• "The point isn't nostalgia, that things were better in simpler times, but that the conditions we create (deliberately or accidentally) for and around the practices we pursue have a tremendous influence on the ways we carry out those practices. In the case of computer programming in particular, the apparent benefits of speed, efficiency, accessibility, and other seemingly "obvious" positive virtues of technical innovation also hide lost virtues, which of course we then fail to see." Culture as a byproduct of conditions.
  • "Type words to interact with Fireplace or just sit back and enjoy. The logs burn down to ashes in about 30 minutes each." Charming, delightful.
  • "Film and television are in many ways a technological enhancement and hybridization of older broadcast media, such as the novel, the play, or the album, but they are still fundamentally part of the broadcast culture paradigm. Games, I believe, are not part of the same paradigm. Games belong to a different paradigm that includes the oral tradition of storytelling, improvisational music, sport, dance, philosophical debate, improv theatre, and parlour games (among many other cultural forms)." A tiny fragment of a great post from Clint (which is really, really wanting to make me return to Far Cry 2 soon).
  • "Software development is not pure coding, engineering, architecture, management, or design. It is cross-disciplinary. Better yet, it is its own discipline. It is more akin to making a movie than to building automobiles on an assembly line. The studio revolves around talent. Great software talent means renaissance developers who have passion, creativity, discipline, domain knowledge, and user empathy. These traits are backed by architecture, design, and by technical know-how that spans just knowing the technology flavor of the day. Process is the studio; it has structure but is flexible enough to optimize talent and tools." This post is as dogmatic as what it rails against, but it's good at finding flaws in dogma and then pushing towards a more sympathetic view. And this paragraph is the best bit.

I was all ready to get really worked up about this post from Wieden + Kennedy, on “why we’re not hiring creative technologists any more; we’re hiring coders”.

Then I went and read it, and basically agreed with it all very fundamentally. In a nutshell: it’s not resisting the name, or the approach; it’s resisting the idea that it’s something you can pick up quickly on a course to teach you to become one. Which is, like so many similar things, nonsense; I hadn’t realised we’d hit that point on the sliding scale. When Igor says

“Only hire people to work at the crossover of creative and technology if they have strong, practical, current coding skills.”

I say: of course; why would you do otherwise? I thought that’s what that job title meant. I seriously didn’t realise that was happening, and I’m very concerned it does. This is worth taking very seriously: if you want people to think through software, they need to be able to make that software. Not wave their hands around and have ideas about technology. We think with our hands, be we artists, designers, developers, or writers. Having another layer of people to “have ideas” is not what you need. Ideas are free.

I still use that particular title to describe myself a lot, simply because I’m not best at being your average Joe Developer. I can; I have been; it’s just not my sweet spot. I’ve made reasonable scale projects that work well; I understand how to go from a fragile prototype and turn it into solid reality, and what making things work under load looks like: and yet the bit I’m good at, the bit I care about, is the going-from-nothing-to-something-working. How will you know what a thing is until you’ve held it in your hand? How fast can you change it as you learn from it? When’s it best to step away from vim and go back to pen and paper? That’s me.

So: I totally agree with Igor about the fact that whatever you call that role, it has to have solid, actual coding chops. Not a smattering of Processing here and some weak PHP there: actual, full-on, end-to-end skills. Code that’s live in the world.

But: the most interesting thing in the article wasn’t even the stuff about Creative Technology. It was about what it means to be an agency – or, being honest, a company – that wants to engage with technology through staff members like these.

While you don’t need to become an engineering company, you face some of their challenges. You need to understand, accept and embrace some of the nuts and bolts of software development, and take on board the work dedicated shops are doing on its processes. You need such a strong streak of code running through the atmosphere that coders want to come to you, and everyone else gets code spilling over them.

This is so true. You can’t just slap technologists or developers into a company to become a technology company. Technology has its own heartbeat, its own demands. You have to begin to wrestle with the processes of an engineering company, of an attitude that leads to better work. You have to learn how it’s going to shape your culture – by which I mean, how you want it to. You get to choose; you get to control these things. It will change it, that’s for certain, but you get to hae some control over it. And similarly: you have to resist it just enough to stop becoming nothing but a software house; to retain the “creative” streak you were trying to hang onto when you started hiring for that job title.

The article it ends in this nugget:

this is hard, and it’ll take time. It’s not just procedural, but cultural, so a big part of doing it comes down to who you hire and how you let them do their thing. But that’s exactly the point. That’s why it’s most important, way before you get all that fixed, and as the first major step on that road: just don’t hire “creative technologists” who aren’t strong coders.

Yep. That’s his real point: the headline is attention-grabbing, but here’s the meat, and the most important line here is this is hard and it’ll take time.

It’s a cracking post. It’s all true. I’m going to stick to my guns and say I’m a technologist, of some kind: what I am best at is not one thing, but a mish-mash of things, and I’m better for the diversity of them. But I’ll also stick my head up and say yes, at the end of the day, if you want the Whole Thing Just Made: I will do that. I can do that. That’s why I get to use the T-word.

My only other advice for filling these positions: you don’t just need people who can do these things; you need people who can’t not do these things. Their instinct when faced with problems ought to be “let’s see what works; let’s check the assumptions we’re making are true by Just Doing It.” It’s not about jumping the gun: it’s recognising when you need to feel something, rather than guess something. And you don’t want to have to train that: you want people who just have to know for themselves.

So yeah, if you’re in one of those places that isn’t a software company, but you increasingly need to be a software company because, as Igor says, we have to be – that’s what the modern world now looks like – then it’s a really, really sharp piece of writing. I went in sceptical, but really: it was telling me what I already believed, and confirming it, and that’s a good thing, because it’s a message that needs to be written, not just assumed we all know. Good stuff.

  • "A great deal of what is called `digital art’ is not digital art at all, and it seems many digital artists seem ashamed of the digital.  In digital installation art, the screen and keyboard are literally hidden in a box somewhere, as if words were a point of shame.  The digital source code behind the work is not shown, and all digital output is only viewable by the artist or a technician for debugging purposes.  The experience of the actual work is often entirely analog, the participant moves an arm, and observes an analog movement in response, in sight, sound or motor control.  They may choose to make jerky, discontinuous movements, and get a discontinuous movement in response, but this is far from the complexity of digital language.  This kind of installation forms a hall of mirrors.  You move your arm around and look for how your movement has been contorted."
  • "If I were in London now or in the next few weeks, instead of Frieze I'd probably be getting to these shows." Rod's lists are always good.
  • I've used the Settings plugin a lot, but it's very old and dusty. This is a nice fork of it, ported to Rails 3, and saved for future reference.
  • "In a sense, a child, by definition, shrinks Scribblenauts’ scope. The game’s potential solutions are necessarily limited by vocabulary, so players with a smaller vocabulary have fewer options open to them. But, free of the dry, efficient logic of adulthood, a child’s imagination also opens the game up in ways beyond most adults’ reach."
  • "It’s hard to believe that there was a time when any of these weren’t conventional wisdom, but there was such a time. Unix combines more obvious-in-retrospect engineering design choices than anything else I’ve seen or am likely to see in my lifetime.

    It is impossible — absolutely impossible — to overstate the debt my profession owes to Dennis Ritchie. I’ve been living in a world he helped invent for over thirty years."

  • List of all 58 fonts now in iOS, mainly for reference. (Although, eesh, Zapfino AND Papyrus? Really?)
  • Critical, critical, to the world we live in today.
  • "And all this time I can’t help thinking that this was because I’m working with games. If I was a fimmaker, this is issue would never crop up. But games have to constantly defend their status as a way of creative expression. When creating games, you are by default suspected of either selling out or producing nothing of value what so ever. Or both." Seriously, Vimeo need to sort this out: it's embarrassing, and contrary to the messages they send out.
  • "I wanted to talk about the Occupy $CITY movement here (in fact, that’s where this post started); a protest movement that is not about the event, or the movement through the city, or even the disruption per se. It is protest as part of the fabric of the city; a constant questioning and reassessment of a conversation with both the fabric of the city physically, economically and politically; taking the concept of Wall St and Main St and making it suddenly concrete, forcing a conversation to take place."
  • "If this doesn’t seem like a big issue imagine the state of cinema if film students were only able to study films made in the last two decades? Or if English Literature students no longer have the ability to examine the works of Shakespeare or Twain? What might be lost?" Seriously, companies: stop turning servers off. Processor power is cheap.
  • "Q: I don't imagine that a design meeting with Takahashi is a typical PowerPoint affair.

    A: He has singlehandedly invented the animated GIF as the design spec. It's fucking hilarious." Animated GIF as design spec. Superb. (And: nice interview with Stuart Butterfield about Glitch).

  • "It's not enough to hope that games might be redeemed as fine art or to be played by people of all ages and backgrounds. Instead, video games' cultural future depends on a rich, diverse, magical ecosystem of weird games of all shapes, sizes, and purposes helping multitudes of people pursue a variety of goals and passions. It's not that games need to "rise to the level" of books and films and the like, but that they need to spread like those media into all the nooks and crannies of human activity. The more deliberately creators populate such an ecosystem, the harder it will become for games to become pawns in the debates of others."
  • "His base is too good, and I don’t have the choke. He proceeds to take a more dominant position, scores points, and my body is burning from the effort. The choke he applies toward the end of the match is almost a formality, since I’m far too tired to do much more than hang on. Second place. Second place because I’m learning the triangle choke, not learning Jiu Jitsu. Chipp never wins tournaments." A fantastic piece of writing, about beat-em-ups and combat sports, and the mindset you get into as you play both. I'm not a combat sports man, but it nails some of the inside of your brain when you've played a lot of beat-em-ups, for sure.
  • "But to my eye, GIF is the most popular animation and short film format that's ever existed. It works on smartphones in millions of people's pockets, on giant displays in museums, in web browsers on a newspaper website. It finds liberation in constraints, in the same way that fewer characters in our tweets and texts freed us to communicate more liberally with one another. And it invites participation, in a medium that's both fun and accessible, as the pop music of moving images, giving us animations that are totally disposable and completely timeless."
  • "My wife and I talk about this. We talk about the protocol of the fertility clinic. We talk about her support group, and failure to produce. We talk about adoption, which is expensive and ambiguous. We talk about giving up on the process and living our lives without the ghosts of unconceived children (the most adorable ghosts there are). We talk, and talk, and wait." Powerful, sad, brave writing from Paul Ford. Sometimes, you wish things were nice for the good people in the world.
  • "I needed to get up to speed with doing recursive node structures so I coded up a project that would put a dot on the screen. When you tapped this dot, it would create a bunch of orbiting child-dots. These children could also be tapped, creating even more child nodes. This prototype took less than a day to create and I naively thought we would be done with the whole thing in a week, max. Silly me."

    Marvellous, dense post from Robert on designing Planetary: lots of show-everything, material exploration, and plussing. What detail looks like.

  • "Years later, when recounting his conversations with Beckett (which he did often), André the Giant revealed that they rarely talked about anything besides cricket."
  • "In this scenario one sunny day you're working on low-level NoSQL projects at the Gootch or wherever, and you get an email from Facebook and you go for the interview and Zuckerberg is talking about scaling PHP and suddenly pauses, gets this look in his eye, pulls his hoodie over his head and says “You have sixty seconds. You should be running.” Because engineers, as we are often reminded, are the ultimate prey."
  • "A problem with the human mind – your human mind – is that it's a horrific kludge that will fail when you most need it not to. The Ugh Field failure mode is one of those really annoying failures. The idea is simple: if a person receives constant negative conditioning via unhappy thoughts whenever their mind goes into a certain zone of thought, they will begin to develop a psychological flinch mechanism around the thought. The "Unhappy Thing" – the source of negative thoughts – is typically some part of your model of the world that relates to bad things being likely to happen to you."
  • "Designers get handed a tool kit that has as many tools as a good swiss army knife, and the maps reflect these tools. Millions of people use them to make appointments across town, find restaurants, and drive home for the holidays.

    But what if, instead of a swiss army knife, we used a box of crayons? Or charcoal and newsprint? Or play-doh? What would those maps look like? What could they tell us about the world?"

  • "One thing that I learned during the launch of the original Macintosh in 1984 was that the press usually oversimplifies everything, and it can't deal with the reality that there are many people playing critical roles on significant projects. A few people always get too much credit, while most people get too little, that's just the way it has always worked. But luckily, it's 2011 and I can use the service that I helped to create to clarify things." This is Good And Proper. (Also it's good management).
  • How ads used to be made. Some beautiful photographs here.
  • Useful notes on the modern way of deploying Rails applications with Bundler and Capistrano.
  • '"The expectation is slightly weird here, that you can do this stuff without killing yourself," added McNamara. "Well, you can't, whether it's in London or New York or wherever; you're competing against the best people in the world at what they do, and you just have to be prepared to do what you have to do to compete against those people."'

    This is what McNamara considers responding to controversy. I'm furious that men like this are allowed to manage other human beings.

  • "This is an atlas, then, made by that other nature, seen through other eyes. But those eyes have been following me, unseen and without permission, and thus I consider provoking breach a necessary act." This is good.
  • "csvkit is a library of utilities for working with CSV, the king of tabular file formats." Ooh.
  • "Synapse is an app for Mac and Windows that allows you to easily use your Kinect to control Ableton Live, Quartz Composer, Max/MSP, and any other application that can receive OSC events. It sends joint positions and hit events via OSC, and also sends the depth image into Quartz Composer. In a way, this allows you to use your whole body as an instrument." Oooh. OSC into anything; really nice, dead simple, and exactly the sort of thing I've been considering poking.