Thursday, 8 February 2007

The future of television | What's on next | Economist.com

BOSSES in the television industry have been keeping a nervous eye on two Scandinavians with a reputation for causing trouble. In recent years Niklas Zennström, a Swede, and Janus Friis, a Dane, have frightened the music industry by inventing KaZaA, a “peer-to-peer” (P2P) file-sharing program that was widely used to download music without paying for it. Then they horrified the mighty telecoms industry by inventing Skype, another P2P program, which lets internet users make free telephone calls between computers, and very cheap calls to ordinary phones. (The duo sold Skype to eBay, an internet-auction giant, for $2.6 billion in 2005.) Their next move was to found yet another start-up—this time, one that threatened to devastate the television industry.

It may do the opposite, as it turns out. The new service, called Joost and now in advanced testing, is based on P2P software that runs on people's computers, just like Skype and KaZaA. And it does indeed promise to transform the experience of watching television by combining what people like about old-fashioned TV with the exciting possibilities of the internet. But unlike KaZaA and Skype, says Fredrik de Wahl, a Swede whom Messrs Zennström and Friis have hired as Joost's boss, Joost does not “disrupt” the industry that it is entering. Instead, rather than undercutting television networks and producers, he says, Joost might, as it were, give them new juice.

Joost is also ignoring the two business models seen as the most respectable alternatives to advertising. One is to make users pay for each television show or film they download, but then to let them keep it. This is the tack chosen by Apple, an electronics firm that sells videos on iTunes, its popular online store; by Amazon, the largest online retailer; and by Wal-Mart, the largest traditional retailer, which launched a video-download service this week. The other approach is to let users subscribe to what is, in effect, an all-you-can-eat buffet of videos, and then to “stream” video to their computers without leaving a permanent copy. This is the approach taken by, for instance, Netflix, a Californian firm that mostly delivers DVDs to its subscribers by post, but now also streams films.

The reason that Joost is ignoring all of these methods, says Mr de Wahl, is that none has much to do with the experience of simply watching TV, which most people enjoy. Unlike the download or streaming approaches, he says, “TV is not about buying today what you want to watch tomorrow, it's about turning it on and watching.” And in contrast to the “lean-forward” context of “snacking” on a YouTube clip in one's cubicle while the boss has stepped out, TV is a longer and more relaxed “lean-backward” experience.



Hence Joost's most shocking innovation, which is not to change the practices that TV adopted decades ago. It will be free, with advertising breaks—no more than three minutes per hour—either before, during or after a show, depending on the market. Americans, says Mr de Wahl, are more tolerant of interruptions.

Joost has “channels”, like ordinary TV, but these are now playlists of videos that start whenever it is convenient to the viewer. Viewers can import their instant-messaging buddy lists and chat online with friends while watching the same programme. For advertisers, such engagement is worth something, because the activity proves that somebody is watching, rather than being asleep or out of the room. Combined with other information, such as the computer's IP address and hence its location, advertisers will be able to target their spots much more accurately—all “Desperate Housewives” fans in a particular neighbourhood, for example—and thus ought to pay a premium.

The thing that is missing in this new vision of television, however, is the set itself. Beaming video from a computer to a television is possible: Apple and other firms are starting to sell the necessary gadgets. But until it becomes much easier to connect televisions to the internet, big media companies are likely to “wait and see” before committing to Joost, says Jeremy Allaire, the boss of Brightcove, a rival internet-video firm based in Massachusetts. In the meantime, thinks Mr Allaire, media firms are mainly interested in building their own brands, so Brightcove provides content owners with technology to show television on their own websites, syndicate their shows to other websites, track audiences and collect advertising revenue.

There is, in short, no consensus about the best way to combine television with the internet. Instead, there are a variety of experiments, of which Joost is the latest example and YouTube the best-known. But as with telephony, the internet is unpicking service delivery from network ownership. Joost, YouTube, iTunes and Netflix do not need their own networks to supply their video services: they can piggyback on fast internet links provided by others.

According to iSuppli, a market-research firm, internet downloads will claim more than one-third of the market for on-demand video by 2010 (see chart). So just as internet telephony has been bad for traditional phone companies, this “internet bypass” could be bad for the “on demand” video services being offered by cable-TV and telecoms firms over their networks. But by bringing television to more screens in more social contexts, all this could provide new models for programme-makers to finance their productions and offer advertisers new ways to reach consumers. And so Joost and rival services could end up rejuvenating the 75-year-old medium.

The future of television What's on next Economist.com

Wednesday, 7 February 2007

Astronaut Charged With Attempted Murder - New York Times

If you ever doubted the potentially corrosive, disruptive and ultimately destructive nature of love when it becomes an obsession, read on ...

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The police in Orlando, Fla., filed attempted murder charges today against Capt. Lisa Marie Nowak, a NASA astronaut who the authorities say attacked a rival for another astronaut’s affection at Orlando International Airport on Monday after driving more than 900 miles from Houston to meet her flight.

Lisa Nowak, 43, drove hundreds of miles to confront a rival for the affections of a fellow astronaut, Bill Oefelein, according to police.



Captain Nowak, a Navy captain who flew on a shuttle mission last summer, was originally arrested on attempted kidnapping and other charges, and a judge initially set a $15,500 bond at a court session this morning.

But this afternoon, the police filed the new charges against her, saying they had evidence that Captain Nowak intended ”to do serious bodily injury or death” to Colleen Shipman, a captain in the Air Force, because she considered Captain Shipman to be a rival in her romance with a fellow NASA astronaut, Cmdr. Bill Oefelein.

When the police arrested Captain Nowak, they found in her possession a steel mallet, a buck knife with a four-inch blade, a BB gun and a map to Captain Shipman’s house, they said.

Captain Nowak’s lawyer argued this afternoon that prosecutors and the police did not have enough evidence to back up the more severe charges, but were only trying to persuade the judge to order Captain Nowak to remain in custody.

The judge increased the bond for Captain Nowak by an additional $10,000, which would still allow her to go free pending her trial. But the judge said Captain Nowak would have to wear an electronic tracking device and ordered her to stay away from the woman she is accused of trying to harm, Colleen Shipman, a captain in the Air Force.

According to the police, Captain Nowak drove more than 950 miles from Houston to Orlando to meet with Captain Shipman, who was flying from Houston to her home in the Orlando area at the same time — because she wanted to confront Captain Shipman after discovering that she too was involved with Commander Oefelein.

Captain Nowak, 43, was wearing a trench coat and wig when she was arrested early Monday morning. She told the police she had worn diapers on the journey so that she would not have to stop to use the restroom so she could arrive in time to meet Captain Shipman’s flight at the airport. The police also found a knife, BB pistol, and latex gloves in her car, a police affidavit said.
In the morning court session, Captain Nowak mostly kept her head down during her preliminary appearance. But she nodded and said “yes” a few times when the judge explained that she was not to have any contact with Captain Shipman. Captain Nowak and Commander Oefelein are listed on the NASA Web site among the 97 active duty astronauts.

A NASA official told the court today that before the incident, the two women did not know each other. A biography of Captain Nowak on the NASA Web site says that she is married with three children. Captain Shipman is an engineer assigned to the 45th Launch Support Squadron at Patrick Air Force base near the Kennedy Space Center in Florida, base officials said.

Captain Nowak’s superior at NASA, Steve Lindsey, and a fellow astronaut, Chris Ferguson, both appeared on in court this morning on her behalf. The men flew to Orlando, they told reporters, to support Captain Nowak and as representatives of NASA.

"We’re here supporting Lisa,” said Colonel Lindsey, who said he has known her for 11 years. “Our primary focus is her health and well-being and taking care of her and keeping her safe and getting her with her family so they can deal with this very private and difficult matter.”

Television stations juxtaposed Captain Nowak’s official NASA photo, showing her smiling broadly in an orange flight suit, with a mug shot showing her looking wan and disheveled, with a furrowed brow and her hair splayed in all directions.

Captain Nowak, a graduate of the United States Naval Academy who also had a master’s degree in aeronautical engineering, operated a robotic arm during the shuttle mission last July. She had been scheduled to work at the Johnson Space Center on the planned Atlantis mission next month, relaying messages to the shuttle crew.

Stephanie Schierholz, a NASA spokeswoman, said today that Captain Nowak’s status at NASA was placed under review following her arrest.

2

Astronaut Charged With Attempted Murder - New York Times

Tuesday, 6 February 2007

The Hair - first single out soon and latest tour news ...

Yes, I am unashamedly once again plugging these lads because they're great - their music is a combination of XTC, Kaiser Chiefs, The Cure with a bit of Andy Warhol and Depeche Mode for good measure - and no, I am not at all bitter that this is what I should have been doing at their ages(!). Good luck, lads! See you at a gig soon - I'll be the old bugger in the corner ;-)

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SEE THE GIG ABOVE? GO!!! IT'S OUR SINGLE LAUNCH IN LEEDS!!!!


http://www.ticketweb.co.uk/user/?region=gb_northeast&query=detail&event=191524
THAT BE THE TICKET LINK, BUY ONE...GO ON! IT'S BACKED BY MUSIC WEEK (BIG MUSIC INDUSTRY MAG) SO THEY HAD TO PICK THE BEST UNSIGNED BANDS...EVER!!!! For £3.50!!! CHEAP!


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Listening to Aretha Franklin while writing this makes my feminine side feal empowered. It's mint! That's right sister!


Anyway, we've got a video!!! We've done a couple and the 1st is finished. It was filmed for the sounds of leeds documentary soon to be released across the nation...check it out, we had a pool room, 2 hrs, a drummer working away, but lots of fun...and a camera man with a mint laugh (listen to the end).


Share that link around if you like it, and if you're on you tube don't forget to rate us. Cause we have massive egos that need boosting, and I get tired of conventional methods like looking at my guns in the mirror all day. Though Billy bicep has never let me down so far...

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We're coming to London again next week! Club Fandango at Dublin castle. And there is a special homecoming gig in York...hope you got your grills ready...some real ham and eggs for ya...
Fibbers, York on 23rd Feb... The:Hair + Dead Rebellion (former black night crash - remember them? aaace) + Royal Vendetta (former Xenith Sound). PLUS!!! Up the rackets club night till 2am! All for around £4???? TOO RIGHT! No tickets so be there early.

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We're touring a little in Feb, already did a gig in Sheffield, I Djed...note to self: Rock the Casbah = Popular on dance floor, F.E.A.R by Ian Brown = not popular. Idiot.
We got reviewed by artrocker...check out the website/myspace.
Below are the gigs...and remember the single is out soon, so save up your hmv vouchers.

GIGS:
Tues 13th Feb: Club Fandango at Dublin Castle, Camden, London. On around 8:45-9pm.
Fri 16th Feb: The Whip + The Hair + Jakobarina, Club NME @ the Independent, Sunderland.
Sat 17th Feb: The Hair + The Early Years + more @ New Levels, Night and Day Cafe Manchester. SUNSHINE UNDERGROUND DJing as part of NME NEW RAVE TOUR AFTERPARTY.
Fri 23rd Feb: The Hair + Dead Rebellion + Royal Vendetta, Fibbers, York. Onstage 9ish-pm!!! Club night after!
Sun 25th Feb: The Luminaire, Kilburn, London. Supporting Thunderbirds are Now. On early doors!
Tues 6th Mar: Single Launch at the Faversham! With Middleman, Mother Vulpine + The Feelies.
Tues 13th Mar: Single Launch at the Old Blue Last, Great Eastern Street, E2, London. FREE ENTRY. With Lupen Crook.

IF YOU DON'T WANT ANYMORE MAILOUTS REPLY TO THIS WITH THE MESSAGE - "FEMININE SIDE? YOU'RE FOOLING YOURSELF MATE, THOSE ARE JUST MAN BREASTS. LAY OFF THE NACHOS AND START ACTING LIKE A BLOKE....OH AND UNSUBSCRIBE ME PLEASE."

If telecommuting is so easy, why do we travel for work more than ever? - By Tim Harford - Slate Magazine

It stands to reason that distance is dead. Electronic communication is better and cheaper than it's ever been. Sitting on the sofa just now, I used a cheap laptop computer and my neighbor's wireless network and ordered a free quad-band mobile phone that—I am told—will let me make calls and send e-mails from almost anywhere in the world.

More to the point, nobody would be remotely impressed with my phone's features. Virtual worlds, BlackBerrys, video-conferencing from the local Starbucks—it has all become so easy—and so commonplace—so quickly.

Intuitively, that should mean that geography has become less important. E-mail and video-conferencing mean fewer flights. No more business conferences or meetings at Davos. Telecommuters don't need to clog up the roads, and property prices in London and New York should slide as people carry out their investment-banking responsibilities from Yorkshire or Iowa.

It doesn't take a genius to figure out that there's something wrong with this argument. Despite the ease of communication and the drop in the cost of transporting goods, geography seems to be as important as ever for most of us. People haven't stopped flying to meetings and conferences. The World Economic Forum meetings are now a round-the-calendar circus in more than 10 countries. New York is one of the few places in the United States where the real-estate market isn't stuttering.

So, what is happening? To some extent, the same thing that happened to the paperless office. It turned out that all these computers made it easy and cheap to produce a lot more documents. Yes, the documents could in principle have been viewed on-screen, but why not print them out?

Similarly, e-mail, Internet networking, and cheap phone calls have made it easy to maintain a lot of relationships. In principle, some of the relationships could be restricted to cyberspace, but how much fun is that? The same e-mail that allows you to maintain long-distance business relationships also creates demand for more travel and more conferences as people try to establish those relationships in the first place. Mobile phones, Web mail, and BlackBerrys also make travel less costly because it is easier to keep working on the move.

Closer to home, communication technology makes it easier than ever to arrange a drink with friends. Just send a quick e-mail to a distribution list or post the invitation on your online journal. This sudden spontaneity isn't much use if your friends are hundreds of miles away. Mobile phones, far from fueling a flight to the countryside, make big cities more attractive and more manageable. E-mail and mobile phones aren't substitutes for face-to-face contact at all. As economists Jess Gaspar and Ed Glaeser have pointed out, they are complements to it.

Other technological changes have also strengthened the importance of place. If you can buy cars or films or insurance from anywhere in the world, why not buy from the place that is host to the best or cheapest producer? Cities that were once nationally dominant can now become international champions. It suddenly becomes more valuable, not less valuable, to locate in New York or London.

The modern economy demands ever more complicated, fast-moving, innovative, and creative projects. Formal contracts just aren't up to the task of keeping us honest in these circumstances, which means you need to be able to trust your colleagues—something that still requires you to look them in the eyes. Face-to-face meetings have always fostered trust and clearer communication, and they still do. So, the conference circuit is likely to be with us for a while.


If telecommuting is so easy, why do we travel for work more than ever? - By Tim Harford - Slate Magazine

Wired News: IPod Will Be the New CD

Big changes are afoot for the iPod in the wake of the Beatles settlement -- the iPod is about to become the new CD.

On Monday, Apple Inc. and the Beatles' Apple Corps announced that a 15-year legal spat over the "Apple" trademark had been settled in Steve Jobs' favor.

But the biggest news wasn't mentioned at all in the joint press release: The new contract clears the way for Jobs to sell iPods loaded with music.

Who cares?

Well, the iPod could become the new CD, especially if Apple starts offering cheap shuffle iPods pre-loaded with hot new albums or artists' catalogs. Imagine a whole range of inexpensive, special-edition iPods branded with popular bands containing a new album, or their whole catalogs.

Flash-memory drives are now so cheap, software companies are starting to use them to ship software. H&R Block, for example, is selling the latest version of its tax-preparation software on a flash drive for $40 -- the same price as the CD version. How much would it cost Apple to add a few music chips and some cheap earbuds?

Apple was prevented from doing this until now by the 15-year-old contract between Apple Corps, the Beatles' music company, and Apple Computer. This contract precluded Jobs' Apple from acting as a music company and from selling CDs or "physical media delivering prerecorded content ... (such as a compact disc of the Rolling Stones' music)."

Apple has been selling music as downloads for years, of course, but thanks to this clause, the company couldn't sell an iPod with music already loaded onto it.

That's why the U2 special-edition iPod ships with a voucher for downloading the band's catalog online. The Beatles contract prevents Apple from pre-loading the U2 iPod with U2's music.

That is undoubtedly going to change. Apple will soon offer a range of iPods pre-loaded with tunes.
First up will likely be the widely rumored Beatles special-edition Yellow Submarine iPod, tipped to be released in just over a week on Valentine's Day.

Beatles fans are hoping that the Fab Four's entire catalog, currently being remastered, will be available in uncompressed format. What better way to deliver it than preloaded onto an iPod, instead of forcing fans to download gigabytes of data from iTunes?

Apple will also start loading sample tunes onto all new iPods, just like Microsoft's Zune currently does. This will be extra cash for Apple, and possibly quite lucrative -- the labels will pay to play. Getting a band's new single loaded onto a hot-selling iPod could prove so desirable that a new type of payola is born.

Then there will be all kinds of new limited-edition iPods, branded by artist, band or genre. Boxed sets are a natural: the Rolling Stones Sticky Fingers iPod, the Motown iPod, the British Invasion iPod.
But most exciting, there may be a whole range of dirt-cheap iPod shuffles branded by artist, containing their new albums or portions of their catalogs. The biggest risk for Apple is excess inventory. What if the new Kevin Federline special edition bombs? But that's easily solved: Make the skin a peel-off and overdub leftovers when the next hot band comes along.

These cheap album iPods could be sold at bus stations and airports: instant music, no computer required. Bands could sell pre-loaded iPods at concerts, maybe containing the concert they just played. There could be Broadway show iPods, movie soundtrack iPods and iPods burned at retail stores with custom play lists.

It's going to be the biggest change to the iPod since the iTunes online store debuted in 2002.


Wired News: IPod Will Be the New CD

Guardian Unlimited | Comment is free | I hate Macs

Unless you have been walking around with your eyes closed, and your head encased in a block of concrete, with a blindfold tied round it, in the dark - unless you have been doing that, you surely can't have failed to notice the current Apple Macintosh campaign starring David Mitchell and Robert Webb, which has taken over magazines, newspapers and the internet in a series of brutal coordinated attacks aimed at causing massive loss of resistance. While I don't have anything against shameless promotion per se (after all, within these very brackets I'm promoting my own BBC4 show, which starts tonight at 10pm), there is something infuriating about this particular blitz. In the ads, Webb plays a Mac while Mitchell adopts the mantle of a PC. We know this because they say so right at the start of the ad.

"Hello, I'm a Mac," says Webb.

"And I'm a PC," adds Mitchell.

They then perform a small comic vignette aimed at highlighting the differences between the two computers. So in one, the PC has a "nasty virus" that makes him sneeze like a plague victim; in another, he keeps freezing up and having to reboot. This is a subtle way of saying PCs are unreliable. Mitchell, incidentally, is wearing a nerdy, conservative suit throughout, while Webb is dressed in laid-back contemporary casual wear. This is a subtle way of saying Macs are cool.

The ads are adapted from a near-identical American campaign - the only difference is the use of Mitchell and Webb. They are a logical choice in one sense (everyone likes them), but a curious choice in another, since they are best known for the television series Peep Show - probably the best sitcom of the past five years - in which Mitchell plays a repressed, neurotic underdog, and Webb plays a selfish, self-regarding poseur. So when you see the ads, you think, "PCs are a bit rubbish yet ultimately lovable, whereas Macs are just smug, preening tossers." In other words, it is a devastatingly accurate campaign.

I hate Macs. I have always hated Macs. I hate people who use Macs. I even hate people who don't use Macs but sometimes wish they did. Macs are glorified Fisher-Price activity centres for adults; computers for scaredy cats too nervous to learn how proper computers work; computers for people who earnestly believe in feng shui.

PCs are the ramshackle computers of the people. You can build your own from scratch, then customise it into oblivion. Sometimes you have to slap it to make it work properly, just like the Tardis (Doctor Who, incidentally, would definitely use a PC). PCs have charm; Macs ooze pretension. When I sit down to use a Mac, the first thing I think is, "I hate Macs", and then I think, "Why has this rubbish aspirational ornament only got one mouse button?" Losing that second mouse button feels like losing a limb. If the ads were really honest, Webb would be standing there with one arm, struggling to open a packet of peanuts while Mitchell effortlessly tore his apart with both hands. But then, if the ads were really honest, Webb would be dressed in unbelievably po-faced avant-garde clothing with a gigantic glowing apple on his back. And instead of conducting a proper conversation, he would be repeatedly congratulating himself for looking so cool, and banging on about how he was going to use his new laptop to write a novel, without ever getting round to doing it, like a mediocre idiot.

Cue 10 years of nasal bleating from Mac-likers who profess to like Macs not because they are fashionable, but because "they are just better". Mac owners often sneer that kind of defence back at you when you mock their silly, posturing contraptions, because in doing so, you have inadvertently put your finger on the dark fear haunting their feeble, quivering soul - that in some sense, they are a superficial semi-person assembled from packaging; an infinitely sad, second-rate replicant who doesn't really know what they are doing here, but feels vaguely significant and creative each time they gaze at their sleek designer machine. And the more deftly constructed and wittily argued their defence, the more terrified and wounded they secretly are.

Aside from crowing about sartorial differences, the adverts also make a big deal about PCs being associated with "work stuff" (Boo! Offices! Boo!), as opposed to Macs, which are apparently better at "fun stuff". How insecure is that? And how inaccurate? Better at "fun stuff", my arse. The only way to have fun with a Mac is to poke its insufferable owner in the eye. For proof, stroll into any decent games shop and cast your eye over the exhaustive range of cutting-edge computer games available exclusively for the PC, then compare that with the sort of rubbish you get on the Mac. Myst, the most pompous and boring videogame of all time, a plodding, dismal "adventure" in which you wandered around solving tedious puzzles in a rubbish magic kingdom apparently modelled on pretentious album covers, originated on the Mac in 1993. That same year, the first shoot-'em-up game, Doom, was released on the PC. This tells you all you will ever need to know about the Mac's relationship with "fun".

Ultimately the campaign's biggest flaw is that it perpetuates the notion that consumers somehow "define themselves" with the technology they choose. If you truly believe you need to pick a mobile phone that "says something" about your personality, don't bother. You don't have a personality. A mental illness, maybe - but not a personality. Of course, that hasn't stopped me slagging off Mac owners, with a series of sweeping generalisations, for the past 900 words, but that is what the ads do to PCs. Besides, that's what we PC owners are like - unreliable, idiosyncratic and gleefully unfair. And if you'll excuse me now, I feel an unexpected crash coming.


Guardian Unlimited Comment is free I hate Macs

Monday, 5 February 2007

Art.view | Auerbach’s hour | Economist.com

“I HATE leaving my studio. I hate leaving Camden Town. I hate leaving London”. So speaks Frank Auerbach, a German-born artist who came to London from Berlin as a boy on the eve of the second world war, and whose parents died in the Holocaust. Mr Auerbach reckons he hasn’t spent more than four weeks away from his adopted home since he was seven.

So powerful is his attachment as a born-again Londoner that, not only does he hardly ever leave the capital, but for years he has restricted his painting to portraits of his wife and a handful of other sitters he knows well, and his landscapes to an area around his studio, a small triangle of north London framed by Camden Town, Mornington Crescent and Primrose Hill.

Mr Auerbach's landscapes are rarer than his portraits. By coincidence, two of his finest, both the same size, and both painted in the same year, come up for sale next week―one at Sotheby’s and the other at Christie’s.

He creates the landscapes in his studio. “My first consideration on getting up in the morning, every day of my life, has always been about painting,” he has said. But he begins outside, making extensive drawings and studies as a prelude, less as an aide-memoire and more as a way of conducting an archaeology that is at once urban and physical as well as emotional.

In a 1986 Venice Biennale catalogue he said that embarking on a large painting “simply to make a record of … a decayed memory isn't sufficient. There has to be a conflict between what one wants and what actually exists.”

The process of putting down this conflict in paint can take many months. There is a constant cycle of scraping away and building up oils. The painting has to remain liquid to the end, which means repainting it entirely every session.

The London focus of Mr Auerbach's work meant that, for a long time, he had a reputation for being a British painter bought mainly by British collectors. In fact, his paintings were bought by more than 20 public collections as far afield as Mexico, America and Israel, as well as by countless private buyers. But his prices remained well below those of artists of similar stature but with more international reputations, such as Gerhard Richter, a fellow German.

The past year has seen a considerable change. In February 2006 Christie’s sold a collection of contemporary paintings belonging to Valerie Beston. “Miss Beston”, as she was always known, worked all her life for Marlborough Fine Art, a London gallery, where she befriended a number of leading post-war artists including Francis Bacon and Mr Auerbach, and even delivered fresh paints to their studios when they couldn’t afford to buy them. Her “Tree on Primrose Hill”, a small landscape barely 40 centimetres square, sold for £400,000, a world record for an Auerbach by a large factor.

That outcome persuaded another pair of collectors to sell. Two Americans approached Christie’s and Sotheby’s with “To The Studios II”, a large landscape painted in 1977-78, which their father had bought from Marlborough Fine Art in 1981. The two auction houses proposed remarkably similar marketing campaigns: a slot in a prestigious evening sale during the February high season; reproduction in the inside back cover of the auction catalogue; a tour of the painting to New York during the November 2006 sales season and later to Palm Beach; and advertising in Art & Auction magazine.

It was the financing that decided the contest in the end. Christie’s won the mandate by putting an estimate of £800,000-£1.2m on the painting, and offering the vendors a guarantee reportedly of £1m whether the picture sold or not.

Sotheby’s felt it could not compete. Then, quite by coincidence, a European collector living in London, a Sotheby’s client of long standing, offered the auction house another large Auerbach landscape from the same period, “Camden Theatre in the Rain” (shown left). Sotheby’s agreed a far more conservative estimate of £500,000-£700,000, with no guarantee.

In the catalogue, the two pictures look very similar in quality. But on the wall they are quite different. In “To The Studios II”, the viewer’s eye concentrates entirely on the left side of the painting, where a figure, visibly female, though made so with only three or four brushstrokes, is walking down some steps. The sky above is thin, and the right side of the painting hasn’t the same visual draw at all.

Of the two, “Camden Theatre in the Rain”, which will be sold first, is the masterpiece. The Ionic columns of the theatre and its large copper dome, filling the left side, are finely balanced by the crimson circle of the Tube sign on the right. Across the intervening sky Mr Auerbach has painted sheets of diagonal rain, the winter kind that hits you right on the ankle, fills your shoes and makes you long, unlike this artist, to flee the city in search of sun.

Mr Auerbach is likely to see another world record struck next week for his work. But even a price of £1m will one day seem a bargain.
“Camden Theatre in the Rain” will be auctioned in Sotheby’s contemporary art sale in London on February 7th; “To The Studios II” is in Christie’s sale the following evening.

Art.view Auerbach’s hour Economist.com