Frank has published the (beautifully designed) text of his closing XOXO keynote.
Tuesday, April 18th, 2017
Thursday, May 19th, 2016
The newest Kirby Ferguson video looks at remixing through the lens of the newest Star Wars film.
Wednesday, August 19th, 2015
A wonderful collection of treasures excavated from GeoCities. Explore, enjoy, and remember what a crime it is that Yahoo wiped out so much creativity and expression.
Tuesday, November 18th, 2014
Steve Albini’s barnstorming keynote address at Melbourne’s Face the Music conference.
Saturday, August 2nd, 2014
It seems like the world wide web is forever playing catch-up. Back in the ’90s, the web was competing with CD-ROMs and coming up short …at least in terms of what could be technically accomplished. CD-ROMs offered richer interactivity, better visuals, and the possibility of using audio. But in the long run, that didn’t matter. CD-ROMs just couldn’t compete with the sheer vastness of the world wide web.
Later on, Macromedia (and later, Adobe) Flash went toe-to-toe with the web. Once again, it seemed like the web couldn’t match its competitor for animation, audio, and video. And yet, once again, the web outlasted its flashier counterpart.
More recently, we’ve seen a re-run of this same story in the world of mobile. Compared to native apps, the web just doesn’t appear to offer the same level of rich interactivity. But even here, I suspect that the web will still be stronger than ever long after the craze for native apps has faded away.
Each one of these proprietary technologies—CD-ROMs, Flash, native apps—could be interpreted as a threat to the open web, but I prefer to see them as the web’s R’n’D department. There’ll always be some competing technology that superficially appears to be gunning for the web’s dominance. In reality, these technologies demonstrate what kind of features web developers are looking for from browsers and standards bodies. If it weren’t for Flash, would we even have CSS animations? If it weren’t for native apps, would there be so much work put into providing access to device APIs?
The web will always be lagging behind some other technology …and that’s okay. Over time, the web’s feature set grows and grows, all the while maintaining backward-compatibility (something sorely missing from those competing technologies). The growth of the web’s feature-set might sometimes appear to be painfully slow, but it’s worth taking a step back every now and then to see how far we’ve come.
This book is like a snapshot of the cutting edge of what’s possible in web browsers today. The progress we’ve made might surprise you. It certainly surprised me. I’m somewhat flabbergasted by how much we can accomplish now with audio, video, and animations. And there’s no better person than Shane to do the flabbergasting. He’s like the Doogie Howser of web development. (Ask your parents.)
So settle in for a wild ride. Shane Hudson is going to take you to the edge.
Friday, January 27th, 2012
I loved this talk from Travis at New Adventures in Web Design, especially when he talked of the importance of Geocities and MySpace in democratising creative expression on the web.
We may have later bonded over that Ze Frank quote while in the toilet at the after-party …there may have even been hugs.
Sunday, December 25th, 2011
Steven Johnson describes the beautifully chaotic way that ideas collide and coalesce. Oh, and this bit…
Listening to Cerf talk about the origins of the Internet — and thinking about the book project — made me wonder who had actually come up with the original idea for a decentralized network. So that day, I tweeted out that question, and instantly got several replies. One of those Twitter replies pointed to a Wired interview from a decade ago with Paul Baran, the RAND researcher who was partially responsible for the decentralized design.
Tuesday, July 26th, 2011
This is your one-stop shop for envelope-pushing in the browser:
The Lost Lemonworld
When the always-excellent Radiolab podcast turned its attention to the subject of creativity and motivation in an episode called ‘Help?’, they spoke to Elizabeth Gilbert who reminisced about interviewing Tom Waits on this topic:
He was talking about how every song has a distinctive identity that it comes into the world with, and it needs to be taken in different ways. He said there are songs that you have to sneak up on like you’re hunting for a rare bird, and there are songs that come fully intact like a dream taken through a straw. There are songs that you find little bits of like pieces of gum you find underneath the desk, and you scrape them off and you put them together and you make something out of it.
And there are songs, he said, that need to be bullied. He said he’s been in the studio working on a song and the whole album is done and this one song won’t give itself over and — everyone’s gotten used to seeing him do things like this — he’ll march up and down the studio talking to the song, saying “The rest of the family is in the car! We’re all going on vacation! You coming along or not? You’ve got 10 minutes or else you’re getting left behind!”
Last year the New York Times ran a profile of The National, written while they were still recording the wonderful High Violet—my favourite album of last year. The piece circles around the ongoing problems the band were having trying to tame the song Lemonworld:
Since January they’d done it bright, done it drowsy, done it with violin parts overnighted from Australia by Padma Newsome, done it so many ways Bryce despaired, “It’s a riddle we can’t solve.”
This is exactly what we’ve been going through with Salter Cane. For about a year we had a song that had been defying us, stubbornly refusing to reach that breakthrough moment where it all seems to come together. We took a break from the song for a while and when we came back to it, we tried approaching it as a new piece. That seems to be working. It’s finally coming together.
In the end we realised that we trying to make the song into something bigger than it needed to be. Sometimes it’s okay for a song to be small and simple. That seems to be the case with Lemonworld:
Matt said afterward, “we tried so hard and it always seemed to fail as a rock song. It lost the charm of the ugly little demo. Now it’s the ugliest, worst-mixed, least-polished song on the record, and it took the longest to get there.”
I think that Lemonworld is a strong song. It even stands up to be being butchered by me on the bouzouki.
Thursday, July 14th, 2011
It’s hard to believe that it’s been half a decade since The Show from Ze Frank graced our tubes with its daily updates. Five years ago to the day, he recorded the greatest three minutes of speech ever committed to video.
In the midst of his challenge to find the ugliest MySpace page ever, he received this comment:
Having an ugly Myspace contest is like having a contest to see who can eat the most cheeseburgers in 24 hours… You’re mocking people who, for the most part, have no taste or artistic training.
Ze’s response is a manifesto to the democratic transformative disruptive power of the web. It is magnificent.
In Myspace, millions of people have opted out of pre-made templates that “work” in exchange for ugly. Ugly when compared to pre-existing notions of taste is a bummer. But ugly as a representation of mass experimentation and learning is pretty damn cool.
Regardless of what you might think, the actions you take to make your Myspace page ugly are pretty sophisticated. Over time as consumer-created media engulfs the other kind, it’s possible that completely new norms develop around the notions of talent and artistic ability.
That’s one of the reasons why I dread the inevitable GeoCities-style shutdown of MySpace. Let’s face it, it’s only a matter of time. And when it does get shut down, we will forever lose a treasure trove of self-expression on a scale never seen before in the history of the planet. That’s so much more important than whether it’s ugly or not. As Phil wrote about the ugly and neglected fragments of Geocities:
GeoCities is an awful, ugly, decrepit mess. And this is why it will be sorely missed. It’s not only a fine example of the amateur web vernacular but much of it is an increasingly rare example of a period web vernacular. GeoCities sites show what normal, non-designer, people will create if given the tools available around the turn of the millennium.
Substitute MySpace for GeoCities and you get an idea of the loss we are facing.
Let’s not make the same mistake twice.
Saturday, July 2nd, 2011
Take some time out to read this. Read all of this. Craig’s thoughts on the nature of publishing today:
Digital’s effect on how we produce, distribute and consume content.
Monday, January 10th, 2011
Brendan giving one of the “inspired sessions” at last year’s Flash On The Beach one evening in the Brighton Dome.
Monday, October 18th, 2010
Stephen Johnson wrote a book. Frank Chimero did a doodle.
Monday, October 4th, 2010
You'll need to use Instapaper/Readability/Safari Reader to make it legible, but this conversation is well worth reading. Now I want to get those books.
Sunday, September 26th, 2010
It's well worth paying attention to this site, the accompaniment to the four-part series of videos entitled "Everything is a Remix."
Saturday, September 18th, 2010
A fantastically detailed look by Michael at the evolution of the design of Chewbacca.
Thursday, July 29th, 2010
I'll be sitting in judgement on the entries to this neat competition which harks back to the good ol' days of 5k.org.
Saturday, July 17th, 2010
Tom says it like it is. Making A Thing generates empathy.
Monday, May 10th, 2010
A platform game? A platform for games!
Friday, February 19th, 2010
These talking machines are going to ruin the artistic development of music in this country. When I was a boy…in front of every house in the summer evenings, you would find young people together singing the songs of the day or old songs. Today you hear these infernal machines going night and day. We will not have a vocal cord left. The vocal cord will be eliminated by a process of evolution, as was the tail of man when he came from the ape.
The International Convention on Performing Rights is holding a third round of crisis talks in an attempt to stave off the final collapse of the WIPO music licensing regime. On the one hand, hard-liners representing the Copyright Control Association of America are pressing for restrictions on duplicating the altered emotional states associated with specific media performances: As a demonstration that they mean business, two “software engineers” in California have been kneecapped, tarred, feathered, and left for dead under placards accusing them of reverse-engineering movie plot lines using avatars of dead and out-of-copyright stars.
On the opposite side of the fence, the Association of Free Artists are demanding the right of perform music in public without a recording contract, and are denouncing the CCAA as being a tool of Mafiya apparachiks who have bought it from the moribund music industry in an attempt to go legit. FBI Director Leonid Kuibyshev responds by denying that the Mafiya is a significant presence in the United States. But the music biz’s position isn’t strengthened by the near collapse of the legitimate American entertainment industry, which has been accelerating ever since the nasty noughties.