | |
One way that movie theatres are trying to lure audiences back | 0:11:07 | 0:11:10 | |
is with 3-D, which seems to work better in a controlled space | 0:11:10 | 0:11:14 | |
than in the home environment. | 0:11:14 | 0:11:16 | |
But the problem is, 3-D isn't as realistic or as comfortable | 0:11:16 | 0:11:19 | |
to watch as perhaps it could be. | 0:11:19 | 0:11:22 | |
Well, now the movie industry is looking to introduce a new | 0:11:22 | 0:11:25 | |
breed of 3-D and we sent Dan Simmons to Amsterdam, | 0:11:25 | 0:11:29 | |
to witness the very first screening of a film made with the new tech. | 0:11:29 | 0:11:33 | |
The number of cinemagoers choosing the 3-D version of a film has | 0:11:35 | 0:11:39 | |
dropped by a third in the last four years. | 0:11:39 | 0:11:42 | |
People are falling out of love with 3-D. | 0:11:42 | 0:11:44 | |
-The novelty has kind of worn off. -They're not bright enough. | 0:11:44 | 0:11:47 | |
-They're too dim. -All you do is HEAR the movie. | 0:11:47 | 0:11:49 | |
You know how your mother always said, "Don't read in the dark"? It's not a comfortable experience. | 0:11:49 | 0:11:53 | |
Now that we can show it at the proper light level of what | 0:11:53 | 0:11:57 | |
2D would be - a shot in the arm, if you will, for this format. | 0:11:57 | 0:12:00 | |
This is the world's first screening of a full-length movie | 0:12:02 | 0:12:06 | |
using the 6P system. | 0:12:06 | 0:12:08 | |
We project two images simultaneously, | 0:12:08 | 0:12:10 | |
both the left eye and the right eye. | 0:12:10 | 0:12:12 | |
The whole idea is we don't have to flash between the two, | 0:12:12 | 0:12:15 | |
it gives a much better persistence of vision, | 0:12:15 | 0:12:17 | |
therefore the 3-D looks more natural. | 0:12:17 | 0:12:20 | |
We don't go through life alternating our eyes, we go through life | 0:12:20 | 0:12:24 | |
with both eyes open and we see both offset images at the same time. | 0:12:24 | 0:12:28 | |
These are not servers - they're laser power units, pumping out | 0:12:33 | 0:12:37 | |
up to 100,000 lumens of light down fibre optics to two projectors. | 0:12:37 | 0:12:43 | |
Basically put, each projector uses a different mix of colours - | 0:12:45 | 0:12:49 | |
of wavelengths - to send the same picture to each eye. | 0:12:49 | 0:12:53 | |
Using these glasses, they only allow certain wavelengths of light | 0:12:53 | 0:12:57 | |
through, so the left eye can only see what's coming out of that | 0:12:57 | 0:13:00 | |
projector, the right, what's coming out of this. | 0:13:00 | 0:13:03 | |
The important thing though, | 0:13:03 | 0:13:05 | |
is that not in the past has it been possible to get a whole | 0:13:05 | 0:13:08 | |
projector's worth of light into each eye at the same time. | 0:13:08 | 0:13:12 | |
Now we can and that replicates how we see. | 0:13:12 | 0:13:15 | |
We're using a system called colour separation based 3-D, | 0:13:15 | 0:13:19 | |
Which is very different than 99% of movie cinemas right now. | 0:13:19 | 0:13:22 | |
They use polarisation schemes. | 0:13:22 | 0:13:23 | |
The polarisation-based system, you need something in front | 0:13:23 | 0:13:26 | |
of the projector or inside the projector to polarise the light. | 0:13:26 | 0:13:29 | |
And that polariser actually absorbs a lot of light. | 0:13:29 | 0:13:33 | |
With spectral separation, or a colour separation based technique, | 0:13:33 | 0:13:36 | |
using lasers, we can generate the light right from the source | 0:13:36 | 0:13:40 | |
at the wavelength, so we eliminate the filter stage. | 0:13:40 | 0:13:43 | |
The only thing between you and the image, | 0:13:43 | 0:13:45 | |
or you and the projector, are your glasses. | 0:13:45 | 0:13:48 | |
Finally, we have a technology solution | 0:13:53 | 0:13:56 | |
to make 3D as bright as 2D. | 0:13:56 | 0:13:58 | |
The new system is bright enough to do away with the traditional | 0:13:58 | 0:14:01 | |
silver screen which can create hot spots of brightness, | 0:14:01 | 0:14:05 | |
depending on where we sit. | 0:14:05 | 0:14:06 | |
So, the nice part about actually having a flat, matt screen | 0:14:06 | 0:14:10 | |
is that it basically looks the same across the board | 0:14:10 | 0:14:14 | |
for people sitting in the front row, the side row, or the back row. | 0:14:14 | 0:14:19 | |
And that at least allows everybody to see the movie | 0:14:19 | 0:14:22 | |
the way the film-maker wanted...made it. | 0:14:22 | 0:14:24 | |
Well, this is certainly one of the best 3D experiences that I've had. | 0:14:29 | 0:14:33 | |
I have to say, the glasses are not just reflective on this side, | 0:14:33 | 0:14:36 | |
but also this side as well, so you do get a little bit of reflection | 0:14:36 | 0:14:40 | |
when you look through the lenses. | 0:14:40 | 0:14:42 | |
But it's crisp, it's clear, and the colours are brilliant. | 0:14:42 | 0:14:47 | |
Could it be the saviour of 3D film? | 0:14:49 | 0:14:52 | |
I think it is a fundamental piece to continue to support that format. | 0:14:53 | 0:14:58 | |
'Go-o-o-o-o!' | 0:15:00 | 0:15:01 | |
Dan Simmons on the next iteration of 3D cinema. | 0:15:04 | 0:15:07 | |
Now, not all of us are lucky enough to be musically gifted. | 0:15:08 | 0:15:12 | |
But even if you're not LJ Rich, who can play anything | 0:15:12 | 0:15:16 | |
on anything, there is still hope. You too could be a musical virtuoso. | 0:15:16 | 0:15:21 | |
Although it might mess up your hair. | 0:15:21 | 0:15:23 | |
This is my brain on music. | 0:15:28 | 0:15:31 | |
On stage at Music Tech Fest in London, my grey matter is | 0:15:33 | 0:15:37 | |
locked in a musical mind mingle with three other performers. | 0:15:37 | 0:15:41 | |
This brain quartet is actually an octet. | 0:15:41 | 0:15:45 | |
We choose a musical phrase by staring at a pattern on a screen. | 0:15:45 | 0:15:48 | |
If we concentrate correctly, | 0:15:48 | 0:15:50 | |
this sends our chosen phrase to our operator, the actual musician. | 0:15:50 | 0:15:54 | |
When I tried this for the first time a few months back, | 0:15:56 | 0:15:58 | |
one thought wouldn't leave my brain. | 0:15:58 | 0:16:01 | |
Using systems like this, no-one needs musical training to play. | 0:16:01 | 0:16:05 | |
The joy of performing could be accessible to anyone. How exciting! | 0:16:05 | 0:16:09 | |
This conference is all about finding new ways to play music. | 0:16:11 | 0:16:16 | |
Behind me, the guys on stage are exploring new interfaces. | 0:16:16 | 0:16:21 | |
The question is what is the best way to use technology to play music? | 0:16:21 | 0:16:26 | |
Here is the Seaboard, a kind of squishy piano. | 0:16:27 | 0:16:30 | |
It's been well received at the Fest. | 0:16:30 | 0:16:32 | |
Now, even if the only tune you can knock out is Chopsticks, | 0:16:32 | 0:16:35 | |
there's still fun to be had with this interface. | 0:16:35 | 0:16:37 | |
You can slide up and down under the notes. | 0:16:37 | 0:16:40 | |
You can wobble the keys to make the note wobble. | 0:16:40 | 0:16:42 | |
But the real possibilities are only unlocked | 0:16:42 | 0:16:44 | |
if you can play the keyboard. | 0:16:44 | 0:16:46 | |
That's the spirit! | 0:16:47 | 0:16:49 | |
Now, this duo, Intelligentsia, | 0:16:49 | 0:16:51 | |
uses a smartphone to add an extra layer to their performance. | 0:16:51 | 0:16:55 | |
By pressing a button on the as yet unreleased AUUG Motion app, | 0:16:55 | 0:16:58 | |
Bron can add specific harmonies to her vocals. | 0:16:58 | 0:17:02 | |
I could have just left it on a harmony setting, which would have | 0:17:03 | 0:17:06 | |
done a computer-generated harmony. | 0:17:06 | 0:17:07 | |
What I was able to do by triggering the different buttons on the iPhone | 0:17:07 | 0:17:10 | |
was to change that harmony. | 0:17:10 | 0:17:12 | |
Meanwhile, the Oscilla is much more forgiving of the humble novice. | 0:17:13 | 0:17:17 | |
Each counter on the surface simply changes the pitch | 0:17:17 | 0:17:20 | |
and volume of one or more notes. | 0:17:20 | 0:17:22 | |
Crucially, this can be scaled up to people size. | 0:17:22 | 0:17:26 | |
We're now in a stage where we're building the new instruments. | 0:17:26 | 0:17:30 | |
And most of them, the vast majority of them, are still very rudimentary. | 0:17:30 | 0:17:34 | |
We're now seeing the emergence of new ideas which could | 0:17:34 | 0:17:37 | |
potentially lead to a new interface, which is extremely expressive. | 0:17:37 | 0:17:42 | |
Some of these interfaces have broken out of the concept stage. | 0:17:42 | 0:17:46 | |
In Leafcutter John's case, the sound may come out of a laptop, | 0:17:46 | 0:17:49 | |
but what goes in is light. | 0:17:49 | 0:17:52 | |
SPOOKY ELECTRONIC SOUNDS | 0:17:52 | 0:17:53 | |
The laptop became something that everyone used | 0:17:53 | 0:17:56 | |
but no-one seemed to have a good interface for it. | 0:17:56 | 0:17:59 | |
So I've been looking for a long time at a way that | 0:17:59 | 0:18:02 | |
I wanted to play that. | 0:18:02 | 0:18:04 | |
And I landed on this thing which I've made, | 0:18:04 | 0:18:07 | |
which allows you to play by using light. | 0:18:07 | 0:18:10 | |
I'm quite a believer in finding the best tool for the job and, | 0:18:10 | 0:18:14 | |
then, if necessary, you make your own tools. | 0:18:14 | 0:18:17 | |
This thinking, of course, opens the floodgates for all | 0:18:17 | 0:18:20 | |
kinds of instruments, like the water synth, | 0:18:20 | 0:18:22 | |
handily hatched together from microphones | 0:18:22 | 0:18:25 | |
and a plastic tray of water. | 0:18:25 | 0:18:27 | |
ELECTRONIC SOUNDS | 0:18:27 | 0:18:30 | |
And that's what this new frontier embraces - | 0:18:30 | 0:18:33 | |
technology made by musicians so everyone can feel musical. | 0:18:33 | 0:18:37 | |
That would appeal to most brains. | 0:18:37 | 0:18:39 | |
LJ Rich, breaking the sound barrier. | 0:18:41 | 0:18:43 | |
We do love to break down sound barriers on this programme | 0:18:43 | 0:18:46 | |
which is precisely what Kate Russell is about to do, | 0:18:46 | 0:18:48 | |
only hers will save you money. Here's Webscape. | 0:18:48 | 0:18:52 | |
# I wanna be a billionaire...# | 0:18:53 | 0:18:55 | |
The internet might be breaking down international borders, | 0:18:55 | 0:18:59 | |
but the world's banks are taking their time catching up, | 0:18:59 | 0:19:02 | |
with many still adding charges on to processing foreign transactions. | 0:19:02 | 0:19:06 | |
TransferWise is a peer-to-peer currency exchange platform, | 0:19:06 | 0:19:11 | |
disrupting this space by connecting users across international borders | 0:19:11 | 0:19:15 | |
to make secure cash transfers outside the traditional banking system. | 0:19:15 | 0:19:20 | |
# The world better prepare | 0:19:20 | 0:19:23 | |
# For when I'm a billionaire... # | 0:19:23 | 0:19:25 | |
TransferWise charges 0.5% for payments of more than £200 | 0:19:27 | 0:19:31 | |
and a flat fee of £1, | 0:19:31 | 0:19:33 | |
or whatever is the currency in your home country, for smaller amounts. | 0:19:33 | 0:19:37 | |
The service works in lots of countries | 0:19:37 | 0:19:40 | |
and covers many mainstream currencies. | 0:19:40 | 0:19:42 | |
You can also get smarter about travel. | 0:19:46 | 0:19:49 | |
GoEuro is a journey planner that lets you search travel options | 0:19:49 | 0:19:53 | |
across Europe, delivering a list of all possible routes, | 0:19:53 | 0:19:57 | |
including flights, trains, and local buses. | 0:19:57 | 0:20:00 | |
Where GoEuro differs from other sites in this genre is it lets you | 0:20:05 | 0:20:09 | |
search travel options to where you actually want to go, even | 0:20:09 | 0:20:14 | |
that, say, tiny town or village in the countryside. | 0:20:14 | 0:20:17 | |
This site will recommend the best end-to-end options, | 0:20:17 | 0:20:21 | |
displaying results and prices all in your own language and currency. | 0:20:21 | 0:20:25 | |
Tickets can be booked through the site. But it's not compulsory. | 0:20:25 | 0:20:29 | |
And with over 32,000 destinations listed, just browsing could give you | 0:20:29 | 0:20:34 | |
some brilliant ideas about where to spend your break. | 0:20:34 | 0:20:38 | |
People love to share what's happening in their life. | 0:20:45 | 0:20:48 | |
But all too often, that classic opportunity | 0:20:48 | 0:20:51 | |
is missed in the fumble to get your phone out and start recording. | 0:20:51 | 0:20:55 | |
Ovrhrd is an iOS7 and above app that runs in the background, | 0:20:55 | 0:21:01 | |
constantly recording the world around you. | 0:21:01 | 0:21:04 | |
It only keeps up to the last three minutes | 0:21:04 | 0:21:06 | |
so you're not going to fill up your memory. | 0:21:06 | 0:21:09 | |
And battery use is minimal. | 0:21:09 | 0:21:11 | |
When you hear something you want to keep, just open the app | 0:21:11 | 0:21:14 | |
and save the clip. | 0:21:14 | 0:21:15 | |
'I just love making Webscape!' | 0:21:17 | 0:21:20 | |
You can even add effects by swiping right on the save screen. | 0:21:20 | 0:21:23 | |
You know when you miss an important line of dialogue in a film, | 0:21:25 | 0:21:28 | |
or the punch line of a joke, | 0:21:28 | 0:21:30 | |
and use the handy TV remote to jump back 15 seconds? | 0:21:30 | 0:21:34 | |
Well, this is like having a rewind button for real life. | 0:21:34 | 0:21:39 | |
It feels kind of like the Truman Show, in some respects, | 0:21:39 | 0:21:43 | |
and I can imagine how some people might find it a little bit creepy. | 0:21:43 | 0:21:47 | |
The app also lets users share recordings | 0:21:49 | 0:21:51 | |
and follow each other to comment on posts. | 0:21:51 | 0:21:54 | |
RECORDING OF PARROT MAKING INDISTINCT SOUND | 0:21:54 | 0:21:57 | |
Right now, you can't keep your account private, | 0:21:57 | 0:22:00 | |
or ban anyone from following you, which opens up privacy issues. | 0:22:00 | 0:22:04 | |
But the developers say they are working on a few extra | 0:22:04 | 0:22:07 | |
features like this as the app matures. | 0:22:07 | 0:22:10 | |
Kate Russell, gone in 60 seconds. | 0:22:16 | 0:22:19 | |
And Kate's links are all available at our website, of course. | 0:22:19 | 0:22:24 | |
Now, it turns out that this week we are celebrating | 0:22:24 | 0:22:29 | |
a bit of an anniversary because this is Click episode number 750. | 0:22:29 | 0:22:35 | |
Yes, we are three quarters of the way to our millennium. | 0:22:35 | 0:22:39 | |
And after nearly 15 years of covering technology | 0:22:39 | 0:22:42 | |
and innovation, would you believe | 0:22:42 | 0:22:44 | |
the BBC has finally decided to give us... | 0:22:44 | 0:22:46 | |
our own YouTube channel. Yeah. | 0:22:46 | 0:22:50 | |
I know, we've been asking for it for quite a few years and, | 0:22:50 | 0:22:53 | |
if I'm honest, I think they came to the decision relatively quickly. | 0:22:53 | 0:22:57 | |
Anyway, we've dusted off our original YouTube trailer and, | 0:22:57 | 0:23:02 | |
well, I think it still works. | 0:23:02 | 0:23:04 | |
This radio controlled helicopter can not only fly itself, but it can | 0:23:10 | 0:23:14 | |
also beam v-v-v-ideo imagery | 0:23:14 | 0:23:17 | |
straight on to the information superhighway. | 0:23:17 | 0:23:20 | |
It's the smartphone skirt, | 0:23:20 | 0:23:22 | |
tailored from 80 different s-s-smartphones. | 0:23:22 | 0:23:24 | |
Electrically powered unicycle. | 0:23:24 | 0:23:27 | |
Personal, portable replacement for perambulation. | 0:23:27 | 0:23:30 | |
The screen overlays useful information | 0:23:30 | 0:23:33 | |
based on my location, allowing me to record whatever I want. | 0:23:33 | 0:23:37 | |
Augment reality...r-r-reality with extra information. | 0:23:37 | 0:23:41 | |
# These are the things | 0:23:41 | 0:23:44 | |
# These are the things The things that dreams... # | 0:23:44 | 0:23:47 | |
Click. Tomorrow's world... | 0:23:47 | 0:23:50 | |
today. | 0:23:50 | 0:23:52 | |
Yes, anyway. | 0:23:53 | 0:23:55 | |
Just to repeat, you can subscribe to that channel at: | 0:23:55 | 0:23:59 | |
It will contain all our best bits are loads of stuff that you | 0:23:59 | 0:24:02 | |
won't see on the show, too. So, enjoy that. | 0:24:02 | 0:24:05 | |
Thank you very much for watching, and we'll see you next time. | 0:24:05 | 0:24:08 |