Typography meets astronomy in 16th century books like the Astronomicum Caesareum.
It is arguably the most typographically impressive scientific manual of the sixteenth century. Owen Gingerich claimed it, “the most spectacular contribution of the book-maker’s art to sixteenth-century science.”
Okay, I think I’m going to have to get this pack of three notebooks: Mercury, Gemini, and Apollo.
If only all documentation was as great as this old manual for the ZX Spectrum that Remy uncovered:
The manual is an instruction book on how to program the Spectrum. It’s a full book, with detailed directions and information on how the machine works, how the programming language works, includes human readable sentences explaining logic and even goes so far as touching on what hex values perform which assembly functions.
When we talk about things being “inspiring”, it’s rarely in regards to computer manuals. But, damn, if this isn’t inspiring!
This book stirs a passion inside of me that tells me that I can make something new from an existing thing. It reminds me of the 80s Lego boxes: unlike today’s Lego, the back of a Lego box would include pictures of creations that you could make with your Lego set. It didn’t include any instructions to do so, but it always made me think to myself: “I can make something more with these bricks”.
The focus of the A Book Apart series is what makes it great …and that means having to reject some proposals that don’t fit. Even though I’ve had the honour of being a twice-published A Book Apart author, I also have the honour of receiving a rejection, which Jeffrey mentions here:
In one case we even had to say no to a beautifully written, fully finished book.
That was Resilient Web Design.
So why did we turn down books we knew would sell? Because, again—they weren’t quite right for us.
It was the right decision. And this is the right advice:
If you’ve sent us a proposal that ultimately wasn’t for us, don’t be afraid to try again if you write something new—and most importantly, believe in yourself and keep writing.
Perspectives other than our own bring a breath of fresh air. They open doors and allow light to flood in. They wrap us in a warm, comforting blanket by letting us know other people go through similar struggles. There is a tonne of writing out there that exists because the author suffered through something. Suffering tends to give you a strong desire to prevent others experiencing similar pain.
There’s something quite Bridlesque about these lovely books that Brendan is generating from git commits.
Plague; zombie; nuclear …Anna’s got them all covered in her roundup of apocalyptic literature and games.
I love what Ben is doing with this single-serving site (similar to my design principles collection)—it’s a collection of handy links and resources around voice UI:
Designing a voice interface? Here’s a useful list of lists: as many guiding principles as we could find, all in one place. List compiled and edited by Ben Sauer @bensauer.
BONUS ITEM: Have him run a voice workshop for you!
Great advice from Jen on writing a book:
- Write emails to Ted. Try to find a little comfort zone inside the larger uncomfortable task.
- Don’t write a Book. Write Chapters. Break a large chore into smaller tasks and focus on one at a time.
- Trap yourself. Set up a workspace that limits distraction and procrastination.
- Don’t despair the zero-word-count days. Give yourself credit for behind-the-scenes work, even self-care.
- Get amnesia. Keep your eye on the prize.
George Lucas, Ted Chiang, Greg Egan, Stanley Kubrick, Tom Stoppard, William Shakespeare, and Ridley Scott are all part of Matt’s magnificent theory that the play is the thing.
Rosencrantz and Guildenstern are replicants.
Characters look like people, except they exist for only the duration of a movie — only while they are necessary. They come with backstory and memories fully established but never experienced, partly fabricated for the job and partly drawn from real people known by the screenwriter. At the end, they vanish, like tears in rain.
John Lanchester reviews ‘The Attention Merchants’ by Tim Wu, ‘Chaos Monkeys’ by Antonio García Martínez and ‘Move Fast and Break Things’ by Jonathan Taplin · LRB 17 August 2017
Triple the hand-wringing in this combined review of three books:
- The Attention Merchants: From the Daily Newspaper to Social Media, How Our Time and Attention Is Harvested and Sold by Tim Wu,
- Chaos Monkeys: Inside the Silicon Valley Money Machine by Antonio García Martínez, and
- Move Fast and Break Things: How Facebook, Google and Amazon have Cornered Culture and What It Means for All of Us by Jonathan Taplin.
What this means is that even more than it is in the advertising business, Facebook is in the surveillance business. Facebook, in fact, is the biggest surveillance-based enterprise in the history of mankind. It knows far, far more about you than the most intrusive government has ever known about its citizens. It’s amazing that people haven’t really understood this about the company. I’ve spent time thinking about Facebook, and the thing I keep coming back to is that its users don’t realise what it is the company does. What Facebook does is watch you, and then use what it knows about you and your behaviour to sell ads. I’m not sure there has ever been a more complete disconnect between what a company says it does – ‘connect’, ‘build communities’ – and the commercial reality.
More on that event with Brian Aldiss I was reminiscing about: that was the first time that Kate unveiled part of her Purple People book:
Jeremy insisted this would be an excellent opportunity for me to read an excerpt from Purple People, and so invited me onto the stage with those illustrious, wordy wizards to share an early indigo excerpt. I was quite literally shaking that night (even more than a talking tree, ho ho), but all was jolly. I read my piece without falling off the stage, and afterwards, folk made some ace and encouraging comments.
Three authors pick their favourite book by Philip K Dick:
- Nicola Barker: Puttering About in a Small Land
- Michael Moorcock: Time Out of Joint
- Adam Roberts: Do Androids Dream of Electric Sheep?
The ability of the physical world — a floor, a wall — to act as a screen of near infinite resolution becomes more powerful the more time we spend heads-down in our handheld computers, screens the size of palms. In fact, it’s almost impossible to see the visual patterns — the inherent adjacencies — of a physical book unless you deconstruct it and splay it out on the floor.
Craig gives us a walkthrough—literally—of the process behind the beautiful Koya Bound book.
Deciding to make any book is an act of creative faith (and ego and hubris, but these aren’t all exclusionary). But before Dan and I sold any copies of Koya Bound, we walked atop the pages that would become the book, not really knowing if there existed an audience for the book.
Given my experience publishing Resilient Web Design as a web book, I think I should take a good look at this nascent spec.
What we envision for Packaged Web Publications is similar to the goals and techniques of Progressive Web Apps: breaking the boundaries between web sites and mobile apps, an emphasis on “offline” paradigms, and so on. The time is right to broaden the scope and power of the web to include publications.
Beautifully designed and typeset eBooks of royalty-free works—yours for the taking and reading.
There’s a styleguide if you want to get involved on the production side too.
This is what Jessica has been working on for the past year—working very hard, I can attest.
This wrap-up post is a fascinating insight into the translation process.
Science fiction isn’t about technology, it’s about people …and how people change in response to technology.
So ironically, perhaps the only way that any piece of science fiction can be sure that it will remain resonant as the years pass is to make sure that any technical speculation can drop away once it’s no longer relevant. The science will fall back to Earth like an exhausted booster section, tumbling away from the rocket that will one day reach the stars. And then we’ll be left with stories about how people change when change arrives – and that, for me, is what science fiction is.