Full Width [alt+shift+f] Shortcuts [alt+shift+k]
Sign Up [alt+shift+s] Log In [alt+shift+l]
44
Hidde de Vries gave a great talked titled “Creativity cannot be computed” (you can checkout the slides or watch the video). In his slides he has lots of bullet points that attempt to define what art is, and then in the talk he spends time covering each one. Here’s a sampling of the bullet points: Art isn't always easy to recognize Art has critics Art is fuzzy Art can make us think Art can make the artist think Art can make the audience think Art can show us a mirror to reflect Art can move us Art can take a stance Art can be used to show solidarity Art can help us capture what it's like to be another person I love all his bullet points. In fact, they got me thinking about websites. I think you could substitute “website” for “art” in many of his slides. For example: Art is repeated So are websites. Think of all those websites that follow the same template. Art may contain intentions Like the intent to purposely break best practices. Art can show us futures we should not want Or the...
5 months ago

Improve your reading experience

Logged in users get linked directly to articles resulting in a better reading experience. Please login for free, it takes less than 1 minute.

More from Jim Nielsen’s Blog

Occupation and Preoccupation

Here’s Jony Ive in his Stripe interview: What we make stands testament to who we are. What we make describes our values. It describes our preoccupations. It describes beautiful succinctly our preoccupation. I’d never really noticed the connection between these two words: occupation and preoccupation. What comes before occupation? Pre-occupation. What comes before what you do for a living? What you think about. What you’re preoccupied with. What you think about will drive you towards what you work on. So when you’re asking yourself, “What comes next? What should I work on?” Another way of asking that question is, “What occupies my thinking right now?” And if what you’re occupied with doesn’t align with what you’re preoccupied with, perhaps it's time for a change. Email · Mastodon · Bluesky

2 days ago 3 votes
Measurement and Numbers

Here’s Jony Ive talking to Patrick Collison about measurement and numbers: People generally want to talk about product attributes that you can measure easily with a number…schedule, costs, speed, weight, anything where you can generally agree that six is a bigger number than two He says he used to get mad at how often people around him focused on the numbers of the work over other attributes of the work. But after giving it more thought, he now has a more generous interpretation of why we do this: because we want relate to each other, understand each other, and be inclusive of one another. There are many things we can’t agree on, but it’s likely we can agree that six is bigger than two. And so in this capacity, numbers become a tool for communicating with each other, albeit a kind of least common denominator — e.g. “I don’t agree with you at all, but I can’t argue that 134 is bigger than 87.” This is conducive to a culture where we spend all our time talking about attributes we can easily measure (because then we can easily communicate and work together) and results in a belief that the only things that matter are those which can be measured. People will give lip service to that not being the case, e.g. “We know there are things that can’t be measured that are important.” But the reality ends up being: only that which can be assigned a number gets managed, and that which gets managed is imbued with importance because it is allotted our time, attention, and care. This reminds me of the story of the judgement of King Solomon, an archetypal story found in cultures around the world. Here’s the story as summarized on Wikipedia: Solomon ruled between two women who both claimed to be the mother of a child. Solomon ordered the baby be cut in half, with each woman to receive one half. The first woman accepted the compromise as fair, but the second begged Solomon to give the baby to her rival, preferring the baby to live, even without her. Solomon ordered the baby given to the second woman, as her love was selfless, as opposed to the first woman's selfish disregard for the baby's actual well-being In an attempt to resolve the friction between two individuals, an appeal was made to numbers as an arbiter. We can’t agree on who the mother is, so let’s make it a numbers problem. Reduce the baby to a number and we can agree! But that doesn’t work very well, does it? I think there is a level of existence where measurement and numbers are a sound guide, where two and two make four and two halves make a whole. But, as humans, there is another level of existence where mathematical propositions don’t translate. A baby is not a quantity. A baby is an entity. Take a whole baby and divide it up by a sword and you do not half two halves of a baby. I am not a number. I’m an individual. Indivisible. What does this all have to do with software? Software is for us as humans, as individuals, and because of that I believe there is an aspect of its nature where metrics can’t take you.cIn fact, not only will numbers not guide you, they may actually misguide you. I think Robin Rendle articulated this well in his piece “Trust the vibes”: [numbers] are not representative of human experience or human behavior and can’t tell you anything about beauty or harmony or how to be funny or what to do next and then how to do it. Wisdom is knowing when to use numbers and when to use something else. Email · Mastodon · Bluesky

5 days ago 9 votes
Computers Are a Feeling

Exploring diagram.website, I came across The Computer is a Feeling by Tim Hwang and Omar Rizwan: the modern internet exerts a tyranny over our imagination. The internet and its commercial power has sculpted the computer-device. It's become the terrain of flat, uniform, common platforms and protocols, not eccentric, local, idiosyncratic ones. Before computers were connected together, they were primarily personal. Once connected, they became primarily social. The purpose of the computer shifted to become social over personal. The triumph of the internet has also impoverished our sense of computers as a tool for private exploration rather than public expression. The pre-network computer has no utility except as a kind of personal notebook, the post-network computer demotes this to a secondary purpose. Smartphones are indisputably the personal computer. And yet, while being so intimately personal, they’re also the largest distribution of behavior-modification devices the world has ever seen. We all willing carry around in our pockets a device whose content is largely designed to modify our behavior and extract our time and money. Making “computer” mean computer-feelings and not computer-devices shifts the boundaries of what is captured by the word. It removes a great many things – smartphones, language models, “social” “media” – from the domain of the computational. It also welcomes a great many things – notebooks, papercraft, diary, kitchen – back into the domain of the computational. I love the feeling of a personal computer, one whose purpose primarily resides in the domain of the individual and secondarily supports the social. It’s part of what I love about the some of the ideas embedded in local-first, which start from the principle of owning and prioritizing what you do on your computer first and foremost, and then secondarily syncing that to other computers for the use of others. Email · Mastodon · Bluesky

a week ago 12 votes
Follow Up: An Analysis of YouTube Links From The White House’s “Wire” Website

After publishing my Analysis of Links From The White House’s “Wire” Website, Tina Nguyen, political correspondent at The Verge, reached out with some questions. Her questions made me realize that the numbers in my analysis weren’t quite correct (I wasn’t de-depulicating links across days, so I fixed that problem). More pointedly, she asked about the most popular domain the White House was linking to: YouTube. Specifically, were the links to YouTube 1) independent content creators, 2) the White House itself, or 3) a mix. A great question. I didn’t know the answer but wanted to find out. A little JavaScript code in my spreadsheet and boom, I had all the YouTube links in one place. I couldn’t really discern from the links themselves what I was looking at. A number of them were to the /live/ subpath, meaning I was looking at links to live streaming events. But most of the others were YouTube’s standard /watch?v=:id which leaves the content and channel behind the URL opaque. The only real way to know was to click through to each one. I did a random sampling and found most of the ones I clicked on all went to The White House’s own YouTube channel. I told Tina as much, sent here the data I had, and she reported on it in an article at The Verge. Tina’s question did get me wondering: precisely how many of those links are to the White House’s own YouTube channel vs. other content creators? Once again, writing scripts that process data, talk to APIs, and put it all into 2-dimensional tables in a spreadsheet was super handy. I looked at all the YouTube links, extracted the video ID, then queried the YouTube API for information about the video (like what channel it belongs to). Once I had the script working as expected for a single cell, it was easy to do the spreadsheet thing where you just “drag down” to autocomplete all the other cells with video IDs. The result? From May 8th to July 6th there were 78 links to YouTube from wh.gov/wire, which breaks down as follows: 73 links to videos on the White House’s own YouTube channel 2 links to videos on the channel “Department of Defense” 1 link to a video on the channel “Pod Force One with Miranda Devine” 1 link to a video on the channel “Breitbart News” 1 link to a video that has since been taken down “due to a copyright claim by Sony Music Publishing” (so I’m not sure whose channel that was) Email · Mastodon · Bluesky

a week ago 15 votes
Do You Even Personalize, Bro?

There’s a video on YouTube from “Technology Connections” — who I’ve never heard of or watched until now — called Algorithms are breaking how we think. I learned of this video from Gedeon Maheux of The Iconfactory fame. Speaking in the context of why they made Tapestry, he said the ideas in this video would be their manifesto. So I gave it a watch. Generally speaking, the video asks: Does anyone care to have a self-directed experience online, or with a computer more generally? I'm not sure how infrequently we’re actually deciding for ourselves these days [how we decide what we want to see, watch, and do on the internet] Ironically we spend more time than ever on computing devices, but less time than ever curating our own experiences with them. Which — again ironically — is the inverse of many things in our lives. Generally speaking, the more time we spend with something, the more we invest in making it our own — customizing it to our own idiosyncrasies. But how much time do you spend curating, customizing, and personalizing your digital experience? (If you’re reading this in an RSS reader, high five!) I’m not talking about “I liked that post, or saved that video, so the algorithm is personalizing things for me”. Do you know what to get yourself more of? Do you know where to find it? Do you even ask yourself these questions? “That sounds like too much work” you might say. And you’re right, it is work. As the guy in the video says: I'm one of those weirdos who think the most rewarding things in life take effort Me too. Email · Mastodon · Bluesky

a week ago 13 votes

More in design

LUXURY SQUARE NEW INTERNATIONAL AIRPORT ISTANBUL

PLAJER + FRANZ designed a premium multi-brand concept at Istanbul Airport in 2023 with Gebr. Heinemann/ATU Duty Free. The “Luxury...

20 hours ago 2 votes
head on the cloud, feet on the ground

A conversation with Sari Azout of Sublime

2 days ago 7 votes
Do Man by killeridea

This label was created to tell the story of a collaboration: two people, one wine. The central visual element is...

3 days ago 5 votes
Fonts In Use is not active on Instagram

Contributed by Nick Sherman Fonts In Use. License: CC BY-SA. The Fonts In Use staff was never especially enthusiastic about maintaining our account on Instagram. The platform is antithetical to so much of the what we love on the web: hyperlinks, web feeds (e.g., RSS), advanced search, chronological timelines, archival functionality, cross-references, citations and proper credits, web standards, semantic formatting, and direct community connections, with freedom from corporate intermediaries and their agendas – the Open Web at its best. We sincerely appreciate the 28,000+ people who’ve followed our account on Instagram, but the benefit of “being where the eyes are” has involved compromises that are increasingly incompatible with our staff’s values. It’s been almost a year since our last post on Instagram, and we wanted to explain why here, publicly. Rejecting passive complicity There are legitimate questions about whether Instagram is even an effective platform for sharing design anymore, but – more significantly – there are deeper moral considerations about the platform that can’t be ignored. Instagram and its parent company, Meta, have been involved in countless issues related to the invasion of privacy, psychological manipulation, unauthorized surveillance, corporate fraud, employee exploitation, security breaches, censorship, negative environmental impacts, copyright infringement, moderation negligence, and conscious facilitation of everything from housing discrimination to literal genocide. It can be easy to forget or disregard all these issues while scrolling through a timeline of enjoyable posts from people you like. Surely, casually browsing photos of your friends or sharing some small design item doesn’t have anything to do with genocide, right? Meta has carefully engineered its experience to manipulate its users, and depends on this kind of passive complicity from otherwise critically-minded people to maintain its stronghold via the network effect. Their power is dependent on a massive user base continuing to use their platform without thinking too hard about the consequences on a larger scale. It’s too much for us. Fonts In Use can’t justify supporting such a morally corrupt company with more content, energy, or attention. Doing what feels right Discontinuing our activity on Instagram matches a broader ethos at Fonts In Use where we try our best to operate the project in a way we feel good about, even if doing so risks the possibility of a bit more work, a smaller operating budget, or a reduced audience. We’re proud to exist as proof that you can operate a successful, sustainable organization without relying on so many of the dystopian companies and technologies many people accept as necessary evils these days. We don’t claim to be perfect but – if you’ll pardon the cliché – we’re trying to be the proverbial change we want to see in the world. That mindset has led to other significant changes for Fonts In Use over the years: We stopped using Twitter, despite having tens of thousands of followers there, and embraced decentralized, non-corporate social media with Mastodon. We cut the use of third-party cookies and scripts from our website. We moved our website analytics away from Google and onto a privacy-friendly, self-hosted system. We rejected sponsorship from companies we find problematic. While some of these decisions make our work trickier, there are also notable practical benefits: Our content and relationships with our community aren’t beholden to the whims of egomaniacal billionaires. Visiting our website doesn’t require annoying consent pop-ups. Our website loads faster. Our readers’ privacy is secure. We sleep better at night. Best of all: despite abandoning all those practices accepted by many as inevitable compromises, Fonts In Use still has a stronger audience now than it ever has, by almost all metrics. More people visit the site more frequently, looking at more pages, and clicking more external links to sponsors, designers, and independent font companies than ever. Who knew removing unsavory variables from your online presence may actually be good for business? Push the status quo As with Twitter and Google, we don’t expect our discontinued activity on Instagram will have any immediate effect on that company’s behavior or bottom line. But maybe other designers reading this will reconsider how they manage their own content and relationships online, or be more proactive in removing toxic dependencies from their occupation. Maybe it will reduce the influence of predatory corporations on the world of typography just a little bit. One thing is certain: unless more people push against the status quo, the grip of horrible corporations will only become tighter and tighter. If you’re considering a similar move away from questionable social media platforms, there's no better time than the present. Even if you don’t completely leave those platforms, you can always start building up an independent presence in tandem – on a decentralized social network, your own website, and/or an email newsletter – where you control your own content and aren’t trapped by any one gatekeeper to maintain connections with your community. In the meantime there are several ways to keep up with what’s new at Fonts In Use: Subscribe to any of our many RSS feeds: for all posts, staff picks, comments, just the blog, or any tag, designer, contributor, format, user-curated set, category, etc. (most listing pages on the site have corresponding RSS feeds). Follow us on Mastodon. Sign up for our upcoming email newsletter. This post was originally published at Fonts In Use

4 days ago 10 votes
This Moment Candles by Karolina Król Studio

This Moment is a brand of small-batch, hand-poured, naturally-scented soy candles and natural home fragrance products. It was created as...

4 days ago 7 votes