[…] I am personally requesting your help one final time to contribute to the Authentic Jobs charity: water campaign. Almost a billion people on the planet don’t have access to clean, safe drinking water. And it’s a necessity so basic, so essential to human life.
Our campaign concludes Monday, October 4 (listed end date is currently incorrect). Give $1 if that’s all you have to spare in your wallet, or the $20 you would have spent on a shirt, or $100 or more if your finances are healthy. Please, donate now.
This is worth reblogging. I have reported only the important details, but the background story is equally fascinating. Go read the whole post by Cameron, and please give your contribution to the cause.
“Monumental. It is considered a bad word, isn’t it funny? When you think how important monuments are. If a piece of architecture is not a monument… what is it? Let’s say this: whimsicality and rationality — both serve architectural monumentality which is what real life is for, and the only reason for being alive to me is to build monuments.”—Philip C. Johnson (1906-2005)
“To have a blog is to have some portion of your brain assigned to monitoring your audience. I don’t want to do that anymore. I want to hole up and think not of humans, but of work. I want quieter days with less stimulation from this increasingly buzzy world of external opinions and missions. I want big chunks where I don’t even think of myself. When work becomes truly ecstatic, everything else vaporizes… there are no thoughts of ‘how will it be received’ or ‘how would I turn this into something profitable’ or ‘could a company one day grow around this’ … I just want to quietly make shit for a while.”—Jake Lodwick, announcing the end of his blog.
To celebrate, the iPhone version will be only 0.99$, only this weekend!
Reeder is a very nice feeds/news reader for iPhone and iPad (and a Mac version is in the works). I am a Byline aficionado, but I took advantage of this $0.99 (0.79 Euros) offer to give Reeder a try. I will write a post here or on The Quillink Observer, comparing the two apps.
I know, I know, maybe you — like me — would rather not install Flash at all. And I’m also aware this isn’t a fresh tip, but since I had to reinstall Flash Player on my Mac, I just remembered this tip I read somewhere some time ago.
If you want to install Flash without having to deal with the ugly Adobe Installer, just do this:
After downloading the Flash .dmg file and mounting the image, you’ll find a single element inside: Install Adobe Flash Player.app.
Do not double-click it. Instead, right-click on the icon and select Show Package contents from the contextual menu.
Navigate to the Contents>Resources folder.
Inside of it, you’ll find a regular Mac OS X Installer package named Adobe Flash Player.pkg.
Double-click it and you’ll be able to install Flash properly, using the good old Installer you all know and love.
Familiar interface, smoother installation. Everyone’s happy (more or less — it’s always Flash we’re talking about…)
This is a circa 1908 Wollensak 35mm F5.0 Cine-Velostigmat hand cranked cinema camera lens. […]
My friend, a Russian lens technician, who loves nothing more than to frankenstein equipment […] called me into his store on NYC. […] He found in a box of random parts, hidden inside another lens, this gem. A circa 1908 (possibly earlier) 35mm lens. Still functioning, mostly brass, and not nearly as much dust or fungus as one would think after sitting in a box for over a hundred years. This lens is a piece of motion picture history, and at this point rare beyond words. So I say to him, “Wow… what do you have in mind?” He smiles, and says […] “I can make this fit EF you know…” My eye twinkled, and then 6 nail biting hours later, he had it finished. My Russian Lens technician is a mad scientist and he took what sounded like an angle grinder to the lens to make its clear the flange distance and the mirror… This lens’ value is unclear. It’s sort of on loan. It’s the only lens of its kind on a 5D… or any digital for that matter.
Just take a look at the photos. The atmosphere is breath-taking.
Amazing and mandatory read. I’m not a developer myself, but I appreciate good design and usability, and not superficially. So I kept nodding when I read some of the pieces of advice Clark gives when Mathis asks him “Any examples of the kinds of things we should not do?”:
[…] Avoid copying other people’s designs until you understand why they are the way they are, and definitely avoid trashing other people’s designs until you understand the same. I was very critical of iWork for iPad’s document manager until I had to design one of my own, and discovered for myself all the perfectly good reasons Apple’s design is the way it is. I still ended up with something different to theirs, but the decision came from my audience’s requirements, not from ignorance and distaste for Apple’s approach. I just made an entirely different set of compromises.
Avoid beta operating systems on mission-critical systems. Your phone is absolutely a mission-critical system.
Avoid reimplementing standard controls from scratch, since you’ll miss some subtle behavior that a lot of people depend on.
“But of course [poetry] continues out there in the world living its own independent existence, stepping from the tube-train at a later stop, and coolly unaware of all the furore it is causing.”—Thom Gunn, 1974.
“If the creative processes that result in a poem are mysterious, they’re no more mysterious than those that produce a chair. Their aim is to make something at once beautiful and useful.”—Norman Mac Caig, 1974.
“Why does Twitter work better for news than Google Reader? Simple, Twitter gives you what’s new now. You don’t have to hunt around to find the newest stuff. And it doesn’t waste your time by telling you how many unread items you have. Who cares. (It’s like asking how many NYT articles you haven’t read. It would be gargantuan. I don’t bother you with the number of Scripting News posts you haven’t read, so why does Google?)”—
I don’t agree with Winer. I don’t have to ‘hunt around to find the newest stuff’ (a) because all the feeds that are in my feed reader (be it Google Reader or NetNewsWire or whatever) are meticulously picked subscriptions, so I always know where to look; and (b) the newest stuff is always on top, anyway.
As for the unread items, they really don’t bother me. I don’t suffer from ‘Inbox Zero’ angst, I can catch up later. I don’t get all this sudden fuss around RSS feeds. Let’s don’t worry over a problem that doesn’t exist.
Let’s be honest: To remain focused on the work at hand requires an incredible amount of discipline in today’s always-on, always-accessible, Growl-enabled, tabbed-browsing, mobile-alerting society. What compounds this issue, however, is that “the work at hand” is rarely discrete and singular.
This is the part of Cameron’s post I can relate to most, but of course the whole post is worth reading. Thanks, Cameron, for sharing once again your personal experience.
“I write poems because it pleases me, very much - I think that is true. In any case, we live as we can, each day another - there is no use in counting. No more, say, to live than what there is, to live. I want the poem as close to this fact as I can bring it; or it, me.”—Robert Creeley, 1962.
This super thin wallet is made from the same material used to make express mail envelopes. This water-resistant, stain-resistant and tear-resistant wallet comes in several unique graphics, including our famous air mail wallet, making them the best wallet choice for cool wallet designs, and great gift idea for men and women alike.
Here are two things Gibson said which I feel the same about. The first is on writing about the future:
Before I started writing science fiction, my theory was that every fictive, imagined future can only be understood historically within the moment it was written. Because nobody really writes about the future. All we really have when we pretend to write about the future is the moment in which we are writing. That’s why every imagined future obsoletes like an ice cream melting on the way back from the corner store. It’s going to almost immediately acquire a patina of quaintness; that’s just part of what imagining the future in fiction is about.
The second is about advertising:
What I notice about advertising lately is how incredibly little attention I pay to most of it, and how relatively little it influences my purchasing patterns. I don’t know what that’s about. I think I’ve tuned into my own universe of advertising and consumption. I just ignore the mainstream, and that may be where we’re all going.
Advertising today seems after the fact; I don’t feel like it’s addressed to me. If I pay attention I can see how it’s structured, and I don’t think I’m at all remarkable in that. I think consumers are generally becoming dangerously sophisticated about advertising, and how it works.
If there’s something the French know how to do well, it’s give themselves a break (or rather, a pause). They see downtime as a preventative measure, a means to avoiding exasperation (as opposed to an emergency response to it). Whereas many of us wear ourselves so thin that we desperately need whatever it is (a break, a drink, a vacation), in France, it’s more about “we deserve this” than “we need this.”
L’heure de l’apéro (the French equivalent of cocktail hour) is the moment when the French consciously create some space between the workday and the dinner hour, demonstrating their talent for slowing down and, somehow, miraculously expanding time. On nice days, the apéro coincides with the moment when the city is suddenly bathed in that rosy, only-in-Paris light, and you suddenly feel like you’re exactly where you’re supposed to be in the world.
Mark Grunman provides a complete walkthrough of the new features in the upcoming iOS 4.1 release. As an owner of an iPhone 3G, there isn’t much in store for me — most new features only work on the iPhone 4. But I’m really hopeful as regards to performance improvement, especially after reading Mike Keller’s piece on Macworld UK, where he says that iOS 4.1 on iPhone (including the 3G) is the most solid, responsive iOS release to date.
Now I have had some time to digest all of the announcements at Apple’s Music/Media Event held yesterday. I took the time to watch the keynote and have read several news and pundit posts about it. One thing that stood out to me is how much “small” was promoted as a feature. […]
There are many reasons why small matters. The one that immediately pops to mind is that, with the exception of the Apple TV, these are portable devices and a reduction in size makes them even more so. That said, here is the other thing that comes to my mind, the technology disappears. You forget it is there. Suddenly, there is no player, your music exists in your ears and you no longer feel it clipped to your shirt or in your pocket. Suddenly, there is no set top box, the movies just appear on your screen. Makes me wonder how long it will be before they really are gone and all that is left is the experience.
Actually, the new iPod shuffle is bigger than the previous generation. Probably because many people out there don’t really want technology to disappear that much.
Eventually usability is what dictates the limits to how small you can manufacture a device. You have to be able to operate a device with ease if you want to enjoy it. The last-generation shuffle basically eliminated all controls from its main body, and in the long run it’s been a faux pas, otherwise Apple wouldn’t have made a step back and repropose the design of the shuffle from 2008. User control, I think, remains part of the experience, and when things gets too small, too virtual and feel out of control, people get uncomfortable.
A year ago, I compared the then-brand-new iTunes 9 against its predecessor. New year, new version of iTunes, so here’s an updated comparison. It’s amazing to see just how much visual tweaking Apple does with each new major version of the application.
Here’s another, more interactive, comparison between iTunes 9 and iTunes 10. I’m taking notes for an upcoming blog article on my Quillink Observer about the newest iTunes, but lest I forget, let me add another detail I don’t particularly like: the smaller album artwork when in Album List view, combined with the album & artist info label on the side of the artwork instead of below. More often than not (and more often than before) you have to resize the artwork column to see the complete names. It’s irksome that this is the only option and that you can’t choose to have bigger artwork and the info below it, like before.
Shawn Blanc has created a flickr set with side-by-side screenshots comparing some of the UI changes introduced by iTunes 10 over iTunes 9.x.
I’m really baffled by the questionable choice of removing the title bar and repositioning the familiar red yellow and green buttons vertically. I’m still not sure about the graphical changes of the media capacity colour-coded bar (see picture), but indicating every category’s capacity in GB looks a little less immediate to me, especially with low quantities — in the example, “194.2 MB” of Books seems more accurate and immediate than “0.19 GB”, a quantity I need slightly more time to process. Regarding the general greyfication of the interface icons, however, I’m fine with that. It gives iTunes a somewhat aloof elegance.