Word: fictionizing
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Similar kiosks can already make prints from digital cameras, but this is the first one to work for both digital images and film. Created by Applied Science Fiction, a private company based in Austin, Texas, the kiosk lets shutterbugs use simple touch-screen commands to rotate, zoom, crop, adjust brightness or contrast and remove red eye. It can also produce enlargements on the spot...
What makes 10-minute photos possible is a new technology called dry film processing, for which Applied Science Fiction holds 28 patents. It uses nontoxic chemicals--unlike the traditional wet method, which requires plumbing and ventilation. "Most people who know about chemistry and film told us it was impossible," says CEO Dan Sullivan...
Other kiosks are being tested at seven CVS drugstores in Boston. In September a kiosk was shown at the Photokina trade fair in Cologne, Germany, and a test model is being rolled out this month at the department store Karstadt-Oberpollinger in Munich. Applied Science Fiction plans to begin mass production next year and hopes to turn a profit by mid-2004. Though some 23 million digital cameras will be sold this year--nearly double the amount in 2000--the company is confident that film won't expire anytime soon. By year-end, there will be more than a billion...
...near-winners, worthy losers or contentious judges. The chatter accompanying the toasts, the hugs and the kisses in the Union, a members-only club in London, was of the unprecedented success of Canongate Books, the small Edinburgh-based house that published Pi. For the first time, the prestigious annual fiction award for Commonwealth writers went to a book published outside the mainstream houses - and outside London. So the man behind Canongate, Jamie Byng, got almost as many accolades as Martel himself. In 1994 Byng, then 26, paid less than $150,000 for the 26-year-old imprint, which had fallen...
...list to gauge interest, and afterwards she asked for writing samples from those interested. From that subsequent pool of writers, Lehrman then assembled the 13 playwrights that would eventually form the festival. Interestingly, she notes, “Only a few submitted plays for their sample; I got nonfiction, fiction and poetry too.” From that point on, the festival became much easier to organize. With its lack of complicated settings and sparse required tech work, the other important things the producers had to worry about were securing a location for the festival and mobilizing publicity. As Lehrman...