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?
Gods of the Word
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.My name
“I am the utterance of my name.”
— Thunder, Perfect Mind, The Nag Hammadi Library
Reference and Is-ness
There are at least two aspects to what we have traditionally called the meaning of a word. One aspect is reference, and the other is something I will call ‘inherent meaning’ following Ullman (1963). Inherent meaning is ‘Is-ness’ meaning. Inherent meaning is a word’s identity, and reference merely its resumé, where it has gone and what it has done, an itemization of its contexts. ‘Is-ness’ is unifying. Each word has a single pronunciation, a single inherent meaning. But reference is divisive. It makes what was one thing – the word – appear to be many things – its senses. It is inherent meaning which gives all those multifarious senses the power of being a single word.
It flows out and fills
This deeper meaning of a word isn’t confined to what we think of as a dictionary definition. Rather it flows out and fills all the space available to it. Although a basic sense does affect the dynamics of a word, it has no power over its essence. Like the captain of a ship, it can control the crew’s actions, but not their minds. Each word has an aspect of meaning which lies deeper than any of its senses, and it is fundamentally on this meaning that all the senses depend.
No less than a Zeus
I too am a true believer in the autonomy of the archetype. A
/t/
or an/h/
is no less than a Zeus. The consonants are not essentially physical, but they live, evolve and influence human affairs. We overlook something essential if we deny that they can get up and walk around. This is not to say that their existence is independent of the human psyche. But then everything depends on everything.Like a prism
When you look at phonemes, you look through the perspective of morphemes, which are one linguistic level higher. The higher level is like a prism that splits the light in two. What was one thing, like ‘length’ at the phoneme level, looks like two opposite things ‘long’ and ‘short’ from the perspective of the morphemes. In practice, when you find both a word and its opposite, then the phoneme is not about either of these two things, but about what is common to them.
Fracturing
If we step back and view from afar this process of One-ness and Is-ness to fracturing and interpretation – of inherent meaning to reference, it follows that what lies at the foundation of language is simply what it is – sound – free of reference and interpretation. What makes what we know as language from its sound is fracturing and interpretation or using a word for a function other than what it simply is.
To evolve the language itself
So in the process of talking, we might say we are putting words in slightly new contexts, and then testing them against our peers to see if our experiment in juxtaposition had ‘meaning. If we succeed, we have introduced new contexts for the words we use. These contexts will be taken up by our listeners, and will gradually become clearly enough defined to be thought of as referents. Once our words gain new referents, they start affecting the underlying phonosemantic structure of the language, the clustering patterns, the network of semantic relations. That is, the purpose of talking in the long run is to evolve the language itself.
Scooting over
There is at this point no evidence that acquired characteristics can be inherited. It is held that all changes to a genome are random, and cannot be subject to any higher principle. However, when a word is used in a new context, as it is whenever we say something new, a new sense is permitted. This does affect the phonosemantic structure, the linguistic DNA. Words in the vicinity of this word ‘scoot over’ to make room and allow themselves to be influenced by its philosophy. The language itself is now different.
The element becomes a sign
Each unit can be seen purely as form, as what it is. Or it can be viewed as having a function. Its function is only understandable within the next higher level of organization. And in every case, function must succumb to the constraints of form. Once this worldly function is assigned, the element becomes a ‘sign’. It falls into the realm of concept. There is a mapping from one thought system to another.
The demand of a new word
Why are these phonosemantic classes enough, and we need neither more nor less? Why are these consonants enough, and we need neither more nor less? What determines the need for a new word? How is this demand ‘felt’ by a language? How did the metabolic pathways of American English recognize that ‘jerk’ and ‘twerp’ and ‘punk’ and ‘nitwit’ and ‘dork’ and ‘ass’ and ‘goon’ and ‘twit’ and ‘dodo’ and ‘bum’ and ‘nerd’ and ‘dunce’ and ‘turd’ and ‘boob’ and ‘chump’ and ‘bitch’ and ‘bastard’ and ‘prude’ and so on and so forth simply were not equal to the task? We had to add ‘turkey’ and ‘squirrel’ as well?