So, as John said, the question at hand is: how do you wow the un-wow-able without alienating the familiar? It's a tough question, and here at Cogapp it's our job to try and answer just that question. We understand better than most the phrase "appropriate technology" - when to hide technology, and when to show it; how technology can be used to enhance an exhibition without overwhelming it. Ever since we developed the first museum interactive almost twenty years ago (in the form of the National Gallery's Microgallery) we've been creating new technology and developing new ways of implementing it; advanced hardware and software deployed behind an intuitive user experience is what we do. We're constantly trying to find new and exciting ways to do it. From creating award-winning vivid and instinctive installations for the Great North Museum, to bringing Prudential's corporate archive and stories to life with expansive sheets of Holopro glass, pushing the envelope is never off our radar.

Museums, by their very nature, are often thought of as being places where people go to discover, reflect on and learn more about things of the past. Even museums that are focussed on modern times or even the future tend to impart knowledge of the way things are through the use of artifacts. So onlookers tend not to think of them as places of technological innovation. But in their bid to attract ever-greater audiences to their exhibitions, museums are constantly striving to create ever-greater installations for said exhibitions to instigate the 'wow' factor that will get visitors talking about (and, equally as importantly, recommending) what they've seen. Given that one of the central remits of a museum is to educate and inform the masses, bringing in the audiences is vital to their mission statement. And so it is that in their drive to create more revolutionary exhibits, museums often become incubation units for rapid changes in technology. The irony of this is that visitors having an enjoyable, easy and relaxing experience is so integral to museums that the technology needs to be implemented in a smooth and efficient way. So much so in fact that it mostly goes unnoticed. It's such a fluid experience that the technological innovation happening under a visitor's very nose is more often than not completely under-appreciated.

If you're one of the nation's 5 million BBC iPlayer users (or perhaps, for our US friends, one of 40 million Hulu users) the murky boundaries between 'using the internet' and 'watching TV' will be familiar. From enjoying shows online to - in the near future - reading news and catching up on e-mails on our plasma TVs, the magical process of 'convergence' is charging its way into the new decade. When you can sit on the bus and watch live TV with the rather spiffing TVCatchup, you know the days of bluntly differentiating between computing devices and TVs are numbered.

Technology firms hoping to catch such disruptive waves of change meet annually at the Consumer Electronics Show in Las Vegas, boasting the wares they hope will enter our homes in coming years. It's a veritable trend-seekers paradise, and one particular trend at this year's event leapt out (almost literally). 3D TVs, capable of showing the new breed of 3D films like James Cameron's Avatar in all their splendour, will eventually find their way into our living rooms. That alone is revelatory, but in parallel with the convergence stampede presents one huge floating 3D question mark for interface design.

Experiments with 3D interfaces are not new, but have begun gaining traction with the emergence of gesture-based devices, particularly multi-touch devices like the all-conquering iPhone and Microsoft's Surface. One approach I've been watching with interest is BumpTop, revealed with an eye-opening TED talk (listen to the oohs and aahs) and now available to the public.

A few weeks ago I was lucky enough to attend i-Design, a one day conference and showcase for anyone with an interest or passion for interactive design and the digital arts. The programme certainly lived up to its aims as I came away truly inspired and entertained as well as being somewhat perplexed too!

The day kicked off with a panel debate centred around the idea of ‘Post Digital’ asking the question, 'If everything is digital, then what's next?' In a world where everything references digital media, how does our industry need to respond? This was a fascinating insight into the minds of the panel members more than anything, with the illustrious Adrian Shaughnessy leading the discussions.

This then lead the way for the first 5D interlude of the day by MOTH who beautifully showed their passion for experimental technology and for pushing the boundaries of traditional VJing. MOTH bridge the divide between video mixing and street art, generating site-specific video graffiti designed in response to the morphology, texture and ambience of the spaces and structures of the outside world.

Another presentation that particularly caught my interest was one by Lichtfaktor. You might recognise the work of these lords of luminosity from the TalkTalk television adverts (which also bookend each segment of ITV's popular X-factor). Their work in light-writing is spectacular, ranging from relatively standard incarnations of the practice, through to an amazing light-printer that allows pre-written messages to be created and captured in the same way as standard light-writing.

Open Frameworks is a technology that we here at Cogapp are very keen on - Joe, for example, implemented it to develop our people pong game.

I attended the BBC Knowledge Multiplatform briefing day yesterday. The strategy outlined by Simon Nelson and others thankfully counteracted the soporific effects of being located in an airless room in the bowels of Broadcasting House, as the sun beat down on the London streets (it ain’t called the ‘big smoke’ for nothing).

Here are the highlights:

On ‘Permanence’ – Signalling a radical shift from the ephemerality of the linear broadcast slot, the BBC now has a system to automatically generate a permanent web page for every programme episode which, over time, can be further enriched with ratings, recommendations, synopses, AV, track listings and so on. As well as prolonging the life of the content beyond transmission and making it findable and linkable, the system has released time and budget previously spent on often rapidly pulled together and under-performing programme-related sites.  It’s currently in its beta version - visit it here.

So far so good; I can find out more about that track I liked in last week’s Mad Men for example. But what is so much more exciting is the prospect of applying the same system to the BBC archive – tens of decades of radio and television content opened up and made findable, shareable and mashable. Of course, as with most BBC projects of this scale and ambition – from the launch of BBC Two through expansion from terrestrial to digital in the late 90s to the launch of the iPlayer in late 2007 - the usual debates around public service and commercialism will no doubt rage.

Will the content be free at the point of use? Will it be limited to British people as licence-fee payers or made globally available but at a fee to non-UK residents? How might the release of such content impact upon the broader commercial market? These are just some of the potential areas of contention. I assume the findings from the Creative Archive pilot will feed significantly into the BBC’s thinking from here.

For me, Shelley Bernstein from the Brooklyn Museum was a highlight speaker in this early session. Shelley spoke about the agile and creative online projects that the small team at the Brooklyn Museum are creating to attract new audiences.

photo by thornj I’ve just returned from MIPTV the AV and digital content market held each year in Cannes. It’s a vast event – over 13,000 delegates attend – and the buzz of trade inside the Palais des Festivals is matched, if not outstripped, by that of the deals being struck and contacts made in the many coffee shops, bars and hotels along the Croisette. While there to build on Cogapp’s links with TV indies and broadcasters - and to explore the creative opportunities of convergence and multi-platform - I made sure I found the time to attend a number of conferences. The MIPTV programme gives a useful insight into what are currently felt by the industry to be some of its most pressing challenges and opportunities – and so I’d thought I’d pick up on and summarise a few themes that kept cropping up: the growth of online video, monetisation and how to measure engagement. Or, media, money and metrics…