This is so in-depth! Movies and TV shows from within movies and TV shows. All of them are real …I mean, they’re not real, they’re fake—that’s but the point—but they’re all from real movies and TV …ah, never mind.
(you know my opinion of Adam Curtis’s
The intent is for this website to be used by self-forming small groups that want to create a “watching club” (like a book club) and discuss aspects of technology history that are featured in this series.
I’m about ready to rewatch Halt And Catch Fire. Anybody want to form a watching club with me?
The street finds its own uses for things, and it may be that the use for Google Glass is assistive technology. Here’s Léonie’s in-depth hands-on review of Envision Glasses, based on Google Glass.
The short wait whilst the image is processed is mitigated by the fact a double tap is all that’s needed to request another scene description, and being able to do it just by looking at what I’m interested in and tapping a couple of times on my glasses is nothing short of happiness in a pair of spectacles.
James has penned a sweeping arc from the The Mechanical Turk, Sesame Street, and Teletubbies to Instagram, Facebook, and YouTube.
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.
The parallels between Alex Garland’s Devs and Tom Stoppard’s Arcadia.
Last week I wrote about the great work that Matthew did and now he’s written up his process:
Have fun with this little machine, tweaking the parameters for generating a Joy Division/Jocelyn Bell-Burnell data visualisation.
The interface is quite delightful!
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:
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…
Videos for the whole first season of James Burke’s brilliant Connections TV series.
Internet Archive and chill.
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:
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.
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.
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?
A useful design strategy exercise from Marty Neumeier.
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.
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.