Link tags: vision

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The Fonts in Popular Things Identified Vol. 1 · Typewolf

I’d watch this game show:

Welcome to the first installment of a new series on Typewolf, where I’ll be identifying the fonts used in popular things. The focus here is on anything you might encounter in contemporary visual culture—movie posters, TV shows, book covers, etc.

Et In Silicon Valley Ego – Dr Beth Singler

The parallels between Alex Garland’s Devs and Tom Stoppard’s Arcadia.

Looking at coronavirus.data.gov.uk - Matthew Somerville

I worry that more and more nowadays, people jump to JavaScript frameworks because that is what they know or have been taught, even though they are entirely inappropriate for a wide array of things and can often produce poor results.

Last week I wrote about the great work that Matthew did and now he’s written up his process:

The important thing is to have a resilient base layer of HTML and CSS, and then to enhance that with JavaScript.

Slopes | Tinkersynth

Have fun with this little machine, tweaking the parameters for generating a Joy Division/Jocelyn Bell-Burnell data visualisation.

The interface is quite delightful!

Self Treat

It’s been an absolute pleasure having Holly, Laçin, and Beyza at Clearleft while they’ve been working on this three-month internship project:

Self Treat is a vision piece designed to increase self-management of minor health conditions.

You can also read the blog posts they wrote during the process:

Tools & Craft - Episode 03: Ted Nelson

A great interview with Ted Nelson at the Internet Archive where he reminisces about Doug Engelbart, Bob Taylor, Vannevar Bush, hypertext and Xanadu. Wind him and let him go!

There’s an interesting tidbit on what he’s up to next:

So, the first one I’m trying to build will just be a comment, but with two pages visibly connected. And the second bit will be several pages visibly connected. A nice example is Vladimir Nabokov’s novel Pale Fire, which is a long poem by the fictitious author John Shade, connected to a large number of idiotic footnotes by the fictitious academic Charles Kinbote.

Ironically, back in the days of the Dark Brown Project, I actually got permission from the publishers of Pale Fire to demonstrate it on the Brown system. So now I hope to demonstrate it on the new Xanadu.

Pale Fire is the poem referenced in Blade Runner 2049:

Cells interlinked within cells interlinked…

Internet Archive: Connections season 1, episodes 1-10

Videos for the whole first season of James Burke’s brilliant Connections TV series.

Internet Archive and chill.

fascism in sci-fi | Sci-fi interfaces

Chris is putting his examination of interfaces in science fiction on pause while he examines a more pressing matter for today’s political climate—an examination of depictions of fascism in science fiction:

  1. Sci-fi interfaces and fascism
  2. A surprisingly empty survey: Strong fascism in screen sci-fi
  3. Why is strong fascism missing in screen sci-fi?

‘Never assume anything’: The golden rules for inclusive design

Inclusive design is also future-proofing technology for everyone. Swan noted that many more developers and designers are considering accessibility issues as they age and encounter poor eyesight or other impairments.

BBC Computer Literacy Project Archive

Here’s a treasure trove of eighties nerd nostalgia:

In the 1980s, the BBC explored the world of computing in The Computer Literacy Project. They commissioned a home computer (the BBC Micro) and taught viewers how to program.

The Computer Literacy Project chronicled a decade of information technology and was a milestone in the history of computing in Britain, helping to inspire a generation of coders.

Untold AI: The Untold | Sci-fi interfaces

Prompted by his time at Clearleft’s AI gathering in Juvet, Chris has been delving deep into the stories we tell about artificial intelligence …and what stories are missing.

And here we are at the eponymous answer to the question that I first asked at Juvet around 7 months ago: What stories aren’t we telling ourselves about AI?

“The Only-ness Statement,” an article by Dan Mall

A useful design strategy exercise from Marty Neumeier.

The Design Genome Project | InVision

A beautiful looking site from InVision collecting case studies of design-led companies (although this site is weirdly over-engineered and entirely dependent on JavaScript for rendering some text on a screen—prepare yourself for janky scrolling).

The Technium: Protopia

I think our destination is neither utopia nor dystopia nor status quo, but protopia. Protopia is a state that is better than today than yesterday, although it might be only a little better. Protopia is much much harder to visualize. Because a protopia contains as many new problems as new benefits, this complex interaction of working and broken is very hard to predict.

Kevin Kelly’s thoughts at the time of coining of this term seven years ago:

No one wants to move to the future today. We are avoiding it. We don’t have much desire for life one hundred years from now. Many dread it. That makes it hard to take the future seriously. So we don’t take a generational perspective. We’re stuck in the short now. We also adopt the Singularity perspective: that imagining the future in 100 years is technically impossible. So there is no protopia we are reaching for.

Futurists & realists – The Man in Blue

Cameron contrasts Syd Mead with Frank Lloyd Wright.

Mastery of materials is a valuable thing to have. It will help you build what’s needed now and forge ahead into the near future. But vision is also valuable – it helps inspire and drive teams, and lays out a longer term future that can alter the path of humanity. What I take from the futurists and the realists is that there’s a place for every person and every process; what you need to do is find your own place, get comfortable, and own it.

The Human Computer’s Dreams Of The Future by Ida Rhodes (PDF)

From the proceedings of the Electronic Computer Symposium in 1952, the remarkable Ida Rhodes describes a vision of the future…

My crystal ball reveals Mrs. Mary Jones in the living room of her home, most of the walls doubling as screens for projected art or information. She has just dialed her visiophone. On the wall panel facing her, the full colored image of a rare orchid fades, to be replaced by the figure of Mr. Brown seated at his desk. Mrs. Jones states her business: she wishes her valuable collection of orchid plants insured. Mr. Brown consults a small code book and dials a string of figures. A green light appears on his wall. He asks Mrs. Jones a few pertinent questions and types out her replies. He then pushes the start button. Mr. Brown fades from view. Instead, Mrs. Jones has now in front of her a set of figures relating to the policy in which she is interested. The premium rate and benefits are acceptable and she agrees to take out the policy. Here is Brown again. From a pocket in his wall emerges a sealed, addressed, and postage-metered envelope which drops into the mailing chute. It contains, says Brown, an application form completely filled out by the automatic computer and ready for her signature.

Trends in Digital Tech for 2018 - Peter Gasston

Peter looks into his crystal ball for 2018 and sees computers with eyes, computers with ears, and computers with brains.

Inside Design: Clearleft

A profile of Clearleft from the nice people at InVision.

Although there is this:

Visions - A Literary Science Fiction Magazine

This forthcoming sci-fi quarterly publication looks intriguing:

Each issue contains a part of a previously untranslated novel as well as essays looking at the world through the lens of different writers.

I’m loving their typeface. It’s called Marvin. It was specially made for the magazine, and available to download and use for personal use for free.

Marvin gets its distinctive voice not only from its Art Nouveau vibe but also from its almost geometrically perfect construction. Its roundness and familiarity with Bauhaus typefaces shows its roots in geometric sans serifs at the same time.

The story of its (re)construction is fascinating. (Thanks for the heads-up, Jason.)

The Lost Picture Show: Hollywood Archivists Can’t Outpace Obsolescence - IEEE Spectrum

There are three parts to digital preservation: format, medium, and licensing. Film and television archives are struggling with all three.

Format:

Codecs—the software used to compress and decompress digital video files—keep changing, as do the hardware and software for playback.

Medium:

As each new generation of LTO comes to market, an older generation of LTO becomes obsolete. LTO manufacturers guarantee at most two generations of backward compatibility. What that means for film archivists with perhaps tens of thousands of LTO tapes on hand is that every few years they must invest millions of dollars in the latest format of tapes and drives and then migrate all the data on their older tapes—or risk losing access to the information altogether.

Licensing:

Studios didn’t see any revenue potential in their past work. They made money by selling movie tickets; absent the kind of follow-on markets that exist today, long-term archiving didn’t make sense economically.

It adds up to a potential cultural disaster:

If technology companies don’t come through with a long-term solution, it’s possible that humanity could lose a generation’s worth of filmmaking, or more.