My wife is tinydiva. She is a musician. Her band is called Masolit. They are awesome. Seriously. And you should see them play their world debut performance live this Saturday in Williamsburg, Brooklyn. Timing: Saturday, March 22, 2008 7:00 pm: The Creationists 8:00 pm: Masolit Location: MTAA 60 North 6th Street, 2nd floor Williamsburg, Brooklyn, … Continue reading Masolit
Fish Magic, 1925, Paul Klee It is said that a fish, even a really smart one, cannot really grasp the meaning of the concept “wet” because it is the only condition they know. There is no “dry” to compare it to. Humans, too, have a tendency to imagine that the way things are today is … Continue reading The Peculiar 20th Century
Last.fm‘s announcement that they will be allowing their users to listen to full-length versions of millions of music tracks is one of the final nails in the coffin of the traditional recorded-music industry. Owning music is dead. The new business model for making money in the music industry is simple: Design a better music distribution … Continue reading R.I.P.: Owning Music (1880-2008)
I just watched the latest episode of FRONTLINE, whose title, â€œGrowing Up Onlineâ€œ, pretty much accurately describes the content. The show is excellent, and while Iâ€™m not inclined to share my specific thoughts about the program, I am compelled to show you this screenshot illustrating â€œcyber bullyingâ€.
A few years ago I was invited by the Whitney Museum to contribute an artwork to their Artport site, their showcase of interactive artists. My contribution was “Concentric Empathy”, a work about the various sorts of non-human emergent intelligences we might have to confront in the coming century. I am showing it again here because of my comment the other day about the OLPC’s use of the “circular menu” paradigm.
I pointed my iPhone camera into the empty corner of a room and captured this.
At the Speak Up graphic design blog, Armin Vit laments the lack of “landmark” or canonical web designs. After giving several examples of iconic designs that are truly landmarks in the history of graphic design, from Paul Rand’s IBM logo in the 1950s to Paula Scher’s Public Theater posters in the 1990s, he writes: Myself, … Continue reading In Defense of Graphic Design on the Web
It’s hard to understate the pride I felt on behalf of my colleagues at Behavior when I read these words in Friday’s New York Times: “The Museum of Modern Artâ€™s elegantly plain exhibition of Georges Seuratâ€™s drawings begins with an unexpectedly extraordinary moment of computerized art viewing. Seuratâ€™s four surviving notebooks have been converted to electronic versions that â€” with a touch of a finger â€” visitors can flip through, page by digital page, from cover to dog-eared cover.”
One basic assumption of good experience design is that people fundamentally don’t like change. They can’t deal with it, it’s too risky, and changes will all too often lead to failures. But the human mind’s capacity to adapt to change, sometimes rapidly and seamlessly, can be astonishing.
Like a fish who doesn’t know that he is wet, I have no idea what it is like to not be a design thinker. And I suppose that, conversely, a lot of people who talk about design thinking have no idea what designers are actually taught. Are we really taught different skills than our MBA counterparts? Is there really something unique about what designers are taught, about how we think? To answer that question, I thought I’d talk about what I learned in art school.