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HTML5 versus native apps. It’s a debate as old as — well, at least three years ago. And pretty much since the beginning of that debate, there has been a general underlying current among the geek community that HTML5 is good and native is bad. Native is what we have to deal with as we wait for HTML5 to prevail.

But what if that never happens?

Let’s be honest: right now, most HTML-based mobile apps are a joke when compared to their native counterparts. It’s not even remotely close. In fact, you could argue that the discrepancy isn’t much smaller than it was three years ago. And considering that the App Store was only on the verge of launching at that point, in many ways, the discrepancy is even bigger. Just look at mobile games now, for example.

Developers often state their love of HTML5 and their commitment to it going forward. But many have no choice. Native app development is not only difficult, it’s expensive.

These days, if you’re going to do native apps, you at least have to support iOS and Android. That means at least two developers for each different language, and preferably more. And if your startup is big enough or hot enough (like Foursquare, for example), you’ll probably want to have apps for Windows Phone, Blackberry, and webOS as well (which, to be fair is largely HTML-based).

Talking to developers, this is the single biggest pain point on the mobile side of things. And many talk about HTML5 as the remedy. A number now choose to build an iOS app then settle on a web app for Android at first. Others do both iPhone and Android but only offer rudimentary sites for the other platforms.

But the fact that very few, if any, choose to go HTML5-only is telling. If we were anywhere close to the language being a unifier and savior, at least some would. We’re not close.

Let’s look at the debate from the perspective of the three hottest technology companies right now: Apple, Google, and Facebook.

Apple is basically all-in on native apps. Google is half-in on native apps, half-in on HTML5. Facebook is seemingly all-in on HTML5 (at least going forward).

Apple is very interesting in this regard. When the iPhone launched in 2007, the only native apps were the ones made by them. Developers were told to build web apps in order to get on the device. Who knows if Apple planned third-party native apps all along or if they pivoted when they saw the opportunity, but a year later, we had the App Store.

It’s the single reason there’s any debate right now.

Apple is now obviously native app all the way. But it’s on their own terms. When a developer makes an app that Apple doesn’t like in some way, they recommend that they make an HTML5 app to bring it to one of their devices.

It’s more or less a “my way or the highway” approach — it’s just a nice way of putting it. Apple is using the hype around HTML5 to their advantage here. They know that those apps can’t compete with their native apps, but so many people are so bullish about the future of the technology (and, to be fair, Apple seems to be as well at least on the Safari side of things) that Apple is able to play that to their advantage.

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A picture of German choreographer Pina Bausch hangs, in memoriam, in the spartan hallway of Wim Wenders‘ Berlin office.

Bausch, or Pina to everyone who knew her, died in 2009, just as Wenders was about to begin shooting a movie about her and her work.

What was planned as a documentary became something else: the world’s first 3D art house film and Wenders’ true testimonial to the woman many credit with revolutionizing the art of dance.

The film, which will screen out of competition in Berlin, is the culmination of an obssession with Pina’s work that Wenders says began the moment he saw Bausch’s Tanztheater in 1984.

“I saw the first piece of Pina’s and immediately saw five more — I saw everything she did,” he says. “I’d seen some classical dance, but I was always bored. Here was something completely different. Even calling it modern dance is inappropriate. She created the word tanztheater, dance theater. What she does is plays where the acting is done by dancers.”

Bausch’s work is, on the surface, worlds away from the films of the German auteur. Although her pieces often contain snatches of dialogue — itself scandalous for classical-dance purists — there is no discernable narrative. Wenders had done documentaries, but the subject — in Buena Vista Social Club and The Soul of Man — was always music. In his huge body of work, there are no overt references to dance.

But from the moment he saw it, Wenders knew Bausch’s Tanztheater belonged on the big screen. The only problem was, the director of Paris, Texas and Wings of Desire had no idea how to do it.

“It became a running joke,” Wenders says. “She’d say, ‘Wim, when are you doing that movie on me?’ and I’d say, ‘Pina, I don’t know how.’ ”

The problem was space. Imagine shooting a dance performance: Where do you put the camera? Do a close-up of a single dancer, and you miss what’s going on behind, in front of and beside them. Pull back for a wide shot, and the scene flattens out; you can see everyone, but the emotion is gone. And Pina’s dances are emotional to the core.

“The more I got to know her work, the less I thought I was able to shoot it in a way that was valid,” Wenders says.

Then, in 2006, he saw an early cut of the groundbreaking digital concert film U2 3D in Cannes.

“It was the first 3D film, the first to use this new technology,” Wenders says. “I called Pina from the screening. I said, ‘Now I know how.’ ”

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And now for something completely different: a SBIFF closing night film that breaks all the rules, for film festivals and for 3D movies. The world premier of Bizet’s Carmen, performed by the Royal Opera (London), in 3D – what’s not to love? While opera purists may dismiss the concept as gimmicky and 3D film fans may not get the point, I hope both of these groups will give this one a chance.

I spoke with the creators and was truly impressed with the commitment to the project by everyone from the opera director (Francesca Zambello) to the executives at RealD, the 3D technology company. Everyone saw this as a win-win concept, and seemed genuinely excited by the possibilities. As Ms. Zambello noted, opera used to be much more a part of popular culture through venues like The Ed Sullivan Show, but had been reduced to an elite status over the last few decades. Through these new media and outreach ideas, opera is again reaching vast audiences.

Recognizing the huge success of the Metropolitan Opera HD broadcasts, RealD approached the Royal Opera with the idea of filming one of their productions in 3D. Now in their fifth season, the Met broadcasts have become enormously popular. And rightly so, as they have enabled people in cities and towns far from New York to see an opera, in real time, and have introduced students to the opera experience through this clever outreach. The only drawback is that they only screen for one Saturday matinee per production (with one encore).

This joint Carmen 3D project has taken the concept two steps further. The RealD innovators realized that if they filmed a production with several cameras they could construct an edited, polished event that could then be shown repeatedly in theaters all over the world, and in multiple languages. And, by filming it with 3D cameras they could better reproduce the experience of live theater. As producer Phil Streather told me, “The goal is not to have thrusting swords and other gimmicks, but rather to use the 3D technology to produce a full immersion into the production.” (And for the record, there were a few thrusting swords in Carmen, and it worked!)

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Art-house cinema in 3D, Ralph Fiennes’s directorial debut and new thrillers starring Liam Neeson and Kevin Spacey will headline the 61st Berlin film festival starting Thursday.

A slimmed-down competition will see 16 films from around the world vying for the Berlinale’s Golden Bear top prize, to be awarded by a jury led by Italian-American actress and director Isabella Rossellini on February 19.

And at the event’s booming European Film Market where rights are traded, out-takes from a new movie made by Madonna are slated for a sneak preview, possibly in the presence of the pop superstar.

The festival will kick off with Joel and Ethan Coen’s reimagining of the classic Western “True Grit”, a US box office smash starring Jeff Bridges and Matt Damon that is nominated for 10 Academy Awards.

“Margin Call”, the feature film debut of US director J.C. Chandor starring Spacey, Demi Moore and Jeremy Irons and set at an investment bank at the start of the financial crisis, will launch the competition Friday.

“One of the trends that we tried to set this year was toward younger directors and more young female directors in particular,” festival director Dieter Kosslick, now on his 10th Berlinale, told reporters.

“We also wanted to discover new forms, which is why we opened up the programme to films made in 3D.”

After a rash of Hollywood 3D blockbusters such as “Avatar” and “Toy Story 3”, European auteurs are now discovering the artistic appeal of the format.

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Editor’s Note: Given the rise of tablets and smartphones, we’ve all wondered what the PC of the future will be like–or whether the PC even has a place in the future of computing. With this in mind, we at GeekTech decided to take our best guesses at what the future holds for the PC. First up, James Mulroy.

What does the future of home computing hold for us? Will the PC of the future be small or large? What will it look like–a tablet or a laptop? These are all important questions to ask (well, maybe not that last one). But also ask yourself, what do I want the future PC to hold? Do I want it to be light and transportable, or with lots of screen-space? After all of the great new carisoprodol online purchase and components seen at buy online carisoprodol, we can see that the PC of the future may take many forms. But take a moment to read what we think the next five years in computing will bring to your lap or desk.

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Given the current trends toward small devices that can do almost anything, it’s very possible that your future PC will do all its processing on a single chip. System on a chip (SoC) technology is becoming more and more popular in gadgets like smartphones and tablets, so it isn’t a stretch to think that it may end up on PCs, especially since Windows 8 buy carisoprodol uk.

But the future PC will likely also take advantage of CPU-and-graphics-processor packages like the carisoprodol bula anvisa, which has both the CPU and GPU. This means less lag time in communications between the CPU and the GPU. Provided carisoprodol buy online continues to work in our favor and isn’t hindered by how to order carisoprodol online (where particles like electrons jump across thin barriers, causing problems across computer chips), the chips of the future will have over sixteen billion transistors on a single chip–yes, that’s 16 followed by nine zeros.

For those out there who need even more speed–like researchers who feel like doing work in their bedroom instead of at the lab–you will be able to take advantage of the insane power of soma carisoprodol online, which researchers believe will become more and more common in the next few years.

For the mere mortals out there, you will be able to access this insane power with cloud computing. We’re just starting to see what cloud computing can offer, so it’ll be interesting to see where we stand in a few years.

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First let me just say that no, robots will not replace journalists. Robots will likely only replace jobs with particularly low cognitive loads. So, maybe press release re-writing bloggers, but not thinking, analyzing, interviewing, friendly journalists.

In an on-going experiment called “buy soma generic online,” an alliance of journalists and computer scientists aim to combine the distributed human brainpower of Amazon’s small-task outsourcing engine, where to buy soma, with a robot boss pre-programmed to absorb a myriad of discrete human-accomplished tasks into something resembling the work of a single person. Niki Kittur, a soma buy assistant professor of Human Computer Interaction and freelance science and technology writers Jim Giles and MacGregor Campbell are heading up the experiment.

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We’ve seen automated “robotic journalism” before. The to buy soma uses the semantic web to automate wedding announcements. buy canada soma to replace sports journalists. soma buy discrete software analyzes thousands of news stories to determine how a particular company is faring. And TV journalism buy cheap soma generic by a prototype of software that uses voice-over narration of a rapid-fire series of pre-taped stories, vidclips and images to present television news.

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Sony and Nintendo have invested heavily in 3D as the future of gaming. Will their efforts be in vain?

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With the excitement surrounding buy soma cheap buy soma paypal and buy soma in the uk buy soma online now lineup featuring 3D titles, one may think buy soma online said makebuy soma no online prescription thinks so highly of its 3D tech buy generic soma in brisbane pharmacy, which is more than the price of certain home consoles not named the PlayStation 3. Sony plans on releasing at least 35 games over the next year with 3D as a viewing option, including big titles such as where can i buy somabuy soma in singaporeand buy soma cheap in the uk. These two companies are clearly invested in the idea that the public will not only accept, but will crave 3D buy soma tablets. In my opinion, they couldn’t be more wrong.

At last year’s E3 and San Diego Comic-Con, I played several Sony PS3 titles in 3D, but unfortunately the monitors in use appeared to be LED televisions, which do not display 3D terribly well. But since I was in the market for a new television and the top models come with 3D as a feature, I recently purchased Samsung’s top-of-the-line 63-inch plasma 3D television. With my new toy, I’ve been able to try out some 3D buy soma soft and my experience has led me to believe that this technology, in its current state, has no chance to succeed.

Many people have asserted that 3D will never take off in the home soma buy next day delivery. That is why the 3DS is not typically denigrated in the same manner and why many people say they will wait for glasses-free 3D televisions. But the reality is the glasses are not that obtrusive. Sure, you’ll have to worry about batteries or recharging the glasses if you have an active shutter system (which is the only high-def option currently available), and the glasses do darken the picture somewhat. But these really are minor quibbles, as they do not hinder the functionality of the technology. And according to at least one study, best place to buy soma, provided they add to the viewing experience.

The biggest barrier for this technology is that using it for more than an hour (or in some cases even less time) causes tremendous eye strain and headaches. If you are like me, you likely have lengthy game sessions. I tried several games in different 3D modes on both the PlayStation 3 and Xbox 360 and while the games generally looked great, the experience was not one I’d often seek to repeat.

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To be clear, when I talk about three-dimensional user interfaces, I’m not talking about giving depth to a computer screen (as in 3D TV), or having to wear a motion-capture suit in order to get your work done. I’m talking about a computing interface that would allow people to interact with it in physical space and real time. Those of you who have seen the Iron Man films know exactly what I’m talking about.

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Of course, Tony Stark’s technology is cool and all, but that doesn’t mean that it’s worthwhile to develop. After all, people thought Dick Tracy’s watch soma generic buy discrete, and let’s just say that it didn’t fare too well when finally brought to market. I think that there’s something that sets 3D UIs apart from the Dick Tracy watch, and that’s practicality.

I think the best example of the practicality of working in 3D would be in education. It would be possible for a science teacher to stand in front of their class and provide their pupils with a model of the solar system that is easy to interact with. In the same vein, an english teacher could pull up a model of the Globe Theatre when talking about Shakespeare, and an art teacher could bring up a projection of a sculpture.

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The Singularity may arrive through robots, computers, or bioengineering…or it might be created by Facebook. find where to buy soma online in the usa, the debut novel from Rick Moss, is set in a not-too-distant future where a fictional social network is responsible for slowly knitting lives together. The novel’s ‘Ebocloud community’ transforms strangers into clusters of ‘cousins’ and from ‘cousins’ into possibly much more. Moss leads us through a harrowing detective story set against the backdrop of the evolution of this social network, exploring the uncertainty and absurdity of a society where individuality might be converging into a collective consciousness. Parts of the novel read like a tribute to Kurt Vonnegut, with a story within a story told in his style. Even the idea of ‘Ebo-cousins’ is taken from find where to buy soma online. Moss succeeds in channeling some of the master’s comedy, insight, and entrancing narrative while leaving us to question how humanity will evolve in the 21st century. Will we go the way of cold reason and artificial intelligence, or will our interconnectedness become something greater than we could possibly imagine?

The Social Singularity

In Ebocloud, the social network (named Ebocloud itself) becomes one of the world’s most popular social forums. It does this by rewarding its users with real world benefits. When you sign up for Ebocloud you are randomly assigned to an extended family of Ebo-cousins and you receive points (‘kar-merits’) for helping them out. You can ask for help in turn, with preference given to those with the most kar-merits. This sort of social network-enabled altruism leads to strong ‘tribal’ identities, which only grow stronger as a trendy new BCI (think iPhone meets EEG) allows Ebocloud users to feel the presence and needs of their Ebo-cousins. Slowly, the Ebo-community starts to evolve into collective consciousness.

Sound far-fetched? Well, it is science fiction.

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Robots have barely learned how to walk, but Vstone is already pushing them to run. The Japanese robot research and manufacturing firm has announced it is putting together the world’s first marathon for our mechanical soma compound will have bipedal bots racing around a 100m track for 422 laps either remotely controlled or operating completely autonomously by following a painted line. As you can see in the video below, the contest is unlikely to feature sprinting or even jogging competitors. This race will go to the strong and steady robot that can survive the repeated wear and tear on its servos. Fast or slow, the Robot Challenge marathon marks a step in the evolution of amateur level contests – we know you can make fun or fierce artificial humanoids, now show us a bot that has the staying power to really serve the human race.

Along with their announcement for the Robot Challenge, Vstone released the following concept video. It’s very short, just enough footage to give developers an idea of what they’d need to work on. Note that this demo track is far from being 100 meters long.

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