Monthly Archives: November 2011

random links found through feedly

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This is where I have to give a big shout out to Feedly, my RSS reader of choice, that every morning feeds me a fresh page of content based on my Google Reader subscriptions. Feedly presents the best content from those subscriptions in a beautiful magazine-style page that is a pleasure to read. This is not a paid advertisement, I just love Feedly that much.

So here are some things Feedly helped me find this morning:

Victory Journal, “the new refuge for true sportsmen,” found via iainclaridge.net, which posted the above cover from said journal.

MG Siegler, Marco Arment and Brent Simmons hate on Business Insider for the truly annoying and despicable habit of splitting articles into multi-page slideshows.

Roger Black begins to look at advertising in web content and how publishers could make money without compromising readability.

Michael Stipe and Mike Mills talk to The Daily Beast about the R.E.M. breakup and insist there was no drama.

Famous people, many of whom you’ve never heard of discuss their top 10 films from the Criterion Collection. Here’s my top 1.

Jason Fried of 37signals writes on product development and the tension between the obvious, the easy and the possible.

Image: Victory Journal, via iainclaridge.net

a readability triptych from brent simmons

Anyone interested in publishing words on the internet, or reading words that are published on the internet, should read the three essential pieces below from Mac developer Brent Simmons (he publishes the inessential blog). I’ve pulled out some nuggets that I particularly like here, but you should read the text of all three.

What Simmons is imagining is a world in which publishers care more about the product they are presenting than the advertising dollars and eyeballs they are pulling in. It’s a world where text and stories are given top billing and advertising is kept at a minimum. It’s a world where stats tell you how many people are coming, but editorial decisions are made based on the very best content, not SEO. I like this world, I like it a lot and it’s proven to be a successful model for bloggers like John Gruber, Seth Godin and The Loop. I think it can be successful for most independent bloggers or people creating content for organizations — like non-profits — where content generation is a side business designed to get people to invest in your core mission or product.

Unfortunately, I don’t see how this model scales. That is, I don’t see how big news organizations that depend on a large international staff to investigate and collect news and analysis could ever survive in a future where readability trumps all. There’s too much money needed and too long a history to move to a new model. It  would be interesting to see if a truly federated news organization — one where writers set up their own editorial presence on a loosely affiliated network — could scale an idea like this. Each writer could be responsible for his or her own revenue and pay a support fee (for back-end technology, design, etc.) to the federation. In this way, you could get a wide variety of sources and maintain readability. Think of The Huffington Post or Daily Beast, but much less sucky from a user-experience standpoint. Oh, and probably a lot less profitable.

Here are Simmons’s ideas:

The Pummeling Pages

I think it was in the Space Merchants (or maybe in The Merchants’ War) where this future was predicted: lower-class people would be subjected to a ton of advertising — accompanying every moment awake and asleep — while upper-class people would be insulated.

It seems obvious now, but in the ’50s I don’t think it was. And now we’d add that it’s not a class thing entirely — technical proficiency is part of the equation. If you’re technical enough to figure out how to install AdBlock (the most popular Safari extension, it appears), you’ll cut way down on ads. If you go even further and edit your hosts file and make your browser use an ad-blocking CSS file, you’ll cut down even further (and you’ll opt-out of a bunch of tracking too).

If enough people do this, publications will have to show more ads, just to make up for the ad revenue they’re missing from me and you.

Put Rules

Allow a single analytics system
I’d just call it stats, though.

Ideally stats would be completely unobtrusive — a system that reads the log every night and generates a report. Or it might be slightly obtrusive, like Mint, but no more than that.

Keep ads minimal
And no moving ads, or ads that appear above other things, or ads that need to be clicked to be closed, would be allowed. No interstitials. (It’s a sign of industry sickness that I even know the word interstitial.)

I’d want to use good networks like The Deck.

The Readable Future

Part of me wants to appeal to publishers based on the Apple argument. That argument says: if you do what Apple does — pay extraordinary attention to user experience; make elegant and delightful things — then you will make money.

Though Apple continuously proves this argument true, I’m not sure most people will ever believe it. It requires a certain amount of faith, and it requires trusting intuition and taste more than analytics and received wisdom. It requires a belief in humanity — or, perhaps more accurately, respect for humanity — that is believed to be incompatible with business.

And people don’t get fired for measuring things. People don’t often get fired for continuing to do things the same way they’ve always been done. But people do get fired for taking risks that don’t pan out.

 

happy little danger bomb

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I’ve been slowly making my way through Walter Isaacson’s Steve Jobs for a couple of weeks now and am currently on the section where Jobs brings in Susan Kare to create the font and icons that would make the Mac what it is today — a computer not just for “figure-it-out-yourself” geeks, but for creative people looking to express themselves. As Isaacson notes, the addition of Kare to Jobs’s Mac team not only made computers accessible to all, it made desktop publishing accessible to all. Over time, anyone who had a Mac began to know and care about fonts, icons and page design. Eventually, the Mac, paired with the laser printer, took users away from the mimeograph and into the realm of self publishing. My father, for instance, owned a restaurant for a time and used the family Mac to create a monthly newsletter for his best customers — a differentiator that kept them coming back.

Kare’s icons — and particular the bomb icon above — are what I think of when I think of the Mac. To this day, the bomb conjures up mixed feelings of dread, hope and challenge. The bomb only appeared when the worst of the worst happened. When I backed the Mac into a corner that it just couldn’t get out of, it would throw up the bomb warning and let me know it was time to start over. After a reboot, I would stare are the watch tick, tick, ticking by and hope to see the happy Mac icon. When I did, I knew all was right with the world. If I saw the bomb again, I knew it as time to dig in for a challenge — fix the bugger, or take it to the shop.

Kare’s icons didn’t just make the Mac more useable, they brought real emotion to computing. They created visceral feelings of joy, suspense and even fear. In turn, these feelings helped users form a tight, emotional bond with their computers and their work that made them want to keep working — and keep buying. A lot of non-Mac users like to slag Mac users as “Fanboys” or members of a cult because of their devotion to the Mac. What they don’t get is that the obsessive, smart and devoted work put in by people like Kare is why we love our Macs. We love them because they are designed with love and devotion in mind. We love them because of their happy little danger bombs.

For more on Kare, including excerpts from her sketchbook from the first Mac icon designs, read Steve Silberman’s excellent post at NeuroTribes. Also, be sure to check out Kare’s own site, where she is selling a book of her work as well as signed prints.

Image: Bomb on  Red, by Susan Kare.

if you can’t convince them, mock them

Let me start off by saying this: Hey Samsung, go fuck yourselves. If you made a better phone than the iPhone, people would buy it — I would be the first in line to get it. But, you don’t, so I won’t.

OK, with that out of the way, I have to wonder why Samsung would make such a mean-spirited ad. Do they really think that iPhone users are going to switch to a company that mocks them as obsessed, myopic hipsters?

The worst part is when one of the Apple Fanboys says he can’t’ buy a Samsung, “because I’m creative” and Fanboy #2 turns to him and says, “Dude, you’re a barista.” With this exchange, Samsung is basically saying, “It’s silly and stupid to try to be creative. And if you are a barista — or anything other than a professional designer — than you shouldn’t try to aspire to anything other than being a barista.” Again: GO FUCK YOURSELVES, SAMSUNG. I don’t want to buy any products from a company that thinks this way.

Galaxygrab

What really strikes me about this campaign is that it’s really bad marketing. Samsung has instantly alienated a large market segment — iPhone users — while at the same time appealing to the viewers’ most base emotion — cynicism. You don’t move people (or move products) with cynicism. You move people and products with inspiration. Compare the Samsung ad to Apple’s latest iPad ad and you’ll see the stark difference between cynicism and inspiration.

four keys to apple’s success

Focus— “It means saying no, not saying yes. We do very few things at Apple. We are $100bn in revenue with very few products. There are only so many grade A players. If you spread yourself out over too many things, none of them will be great.”

Greg Joswiak, part of the product marketing team for iPod, iPhone and iOS, speaking at Cambridge University on the four keys to Apple’s success. They are: Focus, Simplicity, Courage, Best.

(Via The Wall Street Journal: Four Keys to Apple’s Success.)

the meme of outrage

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Like millions of others this past weekend, I watched the video of UC Davis Police Lieutenant John Pike and other officers hosing down protesters with pepper spray at close range with a horror, outrage and the repeating question in my mind, “What the fuck is going on in this country?” This was the latest, and perhaps most graphic example of police violence against protests during the amorphous Occupy Wall Street movement, but certainly not the first.

There was also a feeling last Sunday that this was a crystalizing moment for #OWS. That what we were seeing would become an iconic image that would truly focus the national conscience on the issues at the center of #OWS and the bizarre and violent reactions to the protests. And for one Sunday, that’s exactly what happened. The UC Davis incident dominated social media conversations and The Washington Post‘s Philip Kennicott wrote an interesting piece on what the spray-down may mean to our public conscience.

This, combined with the thousands of news stories, blog posts and video views of the incident gave me some hope that we’d finally be getting down to business and a serious discussion — pros and cons — of the Occupy Wall Street movement. But then this happened and the whole thing turned into another freaking Internet joke:

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The Officer Pike meme is at times silly, interesting and yes, poignant — but it is a distraction. What’s worse, it is a distraction that removes the emotional resonance of the incident and divorces Pike from the violence he inflicts. By providing us with sanitized and silly assets to pass around, this meme makes it OK for us to move on from what happened at UC Davis, and around the country, and trivialize these events through this new shared experience of the meme. It also gives the media a pass. It allows them to continue to punt on taking a serious look at the #OWS story and, instead, trivialize it by associating it with this “new, silly meme that sprung up on the internet overnight!” (That’s a generic media quote.)

I’m generally a fan of memes, whether they’re silly, or used to make a point. But when a meme serves as a distraction and gives us an easy out from facing hard truths, it’s not doing anyone any good.

All that said, I do think this one gets to the point:

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Images: First and second from Ranker.com. The third is from Boing Boing.

stanley kubrick collection for the 3-6 year-old set

Kubrick
I was doing some shopping for my kids the other day when the awesomeness that is the Amazon recommendation engine spit out the above recommended DVDs for 3-6 year-olds. My five year old has pretty sophisticated tastes — preferring Fantastic Mr. Fox to Shrek, for instance — but I’m not sure he’s ready for Kubrick.

It’s hard to say which film in the Kubrick oeuvre I would identify as the most wildly inappropriate for children. Full Metal Jacket? The Shining? Lolita? All of them are disturbing in their own right, but I’m going to have to go with A Clockwork Orange for its fanatical violence that, because it comes from young people, is somewhat relatable.