In The Blink of An Eye: A BBC Between the Covers Book Club Pick

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He also talks about the importance of letting go of the filming once we get into the editing room, so that our choices are not determined by how hard certain shots were to get but rather decide based on what shots best serve the story. Kat and her boss are cynical about politicians’ intention to cut resources / officers and replace them with technology not capable of nuance and intuition. Kat and Lock are a strange pair - very different for some very obvious reasons, but beautifully paired exactly because of these differences.

This has to be a strong contender for crime debut of the year – sharp, perceptive writing and a brilliant new take on the detective duo’ T. In the Blink of an Eye is a dazzling debut from an exciting new voice and asks us what we think it means to be human.Her grief is palpable, as is her guilt, and it adds an extra edge to her determination to get back to work and prove that she still has what it takes to do her role. But when the two missing person's cold cases they are reviewing suddenly become active, Lock is the only one who can help Kat when the case gets personal.

The rest is just Murch going on and on with 'clever' analogies to explain what editing is to an audience that maybe never before thought about the fact that movies are edited at all. She reluctantly accepts the role of lead in a pilot programme to work alongside an AI detective, known as AIDE Lock. This has to be a strong contender for crime debut of the year - sharp, perceptive writing and a brilliant new take on the detective duo' T.It asks questions about what it is that makes us human, and what we need to keep sight of as we go through life.

In The Blink of An Eye explores the potential future of technology with an in-depth, unforgettable look at grief and humanity, and how surprisingly, one can aide the other. In the dream state, random combinations of images are juxtaposed next to each other and we are conditioned to accept this form of information transferral. This tells how an editor makes choices and cuts film - originally a physical cut - and how machines used to be large, noisy and heavy but have moved to be computers. It respects the three-dimensional continuity of the actual space (where people are in the room and in relation to one another).

A bad actor can often be spotted by the strange rhythmn of their blinking - it doesn't seem to be matching the emotional landscape of the story. What the book does do, secondarily to the enjoyability as a straight SF story, is make you think about the opportunities for AI in policing - for example in checking many hours of CCTV or social media posts. A fresh and intriguing detective double act – I fell hard for all-too-human Kat and her AI colleague Lock .

What I like about Murch's thinking, as highlighted both in this and "The Conversations," is that he's as much a philosopher as he is a theoretician and many of the principles and ideas that he discusses are equally applicable in any other art form. This allows for more of the kind of interactions that happen with the robots in the two predecessors mentioned than would have been the case if Lock had been a totally disembodied program.When people realised they could splice together two separate images discontinuously and the audience could still comprehend what was happening, ‘films were no longer earthbound’ as Murch puts it. In reality the case/s (involving missing young men) took a backseat to the characters and the premise – though the crimes and their motivation are also complex and interesting. The author points out that people watching something intently don't blink, but people changing their mind, submitting, or holding conflicting thoughts, blink rapidly. clean, unmarked, tight pages; 3 lines of writing on rear flyleaf; cover has light shelf and corner wear and the plastic film overlay is rippling on front and back. It has universal appeal and seduced our celebrity panel members who wouldn’t normally choose a crime book.