Derek P. pointed my class on Computers and Culture to this periodic table of controllers on Flickr. This is version “V.2 UPDATED” and presents an history of video game (both consoles and handheld) controller buttons and knobs. It uses the periodic table as a design idea. Attractive and fascinating to look through. I almost see a pattern
Clay Shirky: Newspapers and Thinking the Unthinkable
Thanks to Peter O I came across Clay Shirky’s excellent analysis of what’s going on with newspapers and the web, Newspapers and Thinking the Unthinkable . Some of the salient points:
- Change has been so rapid that it has changed who is pragmatic and who is a fabulist. Newspapers are in denial about the realities of online content so those who describe what is happening (the pragmatists) are treated as fabulists.
Revolutions create a curious inversion of perception. In ordinary times, people who do no more than describe the world around them are seen as pragmatists, while those who imagine fabulous alternative futures are viewed as radicals. The last couple of decades haven’t been ordinary, however. Inside the papers, the pragmatists were the ones simply looking out the window and noticing that the real world was increasingly resembling the unthinkable scenario. These people were treated as if they were barking mad. Meanwhile the people spinning visions of popular walled gardens and enthusiastic micropayment adoption, visions unsupported by reality, were regarded not as charlatans but saviors.
When reality is labeled unthinkable, it creates a kind of sickness in an industry.
- The economics of publishing have changed. It used to be that there was a tremendous upfront cost to set up a newspaper or broadcasting facility. Now the infrastructure of distribution is paid for by all so publishing is cheap.
With the old economics destroyed, organizational forms perfected for industrial production have to be replaced with structures optimized for digital data. It makes increasingly less sense even to talk about a publishing industry, because the core problem publishing solves — the incredible difficulty, complexity, and expense of making something available to the public — has stopped being a problem.
- It is easy to describe life before or after an epochal shift. It is hard to describe the chaos of experiments during the shift. Shirky looks to The Printing Press as an Agent of Change as an example of the hard type of history.
What Eisenstein focused on, though, was how many historians ignored the transition from one era to the other. To describe the world before or after the spread of print was child’s play; those dates were safely distanced from upheaval. But what was happening in 1500? The hard question Eisenstein’s book asks is “How did we get from the world before the printing press to the world after it? What was the revolution itself like?â€
- Advertisers don’t want to pay for the costs of a full-featured newspaper (with international bureaus and investigative reporting.) They will move their money to where it connects with their (usually local) audience.
The competition-deflecting effects of printing cost got destroyed by the internet, where everyone pays for the infrastructure, and then everyone gets to use it. And when Wal-Mart, and the local Maytag dealer, and the law firm hiring a secretary, and that kid down the block selling his bike, were all able to use that infrastructure to get out of their old relationship with the publisher, they did. They’d never really signed up to fund the Baghdad bureau anyway.
- Newspaper reporting provides a public service that will be missed, but knowing we will miss it doesn’t save it. We just don’t know how to fill the gap that will be left when daily papers dissappear in cities.
“You’re gonna miss us when we’re gone!†has never been much of a business model. So who covers all that news if some significant fraction of the currently employed newspaper people lose their jobs?
I don’t know. Nobody knows. We’re collectively living through 1500, when it’s easier to see what’s broken than what will replace it.
Actually I think there are ideas floating around as to what might fill the gap:
- Blogs may take up some of the slack with various advocacy groups and NGOs providing investigative reporting in the areas that concern them. I think it is wrong to assume that amateurs will necessarily do a worse job than professional reporters. In fact, as most know, professionals are too busy to usually go into depth and whenever they write about something you know they get it wrong in all sorts of ways. A blog like Buckets of Grewal probably does a more indepth job of examining the Grewal controversy than any newspaper story. The difference is rather that the professionals are committed to breadth and they write better.
- Publicly funded broadcasters like the BBC and the CBC will provide tax funded news reporting with foreign bureaus and so on. They don’t have to have make a profit and can invest in things perceived as useful for society.
- There will always be some big and international newspapers like the New York Times or Reuters because there will always be a demand for that sort of news. The internet reduces diversity – every city doesn’t need a newspaper with a foreign bureau. All we need is a couple of news services with foreign bureaus.
- Some companies have already figured out how to package news as analysis and get other businesses to pay for it. This will accelerate as newspapers fail. Companies like Oxford Analytica will meet the demand of multinational businesses who need access to strategic information. The sooner the newspapers fail the sooner we will see these companies come out of the woodwork and start selling their products to us.
To conclude with another quote from the Shirky essay, “Society doesn’t need newspapers. What we need is journalism.”
Google Notebook Stopped
According to the Official Google Notebook Blog they are stopping development on the Google Notebook. I rather liked Google Notebook for gathering notes, to do lists, and so on. Google Docs doesn’t have the same ease of use. Oh well, time to find something else.
THRU YOU | Kutiman mixes YouTube
From Peter O and others the amazing YouTube remix, THRU YOU | Kutiman mixes YouTube. Alarmingly good music.
And from Peter R a link to Extreme Sheet LED Herding. Flock remix.
INKE: Implementing New Knowledge Environments
Congratulations to Ray Siemens and company for INKE: Implementing New Knowledge Environments which got funding as a Major Collaborative Research Initiative from SSHRC. I’m part of the Interface Design group led by Stan Ruecker.
The Power Plant: Laurence Weiner
The Globe and Mail has a review of the Lawrence Weiner show at the The Power Plant in Toronto (who must have one of the worst gallery web sites I’ve seen in a long time – lots of navigation for no content in very small type!) e-flux has a better site about the show.
The Globe and Mail article, “Brilliantly maddening word sculptures” by Gary Michael Dault (Thursday, March 19th, 2009, Section R, p. 1) nicely explores the issues around language and art raised by such conceptual work. Dault walked through the show with Weiner and Dault ends the articles with,
We talk about whether language actually means anything at all. “Language does mean something,†Weiner contends gaily, “but not what you thought it meant.†There’s the other side of a cul-de-sac for you.
Weiner’s sculpture with words goes back to the 1960s. His Declaration of Intent (1968) articulates a relationship between instructions for a work of art and the fabricated work.
“1. The artist may construct the piece. 2. The piece may be fabricated. 3. The piece need not be built. Each being equal and consistent with the intent of the artist the decision as to condition rests with the receiver upon the occasion of receivership.”
Does it matter if the work is actually put together from bits and pieces? Do the bits and pieces of social media (like the bits of blog entires, or the pictures of words in the Dictionary) make a whole or its semblance?
MIT: Open Access Mandate
From Twitter I found a link to Peter Suber, Open Access News where there is a story of MIT’s unanimous faculty vote to adopt an Open Access mandate that gives the University the right to archive and make available their articles. Like the Harvard mandate, faculty can opt out if they have a good reason.
Each Faculty member grants to the Massachusetts Institute of Technology nonexclusive permission to make available his or her scholarly articles and to exercise the copyright in those articles for the purpose of open dissemination.
Day in the Life of the Digital Humanities – Taporwiki
Well today is the day of the Day in the Life of the Digital Humanities project. We have about 100 people from around the world blogging what they do for a day as a form of autoethnography of a community. You can follow on the RSS feeds. My Day of DH blog (as opposed to this one) is at http://ra.tapor.ualberta.ca/~dayofdh/GeoffreyRockwell/
Neave Imagination …big wobbly elephants
Neave Imagination (…big wobbly elephants) is a lovely Flash toy that works great on a large screen.
Play with the big wobbly lines and you’ll soon have an active imagination.
Try his other toys – many are beautiful and they work on a 30″ screen.
Beatrice Warde: The Crystal Goblet
Reading the book on Canadian book design, The Surface of Meaning I came across a reference to Beatrice Warde’s The Crystal Goblet. This was given as a lecture in London in 1930 with the title “Printing Should be Invisible” and was printed in the 1950s. It is a clear and apparently influential statement of the modernist view of how a book design should be transparent letting the ideas shine through. It starts with a metaphor of the book as a goblet.
Imagine that you have before you a flagon of wine. You may choose your own favourite vintage for this imaginary demonstration, so that it be a deep shimmering crimson in colour. You have two goblets before you. One is of solid gold, wrought in the most exquisite patterns. The other is of crystal-clear glass, thin as a bubble, and as transparent. …
Bear with me in this long-winded and fragrant metaphor; for you will find that almost all the virtues of the perfect wine-glass have a parallel in typography. …
Now the man who first chose glass instead of clay or metal to hold his wine was a ‘modernist’ in the sense in which I am going to use that term. That is, the first thing he asked of his particular object was not ‘How should it look?’ but ‘What must it do?’ and to that extent all good typography is modernist. …
It is sheer magic that I should be able to hold a one-sided conversation by means of black marks on paper with an unknown person half-way across the world. Talking, broadcasting, writing, and printing are all quite literally forms of thought transference, and it is the ability and eagerness to transfer and receive the contents of the mind that is almost alone responsible for human civilization. …
the most important thing about printing is that it conveys thought, ideas, images, from one mind to other minds. This statement is what you might call the front door of the science of typography. …
Type well used is invisible as type, just as the perfect talking voice is the unnoticed vehicle for the transmission of words, ideas. ..
it is mischievous to call any printed piece a work of art, especially fine art: because that would imply that its first purpose was to exist as an expression of beauty for its own sake and for the delectation of the senses. Calligraphy can almost be considered a fine art nowadays, because its primary economic and educational purpose has been taken away; but printing in English will not qualify as an art until the present English language no longer conveys ideas to future generations, and until printing itself hands its usefulness to some yet unimagined successor. …
The book typographer has the job of erecting a window between the reader inside the room and that landscape which is the author’s words. He may put up a stained-glass window of marvellous beauty, but a failure as a window; that is, he may use some rich superb type like text gothic that is something to be looked at, not through. Or he may work in what I call transparent or invisible typography. …
Printing demands a humility of mind, for the lack of which many of the fine arts are even now floundering in self-conscious and maudlin experiments. There is nothing simple or dull in achieving the transparent page. Vulgar ostentation is twice as easy as discipline.
Perhaps the time comes when printing reluctantly hands off its usefulness to a digital successor like the Kindle which would explain the (re)discovery of pressing form into paper and other arts of the book. I am not making a prediction and especially not recommending this, just reflecting on how the book need not be so transparent as it was supposed to be. When the burden of usefulness is eased off the shoulders of books they can become post-modern chalices, opaque and shiny.
For another take see Book Design in Canada at Cardigan Industries.
Now for the wine within.