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Recent Posts:

• The Philosophy of Film and Beyond in Ten Titles
• The Quiet Before: On the Unexpected Origins of Radical Ideas
• Farm and Red Moon Screening Invitation
• The NFT: Artist’s friend or financial folly?
• A brief note on note-taking
• First Amendment v. Copyright
• A one-case lighting kit ready for travel [2021 Update]
• bookartbookshop is now screening online at the Newburyport Documentary Festival
• Notes on cinematic metaphor
• Got a good windshield in your kit?
• A conversation with Tiffany and James / Eleven Films
• Video conferencing options for teachers during the pandemic
• Immersive Media Bibliography is now available
• Ten spatial media storytelling works that stand out for me
• Notes on the Artist Manifesto
• Perspectives on narrative in real and virtual spaces
• Remembering Door Into the Dark
• Narrative and the Social Construction of Reality: An evolving annotated bibliography
• Notes on smartphone documentary moviemaking
• At Home with Monsters
• Notes on the 2017 Sheffield Doc/Fest Alternative Realities Exhibition
• The Trouble with Reality
• Some notes on binaural recordings
• The Pearl Button
• Steadicam Volt: An intriguing smartphone stabilizer
• The Panasonic Lumix GH5 is a worthy successor to the GH4
• Sophia Al-Maria: Black Friday
• My Sling Bag Video Production Kit
• Sheffield Doc/Fest 2016: SEED: The Untold Story
• Sheffield Doc/Fest 2016: Arrival in Sheffield
• Dangerous Documentaries: Reducing Risk when Telling Truth to Power
• Two entry-level, versatile, compact, sound recording kits for your consideration
• Release forms for documentary productions
• The seven presentation design habits of great presenters
• A conversation with Elaine McMillion Sheldon about Hollow
• Is Final Cut Pro X finally ready to be viable replacement for Final Cut Pro Classic?
• Is the Audio-Technica BP4029 the perfect cinéma-vérite microphone?
• Four approaches to structuring micro-documentaries
• Some quotes on documentary, cinema, and art that don’t fit in a tweet
• Twelve essential documentary shooting guidelines
• Smartphone Movie-Making Workshop Follow-up
• 10 reasons why making documentaries is better than making fiction films
• New Forms / New Opportunities Panel (Sarah Wolozin & Natasha Giraudie)
• Reflections on Paul Sharits frozen film frames
• Smartphone Shorts (follow-up notes)
• Seven videos shot with an iPhone
• The Hatchback Production Kit
• The 2013 Summer Documentary Film School at MassArt
• Maria Agui Carter talks about Rebel, a documentary about Loreta Velazquez
• Documentaries screening this weekend at IFFBoston
• Join me for Making Media Now 2013 in Boston, May 3, 2013
• Kevin Sweet Intervals Series in the Brant Gallery through April 21, 2013
• Sound for Documentary, Part 2: What is it and why is it so important?
• In 1989, Me and Rubyfruit provided a prescient glimpse into the future of personal video sixteen years before YouTube was launched
• UnknownSpring: web documentary review and interview with photojournalist Jake Price
• Sound for documentary, Part 1: Eight fundamental concepts
• Olloclip expands iPhone field of view
• iPhone camera support accessories
• FiLMiC Pro transforms iPhone into sweet and respectable video camera
• Basic Documentary Video Starter Kit (consumer level gear)
• Principles of Interaction Design for Interactive Documentary Makers
• Three tools for developing iOS apps
• Making Media Now 2012: Thriving in a Changing Landscape
• Documentary marathon at 2012 Independent Film Festival of Boston
• Earth Day 2012 Double Feature: The Garden & Ingredients
• Imagine a world without free knowledge
• Whitney Dow: When the Drum is Beating
• Chris Paine: Revenge of the Electric Car
• Researching Macro Trends
• Seven Macro Trends (RioSeminars 2011 Presentation)
• Final Cut Pro X: My first impressions
• Ten glimpses into the crystal ball: the future of documentary
• Making Media Now 2011: Redefining collaboration in a fractured media world
• Summer Documentary Film School at MassArt
• Installation: Reflective Space
• Fluid Screens, Expanded Cinema
• Cartographies of Time
• A framework for thinking about cyberspace
• Spaces Speak, Are you listening?
• Cinema will eventually become a flexible means of writing
• provocative.objects: the extradition (Fri., Nov. 12, 2010)
• Distribution U. crash course on Crowd Funding, Audience Building & Distribution
• Making Media Now 2010
• Digital imaging throws documentary into ontological crisis
• Expanded Cinema: Still fresh after forty years
• Memory and the end of reality
• 2010 Bumpkin Island Art Encampment
• Four under $300 audio recorders for double-system sound
• MassArt’s Summer Film School, 2010
• Thoughts on video on the web and HTML5
• Pearls of wisdom
• Marina Abramovic: The Artist Is Present
• Fragments from The Conversation 2010 (March 27, New York)
• Sennheiser Evolution G3 100 Series
• The 2010 DeCordova Biennial
• The Cambridge Introduction to Narrative
• 20th Annual Pro Video Show
• Transcriva 2
• Will the Internet remain in the hands of the people?
• A one-case lighting kit ready for travel