Exchanging Information
Induced communication
Half of design is facilitation
A city speaks to you mostly by accident
From body to body
Talking with Clinton
The Iridium System
Serendipity
z-z-z
Imagine that we had no voice and no tongue
Socrates: Imagine that we have no voice and no tongue, but want to communicate with one another. Wouldn’t we like the deaf and the dumb make signs with the hands and the head and the rest of the body?
Hermogenes: There would be no choice, Socrates.
Socrates: We would imitate the nature of the thing: lifting the hands to heaven would mean lightness and upwardness. Heaviness and downwardness would be expressed by letting them drop toward the ground...
Hermogenes: I don’t see that we could do anything else.
Socrates: And when we want to express ourselves with the voice or tongue or mouth, the expression is simply their imitation of what we want to express?
Hermogenes: I think, it must be so.We must go with them
"You cannot make what you want to make, but what the material permits you to make. You cannot make out of marble what you would make out of wood, or out of wood what you would make out of stone. Each material has its own life, and one cannot without punishment destroy a living material to make a dumb senseless thing. That is, we must not try to make our materials speak our language, we must go with them to the point where others will understand their language."
— Constantin Brancusi
He had but to speak
He had but to speak aloud the words that came into his head, and those around him would fall in line.
Ping-pong patterns
The role of asynchronicity in unraveling social and political patterns without apparent replacement with other patterns cannot be overestimated. The ping-pong pattern of verbal communication is no longer tied to space or time.
The Art of Looking Sideways
A Book by Alan FletcherCover art for Alan Fletcher's wonderfully expansive commonplace book.
Envisioning Information
A Book by Edward TufteBeautiful Evidence
A Book by Edward TufteThe Visual Display of Quantitative Information
A Book by Edward TufteThe Elements of Style
A Book by William Strunk Jr. & E.B. White- Choose a suitable design and hold to it
- Make the paragraph the unit of composition
- Use the active voice
- Put statements in positive form
- Specific, definite, concrete
Interaction of Color
A Book by Josef AlbersThe Ladder of Abstraction
An Essay by Bret VictorUnderstanding Understanding
A Book by Richard Saul WurmanVisual Explanations
A Book by Edward TufteThe Sense of Style
A Book by Steven PinkerI don’t believe in Zoom fatigue
An Article by Matt WebbIt’s not Zoom fatigue, it’s Zoom whiplash.
It’s a hunch. I can’t prove this.
The trick to get around this is to move smoothly up and down the gradient of social interaction intensity, never dropping below a basic floor of presence: the sense that there are other people in the same place as you.
Instead of having two modes, “in a call” and “on my own,” we need to think about multiple ways of being together which, minimally, could be:
- In a video call
- In an anteroom to a video call, hearing the sound of others
- In a doc together
- On my desktop but with the sense that colleagues are around
And the job of the designer is to ensure that their software ensures the existence of these different contexts, instead of having the binary on-a-call/not-on-a-call, and to design the transitions between them.
e-worm.club
A Website by Zach ShermanI’m building a custom pleroma client so that my friends and I can have a cute, self-hosted social network to post about politics and art. Besides being much more visually interesting than our facebook messenger groupchat, e-worm also attempts to solve design problems around conversational, collaborative thinking. The biggest of these problems is the inherent ephemerality of our groupchat— it doesn’t really succeed as a collaborative thinking space because it has no long-term memory. When messages are constantly buried under new ones, it places the burden on us to remember previous conversations. So the ultimate design goal for e-worm is to create a self-archiving conversational interface that preserves thought and helps us keep thinking new things rather than going in intellectual circles.
The medium is the message
A Quote by Marshall McLuhanWriting and Speaking
An Essay by Paul GrahamBeing a really good speaker is not merely orthogonal to having good ideas, but in many ways pushes you in the opposite direction...there's a tradeoff between smoothness and ideas. All the time you spend practicing a talk, you could instead spend making it better.
What happened when I stopped using Emojis
An Article by Clo S.In March 2021, I went through a fun self-imposed experiment: no emoji for 2 weeks. Not on social media, not in private messages, not even as Slack or Discord reactions. No emoticon either: the goal was to communicate without illustrations, only with words. I did a semi-rigorous (a.k.a. half-assed) diary study, taking notes on my feelings and behaviour.
Hypertext 2020
A WebsiteMakespace.fun
An ApplicationIn today’s software, live video feeds are stuck inside static rectangles that can’t go anywhere. MakeSpace flips all that on its head. Your cursor is your live face, and you can roam free, controlling who and what you want to be close to.
The life and death of an internet onion
In her piece "A drop of love in the cloud" (2018), artist Fei Liu writes about the like/heart button as a flattening affordance of giving affirmation and love. The text-editor provides a much more expressive input.
But even people who can't communicate well because of language barriers can express love through actions, like cooking food. Can we create other "love inputs" that might allow us to "reach across the chasm of a seamless signal"?
What is expressing "real" love or affirmation about? Is it about effort, thoughtfulness, generosity, something else? What might a thoughtful or generous interface feel or behave like?
Beyond Artboards
The Pursuit of Lossless Design-Development Handoffs.
Can't developers just see?
We designers love artboards. From rough UI sketches to high fidelity mockups, we see ourselves as visual artists expressing ideas on artboards that have a pre-defined width and height. To start a new project, we declare the size of the artboard in the first step.
What about responsive design? Not a problem! We diligently design on three artboards — one for mobile, one for tablet, and one for desktop — with content elegantly adapting, scaling, reflowing, reordering, and reprioritizing. We proudly hand off the artboards to developers while patting ourselves on the back: this is how responsive design should be done.
After weeks of arduous engineering, the product finally comes out. We find, to our great dismay, that some copy is hanging off the grid, the focal point of the hero image has been cropped out, the font sizes don’t even come close to the type ramp. What went wrong? Can’t the developers just see everything on all those artboards?
Nope.
We are the ones who paved the path
No matter how many screen sizes our artboards account for, some user’s browser will break loose from our prescription. With users resizing, rotating, and zooming the screen, new devices stretching, squashing, curving, and cutting (e.g. the speaker area in iPhone X) the screen, the sizes become infinite. Good luck making an artboard for each one of them.
Artboards are a lossy format. Using artboards in a handoff is a lossy process. When we pitch a finite number of plans against an infinite number of situations. We inevitably get in-betweens. Once there are in-betweens, there are unknowns. Once there are unknowns there is guesswork. Once there is guesswork, there are surprises. Engineers take the path of least resistance. We are ones who paved the path.
Until we get there
- As a designer, learn writing HTML, or better still, semantic HTML. If coding up the entire design is too hard, try coding up one component at a time, and not worrying about CSS. The HTML alone will prove invaluable for developers to understand the content structure. In addition, you are forced to optimize the information architecture as you work out the code from content.
- If coding by yourself is out of the question, pair up with the engineer who will receive the design. Work closely with him or her to prototype the design, validate responsive behaviors, and obtain feedback on the feasibility. Don’t call it an iteration until the design has seen played with in code.
- As a manager for large enterprise, co-locate your designers and developers, encourage interdisciplinary learning, understand that each minute spent on coding before the handoff translates to ten minutes saved from changing and fixing issues after the handoff.
- As a stakeholder in the handoff meeting, give the designer a thumbs-up when he or she demos live code running in browsers in place of mockups on artboards. That’s a design champion you are looking at.