BYE, MOM. BYE, DAD. PLEASE STOP STRUGGLING. IT’S JUST A COUPLE YEARS IN A LABOR CAMP. I KNOW YOU WERE LOOKING FORWARD TO RETIREMENT BUT YOU CO-SIGNED FOR COLLEGE, REMEMBER? IT WAS EITHER SELL YOU INTO INDENTURED SERVITUDE OR GET SOME CORPORATE CUBICLE JOB TO PAY BACK MY STUDENT LOANS.
NO OFFENSE, BUT I DIDN’T GO TO ART SCHOOL TO WORK IN AN OFFICE, OKAY? I NEED TO BE IN A NURTURING CREATIVE ENVIRONMENT.
Spotted on walk to work this am: Squirrel in #toronto Annex head shop window. Elliott thought it was totally normal.
“February 27, 1975 — Employees at Rockwell International Corporations Space Division, Downey, Calif., look over a full-scale mockup of the Space Shuttle orbiter..” (via, photo via aharvey2k’s Flickr)
BoingBoing’s Rob Beschizza’s talk “How to Blog”
Young People in the Recession - The War Against Youth
Esquire Magazine, April 2012
By: Marco Arment
I experimented with custom fonts in Instapaper last year, but my efforts fizzled out. Before iOS 5, rendering custom fonts in a UIWebView on iOS was extremely buggy and slow. And nearly all of my licensing inquiries to font foundries went unanswered, so I couldn’t legally ship any of the fonts I wanted even if I could get them to work well. So I tabled the custom-fonts idea.
But I tabled it for too long. When Readability launched their competing app last week, their custom fonts received high praise and Instapaper’s looked pretty tired by comparison.
I could have interpreted this defensively and complacently: “Georgia and Verdana are great, versatile, highly screen-readable fonts! I don’t need to do what competitors do! Newer isn’t always better! My crusty old fonts have some technical advantage that you don’t care about!” And so on.
That would have just made me look stubborn and out of touch, failing to understand (in fact, trying very hard not to understand) why newer fonts could be attractive to customers, and failing to admit that I should have done it first.
Instead, I’m taking this misstep as a wake-up call: I missed an important opportunity that’s necessary for the long-term competitiveness of my product. So I’ve spent most of the last week testing tons of reading fonts, getting feedback from designers I respect, narrowing it down to a handful of great choices, and negotiating with their foundries for inclusion into the next version of Instapaper. And the results in testing so far are awesome. I wish someone had kicked my complacent ass about fonts sooner.
Reacting well to competition requires critical analysis of your own product and its shortcomings, and a complete, open-minded understanding of why people might choose your competitors.
They’re not fanboys. They’re not brainwashed by “marketing”. Your competitors’ customers aren’t passing on your product because they’re stupid or irrational.
They’re choosing your competitors for good reasons, and denying the existence of such good reasons will only ensure that your product never overcomes them.
One of the reasons Apple has been able to quickly dominate so many markets is that their competitors have largely reacted defensively.
Windows Phone 7 and Windows 8 are interesting and relevant because, after years of denial, Microsoft has finally (and only very recently) started to admit to themselves that Apple had some very good ideas and products that Microsoft needed to take seriously.
I honestly can’t tell whether Google thinks Apple’s ideas are good. (Except the ones they copy. I guess they think those are good, at least.) But Google has — publicly, at least — always seemed to think that Android is the best at everything and its dominance everywhere is inevitable. I wonder: do the higher-ups at Google really not see the flaws in their products?
That’s why Microsoft is so much more interesting today: while Google seems to think they don’t need to change anything and Apple’s customers are brainwashed by marketing, Ballmer has shut up about Apple publicly and Microsoft is making radical changes.
Miranda July (via sad-disco)
(Source: youtube.com)
Incitement and excuses from Banksy are a little pursuasive.
(from the excellent blog formerly known as Kitsune Noir, via my favourite tumblr)
People are taking the piss out of you everyday. They butt into your life, take a cheap shot at you and then disappear. They leer at you from tall buildings and make you feel small. They make flippant comments from buses that imply you’re not sexy enough and that all the fun is happening somewhere else. They are on TV making your girlfriend feel inadequate. They have access to the most sophisticated technology the world has ever seen and they bully you with it. They are The Advertisers and they are laughing at you.
You, however, are forbidden to touch them. Trademarks, intellectual property rights and copyright law mean advertisers can say what they like wherever they like with total impunity.
Fuck that. Any advert in a public space that gives you no choice whether you see it or not is yours. It’s yours to take, re-arrange and re-use. You can do whatever you like with it. Asking for permission is like asking to keep a rock someone just threw at your head.
You owe the companies nothing. Less than nothing, you especially don’t owe them any courtesy. They owe you. They have re-arranged the world to put themselves in front of you. They never asked for your permission, don’t even start asking for theirs. (via The Fox is Black)
Tree, Line: Wrapped trees in landscapes manufactured for the camera and photographed by Zander Olsen
Made by Joel’s print, cut & fold Paris city play set is the visual equivalent to the olfactory nostalgia you get when you open a box of crayons.
THIS IS WHY I HATE BUYING CLOTHES AT FOREVER 21. I MEAN, YEAH, THEY’RE SUPER CHEAP BUT YOU WASH THEM ONCE AND YOU BASICALLY HAVE TO THROW THEM AWAY.
Yayoi Kusama - The obliteration room (2011)
The obliteration room 2011 revisits the popular interactive children’s project developed by Yayoi Kusama for the Queensland Art Gallery’s ‘APT 2002: Asia Pacific Triennial of Contemporary Art’. In this reworked and enlarged installation, an Australian domestic environment is recreated in the gallery space, complete with locally sourced furniture and ornamentation, all of which has been painted completely white. While this may suggest an everyday topography drained of all colour and specificity, it also functions as a blank canvas to be invigorated — or, in Kusama’s vocabulary, ‘obliterated’ — through the application, to every available surface, of brightly coloured stickers in the shape of dots.
As with many of Kusama’s installations, the work is disarmingly simple in its elemental composition; however, it brilliantly exploits the framework of its presentation. The white room is gradually obliterated over the course of the exhibition, the space changing measurably with the passage of time as the dots accumulate as a result of thousands and thousands of collaborators. (read more)
[my 1st photoset post thanks to prostheticknowledge’s technical assistance]