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"Whiskey Media provides fully structured data APIs for the following: Giant Bomb (games) Comic Vine (comics) Anime Vice (anime/manga)". This is a really good page for both explaining what you can and can't do, and explaining what the damn thing is. Wonder how good the data is?
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"Have you ever wanted to sink your hooks into a gaming database full of release dates, artwork, games, platforms, and other sorts of related data? I'm going to guess that, for the bulk of you, the answer's probably no. But if you're out there wondering what to do next with your developer-savvy smarts, you've got another big source to pull data from. The Giant Bomb API is now available for non-commercial use." Giant Bomb really are doing some pretty interesting stuff, alongside their more traditional content.
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"Customers seem to respond better to the Sims than all the adventure games ever made combined together. Then there are Bejeweled and Peggle and other game games. Who needs a stink’n story? I prefer making interactive stories." The writer of "Dangerous High School Girls in Trouble", interviewed on RPS, drops an interesting one.
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"The baseline grid. Oh yes, the baseline grid. Let's be honest this is the sort of thing you know you need to know about. And you do know about, you know, sort of. But. Do you really know about it? Of course you do if you work on a magazine or a newspaper, but when was the last time you used one? I almost re-taught myself how to use a baseline grid. I certainly re-read all about it and it pretty much saved my life." Ben, on the details of The Paper. Good stuff in here.
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"This is by no means an exhaustive list, just a start. In each of these you’ll find other resources to help you dig deeper." Which, right now, is what I need. For a former front-end-dev, I'm a bit behind the curve.
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"So we’ve progressed now from having just a Registry key entry, to having an executable, to having a randomly-named executable, to having an executable which is shuffled around a little bit on each machine, to one that’s encrypted– really more just obfuscated– to an executable that doesn’t even run as an executable. It runs merely as a series of threads." Fascinating interview with a smart guy, who at one point in his life, did some bad (if not entirely unethical) work.
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"I do think that during the coming years we will continue to try to bridge the gap between simulated musicianship and real musicianship. That said, the path there is not obvious: As the interactivity moves closer to real instrumental performance, the complexity/difficulty explodes rapidly. The challenge is to move along this axis in sufficiently tiny increments, so that the experience remains accessible and compelling for many millions of people. It’s a hard, hard problem. But that’s part of what makes it fun to work on." There is loads in this interview that is awesome; it was hard to choose a quotation. Rigopulos is super-smart.
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"On June 17th, every year, the family goes through a private ritual: we photograph ourselves to stop, for a fleeting moment, the arrow of time passing by." Perfectly executed.
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"The Bop It commands are called out in different tones. These tones differ from version to version as well. In Bop It Blast, distinct tones are employed by both male and female speakers." I did not know that.
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"A couple of other examples of this kind of thing we like, are the bookish experimentations of B.S. Johnson, whose second novel Alberto Angelo contains both stream-of-conciousness marginalia, and cut-through pages enabling the reader to see ahead – possibly the most radical act I know in experimental books." Yes! And which I bang on about interminably. I love this stuff.
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"A dude by the name of Phoebus has posted a collection of his research on Left 4 Dead's infected and weapon damage statistics over on the official Steam forums. I think that it'll be of great interest for any serious player of the game to delve into this information." There's a question over their accuracy, but there's still a decent amount of detail here, and the details on tail-off of weapon damage is useful to know. Also a relief to have the hellacious friendly-fire damage on Expert confirmed.
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Fascinating to watch some of the body shapes – the hunched run, and in particular the the saut du chat – carry through to modern Parkour; that which is practical has always been so. As with all parkour: parts of it are beautiful, parts of it entertaining, and parts of it superhuman.
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"Bourne wraps cities, autobahns, ferries and train terminuses around him as the ultimate body-armour, in ways that Old Etonians could never even dream of." More on this topic from Jones; still think there's something we're not quite hitting yet, but it's all good stuff.
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Stack lets you subscribe to a selection of independent magazines; you choose how many you want a year, and they send you a selection. A really nice idea, although it'll be interesting to see them broaden their horizons a bit.
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"Program recipes should not only generate valid output, but be easy to prepare and delicious." Chef is a programming language where the programs are also valid (if strange) recipes. The syntax description is proper crazy; gives Homespring a run for its money, easily, in the realm of metaphorical programming languages that embrace their metaphor.
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"This recipe prints the immortal words "Hello world!", in a basically brute force way. It also makes a lot of food for one person."
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"I still consider glass to be an extreme craft – you’re working with and fighting gravity and momentum in those 60 seconds before it starts to harden – but you learn to take your time, even if there are lots of moments of extreme concentration to keep a piece from disintegrating." Chris writes up his glass-blowing course; sounds great.
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"Perhaps the problem is that we so deeply rely on reference points like film, which require stories progressing over time, when we could be referring to things like sculpture or painting, which require no timescale and people find just as moving." Some good thoughts from Jonathan Blow; I think his point about games' unique ability to challenge is an important one.
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"Rohrer is trying to make art in a medium that most people don't even think is capable of art. He can create this space of pure freedom, as artists have done in the past — isolation, introspection, ascetic poverty. But ultimately he has to send these works out into the world, and people have to respond to them. And right now the audience doesn't know what to do with them." Fantastic writing from Esquire; mature, sensible, and at no point apologist.
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"The 'better sequel' mentality is damaging both to the games industry and to the quality of games journalism. It is a deferral of critical responsibility, a patronising pat on the head for the developer who dared to dream and fell short in some mythically vital way. I don't want to be frustrated by dodgy controls either, but then I'm willing to blunder through if I'm going to get an experience I never had before." And this is why I've been sticking with it; I think Keith is on the right lines with this quotation.
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I really like the dot/tab/pad/board delineation, and the fraction/inch/foot/yard scale that accompanies it. A nice way of framing these issues.
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"Someday I hope game designers really are seen as trusted personal trainers, and that we have the chance to take people through proven processes that pay off in the long run. More gamesight, a surprising social safety net and support system, a more engaging environment, a higher quality of life." You trust a good designer to deliver good experience, regardless of the pain they put you through.
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"Unknown games are always the best ones… They are always stronger, funnier, cleverer and better-executed than their realities and so that walk home from the store, when the game is tangible in your hands but still imagined in your mind, is oftentimes the most potent moment in the videogame experience." A lovely piece from Simon on what the end of a certain kind of retail experience will really mean.
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"Steve Rose notes that the recent films have seen Bond visit and destroy as much villain-architecture as ever ("The villains are the creators; Bond is the destroyer. He's basically an enemy of architecture"), and suggests this can be traced back to Fleming's difficulties with Modernist architects." Rod on Bond is always good, and bonus points for the punning title.
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"A series looking at different aspects of guardian.co.uk's rebuild and redesign project, which ran from October 2005 to September 2008." Looks like there's going to be some good stuff emerging from this; great to see the Guardian making it so public.
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"The technology will probably improve, but in lieu of the promised emergent web AI, we need to build more small tools, more games to bootstrap datasets, and more simple ways of encouraging people to play their part in the semantic web without ever having to explain what it is." tt++.
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Fantastic presentation from Giles Bowkett, which is about generative music, art, shipping, Ruby, and building things for yourself.
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"Paine does have a descendent, a place where his values prosper and are validated millions of times a day: the Internet. There, his ideas about communications, media ethics, the universal connections between people, the free flow of honest opinion are all relevant again, visible every time one modem shakes hands with another." Fantastic article
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"At its core, what should this product be best at? When users think of this product, what is the central feature(s) that should spring to mind? Everything else is distraction, clutter, cruft."
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"I think this vision of artistic expression as a form of collaboration is a truer description of the nature of game design than of any other medium, because video games are inherently interactive." Pliskin on Steve Gaynor, and the gap between the screen and the gamepad.
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Portal-inspired homebrew game for the DS. Looks rather sweet, although not keen on collect-em-up mechanics.
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That they are. Got to love the type on these.
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"Cosmovox is a unique and innovative musical instrument for the iPhone and iPod touch." Nearly a theremin. Nearly.
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"Tim, or perhaps T.J. (we were at the pudding stage), began talking about the experience of editing Cliffhanger (the edition we were going to print), and about some of the material that had to be changed or cast away – characters’ names, a lesbian sex scene, the ending itself – and we wondered whether, in a born-digital text, these sloughed-off palimpsests acquired an existence of their own, beyond the shadows of an HFS hard drive; in a library run by Veet Voojagig, perhaps." Picador publish both the final version of the book in print – and the urtext as a separate digital product. Fun.
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"The time comes again. Here’s the first five pages from the first issues of PHONOGRAM: THE SINGLES CLUB. Not only that, but we include seven sample B-side pages, plus a little introduction about what they’re all about, like." Looking jolly good, and am rather excited by the B-sides.
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Wonderful pastiches of popular US newstand titles to promote the new season of Dexter. The New Yorker pastiche is particularly superb.
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"Well-designed games make us forget the technical impediments to the enjoyment of art, and this is more than half the battle."
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Yes.
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"KeyCue gives you an instant overview of the overall functionality of any application, plus lets you automatically start working more efficiently by making use of menu shortcuts." Awesome. Really, really awesome. I might well end up registering this.
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Jos Buivenga's font foundry, with many free faces (usually in a few weights – other weights are paid-for). Some beautiful stuff in here.
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Beautiful, free, sans-serif font. Gorgeous – especially at 900-weight.
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"His advice for those attempting a project like this, is to get people who understand the web. DICE hired a web development director, and a web producer. "Without those people, we would have never made it as far as we have," he says. He also recommends a web tech director, which DICE did not need to hire "because we had a team in DICE who were pretty strong."" Excellent article about building games for the online age; the section on the socially-driven BH website is very incisive.
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"Bandcamp isn’t Yet Another Place to Put Your Music. We power a site that’s yours. So instead of our logo plastered between banner ads for Sexy Singles Chat, your fans see your design, your music, your name, your URL. You retain all ownership rights, and we just hang out in the background handling the tech stuff." Via Waxy; looks really excellent, and some wonderful stat-gathering tools for bandowners.
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"This week’s 1UP FM is a fascinating round table/interview with Jonathan Blow, David Hellman, Rod Humble, and Sean Elliott and Nick Suttner from 1UP… If you’re at all interested in Braid, experimental game design, or the ethics of games you should go listen now." In the meantime, Ben Zeigler has provided some excellent annotation for us all.
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"Over the last few years, there has been a big shift in power and success away from independent studios, and towards in-house, publisher-owned studios. This has been driven by several things, sound economic reasons, competitive reasons, and because the strong independent studios had done a good job at creating a slew of new IPs (which publishers were eager to snap up, as always). In my experience relatively few people in the games industry realise this… So, what’s next? What’s going to happen over the next 3-5 years?" Adam on the business of the games industry, and what's facing it next.
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WikkaWiki is a flexible, standards-compliant and lightweight wiki engine∞ written in PHP, which uses MySQL to store pages. Forked from WakkaWiki. Designed for speed, extensibility, and security. Released under the GPL license.
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"The Morning After is a magazine-style theme for WordPress created by Arun Kale. The theme was created based on a brief survey on the WordPress forums about what people would want to see in a unique magazine-style theme." Looks great.
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Now that's what I call a UI. Nice idea!
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"Are you tired of browser-based games that are thinly veiled interfaces for databases? Finally, there's a game that just is a database!" This looks awesome.
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"A simple pocket knife can be more appealing and usable than a bristling Victorinox, and a dedicated little games machine like the DS can engage us far more than the sleek power of the PSP. You can feel admiration and even awe for the big power boxes, but for the DS you feel affection – and that, in marketing terms, is worth a whole heap more." I love Stephen Fry.
Blog all dog-eared pages: “Cradle to Cradle”
23 March 2008
Any way you look at it, William McDonough and Michael Braungart’s Cradle to Cradle is an unusual book.
It’s a book that invites the reader to envisage a world in which the concept of waste does not exist, and where re-use is preferred to recycling; in short, a world where products have a true life-cycle, rather than a passage from cradle-to-grave.
It’s an exciting book, if only because the physical artefact embodies its message:
Cradle to Cradle is not made out of paper, you see. It’s a format called Durabook. The Durabook is made of a kind of plastic, and is entirely waterproof. More interestingly, it’s entirely reusable – the ink can be easily removed to allow reprinting or notebook use, and the “paper” itself can be melted down and reused without giving off toxins. It’s a good environmental citizen, essentially: reusable, up-cyclable, and with no harmful byproducts. (It’s also surprisingly heavy for such a slim format).
I found it an interesting read. I found a lot of their later commentary on designing services probably the most interesting and relevant – a lot of discussion on refactoring products (which, by their nature, are designed for disposal) into services (wherein the product can be upcycled or removed from the equation, as it’s the service that matters). The Linc concept mobile phone is a good illustration of the thinking the book suggests.
At times, though, I found it depressing; a lot of the innovations pointed to are McDonough and Braungart’s own, and it would have been good to see more examples from people other than them. Similarly, at times the scale of the challenges described in the book seems colossal, and perhaps impossible.
But I think, taken with a pinch of salt, it’s an interesting read, and there’s some good meat within it. With that in mind, here’s what I marked out for myself as being interesting:
p.24, on Henry Ford’s innovations:
“In 1914, when the prevailing salary for factory workers was $2.34 a day, he hiked it to $5, pointing out that cars cannot buy cars. (He also reduced the hours of the workday from nine to eight). In one fell swoop, he actually created his own market, and raised the bar for the entire world of industry.”
I really enjoyed the section on Ford. They point out that a lot of Ford’s innovations really were more environmentally-friendly than the wasteful, inefficient factories that had preceded them. This doesn’t make it good, per se, but it’s worth bearing in mind. And I love “cars cannot buy cars”.
p.46, on the sentiments of the American Pastoral writers:
“[Aldo] Leopold anticipated some of the feelings of guilt that characterise much environmentalism today:
“When I submit these thoughts to a printing press, I am helping cut down the woods. When I pour cream in my coffee, I am helping to drain a marsh for cows to graze, and to exterminate the birds of Brazil. When I go birding or hunting in my Ford, I am devastating an oil field, and re-electing an imperialist to get me rubber. Nay more: when I father more than two children I am creating an insatiable need for more printing presses, more cows, more coffee, more oil, to supply which more birds, more trees, and more flowers will either be killed or … evicted from their several environments.”
p.60, on the struggle between what Jane Jacobs described as commerce and the guardian:
“Any hybrid of these two syndromes Jacobs characterizes as so riddled with problems as to be ‘monstrous’. Money, the tool of commerce, will corrupt the guardian. Regulation, the tool of the guardian, will slow down commerce.”
p.61, on regulation being a signal of design failure:
“In a world where designs are unintelligent and destructive, regulations can reduce immediate deleterious effects. But ultmiately a regulation is a signal of design failure. In fact, it is what we call a license to harm: a permit issued by a government to an industry so that it may dispense sickness, destruction, and death at an ‘acceptable’ rate.”
p.66-67, on sacrifice and “eco-efficiency” as a way of trying to cut down on the bad things humans do:
“In very early societies, repentance, atonement, and sacrifice were typical reactions to complex systems, like nature, over which people felt they had little control. Societies around the world developed belief systems based on myth in which bad weather, famine, or disease meant one had displeased the gods, and sacrifices were a way to appease them…
But to be less bad is to accept things as they are, to believe that poorly designed, dishonorable, destructive systems are the best humans can do. This is the ultimate failure of the ‘be less bad’ approach: a failure of the imagination. From our perspective, this is a depressing vision of our species’ role in the world.
What about an entirely different model? What would it mean to be 100 percent good?”
It takes them a while to get to that point (in a ~180 page book), but that’s the real kicking-off point for the more interesting arguments – by reframing the problem in a world that doesn’t have a concept of waste, what kind of answers emerge?
p.70, on rethinking the “entire concept of a book” (which is something the artefact of Cradle to Cradle itself does, as mentioned earlier):
“We might begin by considering whether paper itself is a proper vehicle for reading matter. Is it fitting to write our history on the skin of fish with the blood of bears, to echo writer Margaret Attwood?”
p.80, on “nature’s services”:
“Some people use the term nature’s services to refer to the processes by which, without human help, water and air are purified […] We don’t like this focus on services, since nature does not do any of these things just to serve people.”
True “services” have to intend to service a particular need – you can’t just apply the s-word to any available substrate or process.
p.84:
“Western civilization in particular has been shaped by the belief that it is the right and duty of human beings to shape nature to better ends; as Francis Bacon put it, ‘Nature being known, it may be master’d, managed, and used in the services of human life.‘”
p.87, on new approaches to zoning:
“We agree that it is important to leave some natural places to thrive on their own, without undue human interference or habitation. But we also believe that industry can be so safe, effective, enriching, and intelligent that it need not be fenced off from other human activity. (This could stand the concept of zoning on its head; when manufacturing is no longer dangerous, commercial and residentail sites can exist alongside factories, to their mutual benefit and delight.)”
That would make Sim City interesting.
p.88; professor Kai Lee talks to members of the Yakima Indian Nation about the long-term plans for storing nuclear waste within their territory.
“The Yakima were surprised – even amused – at Kai’s concern of their descendants’ safety. ‘Don’t worry,’ they assured him. ‘We’ll tell them where it is.’ As Kai pointed out to us, ‘their conception of themselves and their place was not historical, as mine was, but eternal. This would always be their land. They would warn others not to mess with the wastes we’d left.
We are not leaving this land either, and we will begin to become native to it when we recognize this fact.”
This reminds of Tom Coates’ Native to a Web of Data – we will become native to the web when we recognise that the data structures we create and impose on it will stick around forever, and that we should design them as such.
p.102, on “deflowering” a new product:
“Opening a new product is a kind of metaphorical defloration: ‘This virgin product is mine, for the very first time. When I am finished with it (special, unique person that I am), everyone is. It is history.’ Industries design and plan according to this mind-set.”
p.103:
“What would have happened, we sometimes wonder, if the Industrial Revolution had taken place in societies that emphasize the community over the individual, and where people believed not in a cradle-to-grave life cycle but in reincarnation?”
p.104, describing the two discrete metabolisms of the planet:
“Products can be composed either of materials that biodegrade and become food for biological cycles, or of technical materials that stay in closed-loop technical cycles, in which they continually circulate as valuable nutrients for industry. In order for these two metabolisms to remain healthy, valuable, and successful, great care mus be taken to avoid contaminating one with the other.”
p.120: fittest vs fitting-est
“Popular wisdom holds that the fittest survive, the strongest, leanest, largest – perhaps meanest – whatever beats the competition. But in healthy, thriving natural systems it is actually the fitting-est who thrive. Fitting-est implies an energetic and material engagement with place, and an interdependent relationship to it.”
p.128, on misunderstanding Le Corbusier’s intent:
“Modern homes, buildings, and factories, even whole cities, are so closed off from natural energy flows that they are virtual steamships. It was Le Corbusier who said the house was a machine for living in, and he glorified steamships, along with airplanes, cars, and grain elevators. In point of fact, the buildings he designed had cross-ventilation and other people-friendly elements, but as his message was taken up by the modern movement, it evolved into a machinelike sameness of design.”
p.144, on people’s affinity for certain types of visual:
“According to visual preference surveys, most people see culturally distinctive communities as desirable environments in which to live. When they are shown fast-food restaurants or generic-looking buildings, they score the images very low. They prefer quaint New England streets to modern suburbs, even though they may live in developments that destroyed the Main Streets in their very own hometowns. When given the opportunity, people choose something other than that which they are typically offered in most one-size-fits-all designs: the strip, the subdivision, the mall. People want diversity because it brings them pleasure and delight. They want a world of [paraphrasing Charles De Gaulle] four hundred cheeses.”
p.154, on criteria for new product design:
“High on our own lists [of criteria] is fun: Is this product a pleasure, not only to use, but to discard? Once, in a conversation with Michael Dell, founder of Dell Computers, Bill observed that the elements we add to the basic business criteria of cost, performance, and aesthetics – ecological intelligence, justice, and fun – correspond to Thomas Jefferson’s ‘life, liberty, and the pursuit of happiness’. Yes, Dell responded, but noted we had left out a most important consideration: bandwidth.”
p.172, on the aspects of marketing and selling eco-friendly products:
“A small but significant number o consumers chose to buy the lotion in a highly unattractive ‘eco’ package shelved next to the identical product in its regular package, but the number who chose the ‘eco’ package skyrocketed when it was placed next to an over-the-top ‘luxury’ package for the very same product. People like the idea of buying something that makes them feel special and smart, and they recoil from products that make them feel crass and unintelligent. These complex motivations give manufacturers power to use for good and for ill. We are wise to beware of our own motivations when choosing materials, and we also can look for materials whose ‘advertising’ matches their insides, again as indicative of a broader commitment to the issues that concern us.”
p.185, in a section on “preparing for the learning curve”:
“Biologist Stephen Jay Gould has captured this concept nicely in a way that can be useful to industry: ‘All biological structures (at all scales from genes to organs) maintain a capacity for massive redundancy – that is, for building more stuff or information than minimally needed to maintain an adaptation. The ‘extra’ material then becomes available for constructing evolutionary novelties because enough remains to perform the original, and still necessary, function’. Form follows evolution.”
And that’s all, really. I enjoyed it a lot – though I found its message difficult and overfacing at times, and the perspective perhaps a little smug, there was lots of good stuff in it and it provided food for thought. Thanks to Tom for letting me borrow it, and to Mike for the format this blogpost takes.
ChinaDialogue.net
31 July 2006
I recently did some consultancy for openTrust, the parent company of openDemocracy, and now that the project in question – chinadialogue – has gone live I wanted to mention it, mainly because I’m so impressed by how the final product turned out.
The best way to describe chinadialogue is as an entirely bilingual online publication about the Chinese environment, built on top of an entirely bilingual CMS.
By “entirely bilingual”, I mean that all content appears (eventually) in both English and Chinese on the site – not just links and headings, but the full text of every article, and of every comment. The site is designed so that whilst everything appears in both languages, the original source language is always highlighted. The translation between languages is performed by Mark 1 Human Beings, incidentally. I found a certain frisson to seeing English and Chinese standing side-by-side everywhere you look; it feels very subversive, given all the issues around Chinese state censorship.
My role in the project was admittedly very limited. I did some early-stages exploratory work around publishing platforms, considering whether to use a pre-existing, open source CMS/blogging tool and extend it either through plugin APIs, or a more major fork of the source code, or whether to build from scratch – and if so, in what. One of the major factors in this decision was the bilingual nature of the project: extending any existing system would require heavy use of the plugin API, but that would mean one language’s content would exist as the primary “content” for an entry, and the other would be banished to the meta-fields. Given that either could come “first” in the workflow of the site, and that both are of equal importance, I suggested that both should also be of equal importance in the database schema.
In the end, they went with the final option, and built the project from scratch in Ruby on Rails. We discussed this option at some length, as whilst there was a strong internal desire to build in Rails, the first thing that comes to mind when you say “Chinese” and “Ruby” in the same sentence is “holy Unicode support, Batman!”
But Unicode-in-Ruby can be stepped around if you know what you’re doing (and try nothing too fancy), so it’s great to see that they not only made Rails work for them – and, by all accounts, had a good time doing it – but also they managed to step around one of the more common Ruby gotchas.
Best of all, I note that they’re planning to release the CMS that runs chinadialogue as open source towards the end of the year. I’m really looking forward to seeing some of that code.
All in all, a pleasant experience, and very cheering to see the results. If you’re working on social publishing projects of any form, and want someone to throw ideas around with (for a reasonable rate) do get in touch.