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LOAD-DATE: June 24, 2008
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GRAPHIC: PHOTOS: Although ads are not displayed on Google News, Marissa Mayer, who oversees it, said the site helped Google financially. (PHOTOGRAPH BY ERIN LUBIN/BLOOMBERG NEWS) (pg.C4)

Krishna Bharat, who created Google News, said part of its appeal is a juxtaposition of various perspectives in one category. (PHOTOGRAPH BY GOOGLE) (pg.C4) CHART: SEARCHING FOR MORE VISITORS: While traffic at most news Web sites increased in the last two years, growth at Google News was among the slowest in the industry. (Source: Nielsen Online) (pg.C4)

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The New York Times
June 24, 2008 Tuesday

Late Edition - Final

Dan Brown Tourists: Next Stop, Rome?
BYLINE: By ELISABETTA POVOLEDO
SECTION: Section E; Column 0; The Arts/Cultural Desk; Pg. 1
LENGTH: 1049 words
DATELINE: ROME
As Tom Hanks, Ron Howard and the rest of the cast and crew of ''Angels and Demons'' wrap up filming, the Dan Brown effect is on many minds here.

Mr. Brown's last book-turned-movie, ''The Da Vinci Code,'' spawned hordes of tourists, toting well-thumbed novels, traipsing around France, Scotland and elsewhere to unravel its mysteries. Now Romans are wondering if the film of ''Angels and Demons,'' based on the 2000 predecessor to ''The Da Vinci Code,'' will do the same for their city.

Some hope so. Patrizia Prestipino, head of Rome's provincial department of tourism, said, ''A film like this could relaunch American tourism,'' which has dropped by 6 percent this year from the same period last year (largely because of the weak dollar). The story takes place in some of the most magnificent spots in Rome, including the Pantheon, Piazza Navona and Piazza del Popolo.

''For us it's like free advertising,'' Ms. Prestipino said. ''I say the more films they produce in Rome, the better.'' Other groups, like the Roman Catholic Church, which sees its authority as being undermined in both Brown best sellers, have been less receptive.

Requests to film on location in Santa Maria del Popolo and Santa Maria della Vittoria, churches that are homes to paintings by Caravaggio, sculptures by Bernini and a chapel designed by Raphael, were refused. They are also where cardinals are murdered and mutilated in two of the more gruesome scenes in ''Angels and Demons.''

''We give authorizations to productions that are compatible with religious sentiment,'' said the Rev. Marco Fibbi, a spokesman for the Rome diocese. ''With Dan Brown's books this problem exists.''

Last week the production moved to the Royal Palace in Caserta, just north of Naples, to shoot Vatican interiors. (The Caserta location has also doubled for intergalactic palaces in two of the ''Star Wars'' prequels.)

''No one ever gets permission to film inside the Vatican,'' Father Fibbi explained. ''They didn't even make an exception for the mini-series on the life of Pope John Paul II.''

Like ''The Da Vinci Code,'' ''Angels and Demons'' stars Mr. Hanks as Robert Langdon, a Harvard professor of art history and religious symbology. This time he finds himself desperately trying to stop the Illuminati, a secret society hellbent on the destruction of the Vatican. (Antimatter plays a big role in their plot.)

Filming began in Rome on June 4, and has been fiercely protected. (Sony Pictures turned down requests for interviews with the production team in Rome.) The production even worked under a fake title to throw autograph-seekers off the scent.

''They billed the film as 'Obelisk,' but there were so many people milling about the set that it was pretty clear that it wasn't true,'' said Federico Guberti, a Roman paparazzo, who was among many staking out Piazza del Popolo when shooting began. Obelisks, as anyone who has read the book knows, play a starring role in the plot.

The release date, May 2009, may be nearly a year away, but some entrepreneurs in Rome are already benefiting from the buzz surrounding the making of the movie.

''The hype has started,'' said Simone Gozzi, the director of Dark Rome tours. Mr. Gozzi said his company operated the only official tour linked to ''Angels and Demons.'' (''We registered the trademark in 2004,'' he said.) The tour attracts an average of 600 clients a month, he said, each paying 56 euros (about $87).

Mr. Gozzi has also branched out to include what he called ''incentive-building treasure hunts,'' based on the book, for corporate clients. The movie, he said, can only boost business: ''People already choose to come to Rome because of the book.''

Matt Kartchner, of Sacramento, Calif., said that he had two objectives in coming on holiday to Rome: ''To see the Colosseum and take an 'Angels and Demons' tour.'' On a recent morning he took that tour.

Rome experts say the film could correct some of the book's errors. (For example, it places Santa Maria della Vittoria in the wrong piazza.) ''People are constantly saying, 'Wait a minute, in ''Angels and Demons'' Dan Brown says this or that,' and we give a spiel about veracity and then explain that what risks being damaged is the image of Rome,'' said Paul Bennett, the founder of Context Travel, an upscale tour operator that does not do ''Angels and Demons'' tours.

Alberto Artioli, the state official responsible for Leonardo's ''Last Supper,'' in the refectory of the Santa Maria delle Grazie church in Milan, has experienced something similar since Mr. Brown turned St. John into Mary Magdalene in ''The Da Vinci Code.''

Before ''The Da Vinci Code,'' Mr. Artioli said, ''people would ask us which of the figures is Judas; now people ask which one is the Magdalene. It's a little discouraging to see that people take the interpretation as truth instead of a game.''

Mistakes and leaps of imagination aside, Ms. Prestipino, Rome's tourism official, said she would like to do something for the film's 2009 release. ''It would make sense to have a promotional event where the movie was shot,'' she said.

But others counter that Rome needs no advertising.

The Rev. Antonio Truda, the parish priest at Santa Maria del Popolo, marvels that anyone would come to his church just because its Chigi Chapel, decorated by Raphael and Gian Lorenzo Bernini, is mentioned in a book. The church has masterpieces by Pinturicchio and Caravaggio, and an average of 2,500 people come by each day.

''I hate to be rude, but I really don't think people come to a church like this because of 'Angels and Demons,' '' he said.

Father Truda may want to speak to Colin Glynn-Percy, the director of the Rosslyn Chapel Trust in Midlothian, Scotland.

Before ''The Da Vinci Code,'' Rosslyn Chapel averaged 38,000 visitors a year; in 2006, the year the movie was released, 176,000 visitors came. Last year the number dropped to 161,000.

''It's not in the headlines as much,'' Mr. Glynn-Percy said of the book (and movie) that put the chapel on the A list of Scottish tourist attractions, alongside Loch Ness. But it's still up there.

''When people visit Scotland and someone mentions Rosslyn, they'll think that's something to do with the 'Da Vinci Code' and come,'' he said. ''So the effects are continuing.''

URL: http://www.nytimes.com
SUBJECT: RELIGION (89%); CLERGY & RELIGIOUS (87%); CHRISTIANS & CHRISTIANITY (87%); SCULPTURE (78%); FILM (78%); MOVIE & VIDEO PRODUCTION (78%); TOURISM (77%); NOVELS & SHORT STORIES (77%); TOURISM DEVELOPMENT (76%); US DOLLAR (69%); ART HISTORY (64%); PAINTING (64%); HISTORY (60%); CATHOLICS & CATHOLICISM (89%); MOVIE FILMING (78%); BEGINNING OF FILMING (78%)
PERSON: DAN BROWN (97%); TOM HANKS (92%); RON HOWARD (91%)
GEOGRAPHIC: ROME, ITALY (94%) ITALY (94%); SCOTLAND (92%); UNITED KINGDOM (92%); HOLY SEE (90%); UNITED STATES (79%); FRANCE (72%)
TITLE: Angels and Demons (Book)>; Angels and Demons (Movie)>; Angels and Demons (Book)>; Angels and Demons (Movie)>
LOAD-DATE: June 24, 2008
LANGUAGE: ENGLISH
GRAPHIC: PHOTOS: Tom Hanks on the set of ''Angels and Demons'' in Rome. (PHOTOGRAPH BY FRANCESCO PROIETTI/ASSOCIATED PRESS) (pg.E1)

Stellan Skarsgard, left, and Tom Hanks, center, during filming in Rome. (PHOTOGRAPH BY ELISABETTA VILLA/GETTY IMAGES) (pg.E6)

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The New York Times
June 24, 2008 Tuesday

Late Edition - Final

Where the Whole Agenda Is Innovation
BYLINE: By CORNELIA DEAN
SECTION: Section F; Column 0; Science Desk; SCIENTIST AT WORK JOHN KAO; Pg. 2
LENGTH: 1399 words
DATELINE: WASHINGTON
John Kao's ''non-career career'' began with the study of philosophy and social science at Yale and a summer as a keyboardist with Frank Zappa and the Mothers of Invention. Then there was Yale Medical School and a psychiatry residency at Harvard, interrupted by a fellowship at Harvard Business School that turned into 14 years of teaching about the integration of science, technology and entrepreneurship.

This too was interrupted, by stints as a producer (and Tony nominee) for ''Golden Child,'' the David Henry Hwang play about tradition and change in China, and production work on films like ''Mr. Baseball'' and ''Sex, Lies and Videotape.''

In 1997, he moved to San Francisco where, from an office in the Presidio, he advises corporations and governments on the subject that he now believes ties his life together: innovation.

He spoke here last month at a forum organized by the American Association for the Advancement of Science, where he was described as ''an evangelist for a national innovation agenda,'' the goal he advocates in a new book, ''Innovation Nation'' (Free Press, 2007). Reviewers have praised it as both insightful and ''scary.'' His ideas are further summed up in what he calls his ''little orange book,'' a pocket-size, 28-page manifesto he hands out freely to people who express an interest in his work.

He told attendees at the forum that innovation requires a rapprochement between science and policy, ''impresarios'' who can link scientific talent and capital, and an ability to integrate existing technologies so they can be used together in new and productive ways.

He is far from alone in calling for this kind of focus. In May the National Academy of Sciences issued a collection of studies, ''Innovation in Global Industries,'' an analysis of innovation in several important industries. In April the Brookings Institution produced a report, ''Boosting Productivity, Innovation and Growth Through an Innovation Foundation.'' And in March the British government issued its own assessment, also called ''Innovation Nation.''

''His theme resonates with what we are seeing in much of the rest of the scientific community,'' Alan I. Leshner, chief executive of the A.A.A.S., said in an e-mail message. ''There is a lot of competition around the world as more and more countries realize that investing in science fuels innovation over the long term and leads to economic growth.''

At the A.A.A.S. meeting, however, some people wondered what kind of links could be forged between formal research policies and an activity as chaotic as innovation. ''Should it be let's see what bubbles up or do we need to have a more focused policy?'' one questioner asked him. Dr. Kao replied that unfortunately, there is no ''three-ring binder'' with instructions for integrating research policy with innovation policy.

But, he added in an interview after his talk, ''we have been under the impression that we could do pretty much anything or that we did not need a strategy or that our strategy was not to have a strategy. None of these approaches is particularly viable in the current era.''

His book outlines several problems that hinder innovation in the United States, including immigration policies that restrict the entry of scientifically and technically adept foreigners, even as our home-grown science workforce ages; unhelpful restrictions on access to intellectual property; and an infrastructure that is decrepit, obsolete or, as with broadband, unavailable to many people.

Without action, he said, ''we will have an elite class of educated, cosmopolitan, global citizens who have a ticket of entry to the major leagues,'' he said, ''and a much larger group of marginally employable people who have been sold a bill of goods by a consumption economy.''

Innovation is his key for understanding his own work, which he said he had long viewed as a series of disparate episodes, not a career arc. ''It is only in the last 10 or 15 years that it's become clear to me that I was filling out a pattern,'' he said. ''The pattern allows me to do what I am doing now.''

Dr. Kao, who is 57, was born in Chicago to parents who came from China for graduate study at Northwestern. Growing up in Garden City, N.Y., ''I'd wake up in a Confucian house and go to an American elementary school and play baseball and go back to the Chinese house,'' he recalled. ''I had to figure out how to balance two very different cultural references.''

A serious student of piano, he continued music studies at Yale, where a professor introduced him to Frank Zappa. Dr. Kao recalled telling Zappa he ''revered'' his work and wanted a spot in his band. After an audition (''He asked me to improvise a waltz, but in the style of late Stravinsky'') and despite his parents' worries, the young keyboardist took to the road with the Mothers of Invention, until the Vietnam War and a low draft number sent him back to a sophomore year in New Haven.

Responding to ''some family pressure,'' he entered Yale Medical School, but during his psychiatry residency at Harvard, he said, he realized that clinical or academic medicine held little appeal. So he obtained a fellowship to Harvard business school to study the industry of medicine.

''What I had learned about behavior and the cognitive realm was incredibly relevant,'' he said. Before long he had written dozens of the kinds of case studies that are the basis of the school's teaching and had organized a course on entrepreneurship, creativity and organizations.

Many of his cases were about failures -- individuals under pressure, partnerships unraveling, learning through trial and error and so on. Today, Dr. Kao says failure's relative lack of stigma is ''a unique aspect of U.S. culture'' that does not exist even in countries like Singapore or Finland, both clients and both, he said, ''relatively hip.''

''There's a saying in Silicon Valley,'' he said. ''If you haven't gone bankrupt a couple of times you are not trying hard enough. It's part of our national advantage.''

And though he abandoned psychiatry, its ''mental framework'' pervades his work today, he said, even if his clients do not realize it. ''It goes into the way I think about things,'' he said. ''It's a kind of environmental sense of what it is like when you go into a company and there are certain kinds of decor in the lobby or the receptionist treats you in a certain way. Everything becomes text.''

He helped found BioSurface Technology, a company that commercialized technology for growing skin cells for use in treating burns and was bought by Genzyme Corporation. This project had obvious ties to his theorizing. ''I got to practice a little of what I preach,'' he said. But he credits the theater and film ventures for offering useful insights into the management of creativity.

For example, he said, the head of a movie studio defines and defends standards of quality, chooses projects, draws talent to the enterprise, runs interference ''and then gets out of the way'' until it is time to count the profits. A successful manager of innovation does much the same.

Today, he and his wife, Lauren, live in San Francisco with their three young children, and he preaches his message of innovation to audiences like that at the A.A.A.S. forum. Often, he said, it is a hard sell. ''Many people believe there is no problem because we are No. 1,'' he said. As long as there is ''no current pain,'' he said, advocating for an innovation agenda is like advising patients to eat a healthier diet, exercise and stop smoking.

He said that might explain the inability of a group of eminent scientists to interest presidential candidates in a debate on science issues, ''The conclusion I drew was it was not deemed important in drawing votes,'' Dr. Kao said. But, he said, he hoped the next presidential administration would draw together scientists, business leaders, designers and others and ask them to produce a practical agenda for improving innovation. ''And I would lock the door and make them work on it,'' he said.

The United States is never going to lead in areas like low-cost production, he said, but it can be a dynamo for devising new technologies and combining existing technologies in new ways.

''The world needs us, even if it does not believe it,'' he said. ''I don't believe in this 'post-America' world at all.''
URL: http://www.nytimes.com
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GEOGRAPHIC: SAN FRANCISCO, CA, USA (79%) CALIFORNIA, USA (79%) UNITED STATES (79%); CHINA (79%)
CATEGORY: Science and Technology
TITLE: Innovation Nation (Book)>; Innovation Nation (Book)>
PERSON: John Kao
LOAD-DATE: June 24, 2008
LANGUAGE: ENGLISH
GRAPHIC: PHOTO: EVANGELIST: John Kao thinks existing technologies can be joined for new uses. (PHOTOGRAPH BY ROBERT GUMPERT)
DOCUMENT-TYPE: Biography
PUBLICATION-TYPE: Newspaper

Copyright 2008 The New York Times Company

647 of 1231 DOCUMENTS

The New York Times
June 23, 2008 Monday

Late Edition - Final

An Unlikely Promoter Drives Nokia's Push in Hollywood
BYLINE: By LAURA M. HOLSON
SECTION: Section C; Column 0; Business/Financial Desk; Pg. 1
LENGTH: 1278 words
DATELINE: WHITE PLAINS, N.Y.
Tero Ojanpera is an unlikely media entrepreneur. Mr. Ojanpera, a veteran Nokia executive, is not a fan of ''American Idol,'' although he says he enjoys it from time to time. And when he tried to watch a recent episode of ''Hannah Montana,'' one of his sons switched the channel.

But four years ago, Mr. Ojanpera and his colleagues in the research center had an epiphany: that entertainment was crucial to the future of Nokia, the Finnish mobile phone maker. Within a year, Mr. Ojanpera, who earned his Ph.D. in electrical engineering, was cruising the palm-tree-lined streets of Beverly Hills, meeting with technology-wary studio executives who greeted him as coolly as a producer pitching a sequel to ''Ishtar.''

''They were like, 'Is this for real?' '' Mr. Ojanpera (pronounced oy-an-pera) recently recalled.

Indeed, it was. While once formidable competitors like Motorola struggle just to deliver their phones on time, Nokia wants to transform itself into a next-generation entertainment company. Last August, Nokia, the world's largest cellphone maker, created Ovi, an Internet service and online music store. Its intent, analysts say, is to compete directly against Apple.

Nokia is also positioning itself as a promoter of social networking, with photo and video sharing and games for users of its cellphones. That is because Nokia predicts that in the next five years, mobile phone users will create 25 percent of the entertainment watched on so-called smartphones, like the iPhone and BlackBerries. And just as important to the company's strategy is users who will share that entertainment.

Music will be important, too. Nokia joined with Sony BMG and the Universal Music Group, which have agreed to give consumers a year's worth of free downloads they can keep indefinitely as long as they buy and use specific Nokia models.

And to overcome Apple's formidable lead in delivering digital entertainment to handheld devices, Mr. Ojanpera wants to bridge the gap between musicians and filmmakers and their fans, allowing consumers to get exclusive concert video and recordings or collaborate directly with artists like the director Spike Lee, whom Nokia hired recently to oversee a mobile video sharing and social networking project.

This is unfamiliar territory for Nokia, which got its start in the mid-1800s as a paper maker. But as Mr. Ojanpera explained, companies like his have no choice. ''Change is painful, but you have to figure this out in order to be successful,'' said Mr. Ojanpera, who is based in White Plains. ''The question is, are you willing to play by the new rules?''

The task of negotiating with self-important media moguls, though, is likely to be as tricky for Mr. Ojanpera as it was for Steven P. Jobs, Apple's chief executive, who met resistance from entertainment companies and wireless carriers unwilling to give up a measure of control.

Mr. Ojanpera is deliberate in conversation, weighing his words carefully, and he lacks the outsized personality of Mr. Jobs. In a recent interview he was reluctant to take much credit -- ''It is not the Finnish way,'' he said -- or draw attention to his fast rise up Nokia's corporate ranks. But those who have worked with him suggest his skill is finding the middle ground in any negotiation. When jostling with the Universal Music Group to offer its catalog on Nokia phones, Mr. Ojanpera agreed to support a plan that would make it easy for musicians to get their concert videos onto mobile phones.

''Neither of us felt we had to get the better of each other,'' said Lucian Grainge, chairman and chief executive of Universal Music Group International.

While Mr. Ojanpera may lack Mr. Jobs's charisma, he more than makes up for it with Nokia's global might. Nokia sells 14 mobile phones a second -- tallying worldwide market share of 39 percent. That reach gives entertainment executives an enticing international platform over which to digitally distribute movies and music. The company got a head start outside the United States, where its N series of multimedia smartphones is popular. The Nokia N96, which is expected to make its debut in the United States this year, is made specifically for video and television, with high-power stereo speakers and a five-megapixel camera.

''When Nokia puts their weight behind something, they don't need to be the first,'' said Pekka Koponen, a former Nokia executive. ''They can dominate the market Mr. Jobs creates for them.''

Another possible advantage for Nokia is that music companies welcome a challenger to Apple. They are wary of Apple's growing power in digital music distribution; Apple is the top music retailer in the United States, outpacing the behemoth Wal-Mart in April.

Mr. Grainge, who negotiated the free download deal with Mr. Ojanpera, said: ''To have another big global player in the mobile music business is good news. Everyone within Universal is doing what we can to make it work.''

Mr. Ojanpera was born in 1966, one of three boys, and he grew up in a small mining town in Finland. He got his first job at a Nokia research and development center where he studied radio frequencies. From his earliest days at Nokia he specialized in understanding high-speed mobile networks, the so-called third-generation, or 3G, networks that are quickly becoming the industry standard.

Before being named executive vice president for entertainment and communities in January -- a job created specifically for him -- Mr. Ojanpera held a number of senior management positions, including chief technology officer, chief strategy officer and head of the Nokia Research Center, where he and his colleagues studied consumer behavior and design.

But he does not perceive his lack of media experience as a hindrance. ''This, to me, is about curiosity and the willingness to learn something new,'' he said. ''You can have really smart people, but things don't necessarily change. The challenge is who can translate those ideas into practice.''

The future, he says, will look something like this. While consumers now can buy movie tickets, watch videos and listen to music on their phones, the process is disjointed, with no place for one-button shopping. Nokia wants to make it seamless. Want a concert ticket? Press ''yes'' on your keypad. Want to listen to a favorite song? Press ''yes.'' Watch a concert video? Buy a DVD? Read a review? Need a hotel room nearby? Post photographs to your Facebook page? Just press ''yes.'' ''It will be that easy,'' he said.

To make that happen, Mr. Ojanpera has sought the advice of artists and producers, among others, including the director Ridley Scott and David A. Stewart, half of the 1980s group the Eurythmics.

Mr. Ojanpera met Mr. Stewart more than a year ago at the Consumer Electronics Show in Las Vegas and since then they have had monthly conversations, tutorials mostly, Mr. Stewart said, on how the music business works.

''We disagree on the speed of things. I'm trying to force it faster and he, quite wisely, understands he's in a world where things exist in a certain way,'' Mr. Stewart said. ''Tero's thinking is that he's going to change the way things work and it's going to be better. But it takes time.''

Executives are more receptive now when Mr. Ojanpera comes calling. ''There is more interest,'' he said. But he too is realistic. It's not yet like the early days of the DVD explosion, when the heads of movie studios flew on their private planes to Bentonville, Ark., to woo Wal-Mart executives. But one day, maybe it will be.

''Once we start to see them make the trek to our headquarters in White Plains,'' he said, ''then I know things really have changed.''