Googie architecture Where uses are in actual fact homogeneous, we often find that deliberate distinctions and differences are contrived among the buildings. But these contrived differences give rise to esthetic difficulties too. Because inherent differences—those that come from genuinely differing uses—are lacking among the buildings and their settings, the contrivances represent the desire merely to appear different. Some of the more blatant manifestations of this phenomenon were well described, back in 1952, by Douglas Haskell, editor of Architectural Forum, under the term “googie architecture.” Googie architecture could then be seen in its finest flowering among the essentially homogeneous and standardized enterprises of roadside commercial strips: hot-dog stands in the shape of hot dogs, ice-cream stands in the shape of ice-cream cones. These are obvious examples of virtual sameness trying, by dint of exhibitionism, to appear unique and different from their similar commercial neighbors. Mr. Haskell pointed out that the same impulses to look special (in spite of not being special) were at work also in more sophisticated construction: weird roofs, weird stairs, weird colors, weird signs, weird anything. Jane Jacobs, The Death and Life of Great American Cities Ducks and decorated sheds quirks
Reverse chronology bias Once you’ve had a taste of effortless updates, it’s awfully hard to back to manual everything. So they didn’t. And neither did thousands of their peers. It just simply wasn’t worth it. The inertia was too strong. The old web, the cool web, the weird web, the hand-organized web… died. And the damn reverse chronology bias — once called into creation, it hungers eternally — sought its next victim. Myspace. Facebook. Twitter. Instagram. Pinterest, of all things. Today these social publishing tools are beginning to buck reverse chronological sort; they’re introducing algorithm sort, to surface content not by time posted but by popularity, or expected interactions, based on individual and group history. There is even less control than ever before. There are no more quirky homepages. There are no more amateur research librarians. All thanks to a quirky bit of software produced to alleviate the pain of a tiny subset of a very small audience. That’s not cool at all. Amy Hoy, How the Blog Broke the Web Navigation by shibboleth timequirks
XXIIVV Webring A Website webring.xxiivv.com This webring is an attempt to inspire artists & developers to build their own website and share traffic among each other. wwwquirksblogging
Mediocratopia An Article by Venkatesh Rao www.ribbonfarm.com I once read a good definition of aptitude. Aptitude is how long it takes you to learn something. The idea is that everybody can learn anything, but if it takes you 200 years, you essentially have no aptitude for it. Useful aptitudes are in the <10 years range. Leveling up aptitude You need to make the step forward skill
Leveling up aptitude Your first short story takes 10 days to write. The next one 5 days, the next one 2.5 days, the next one 1.25 days. Then 0.625 days, at which point you’re probably hitting raw typing speed limits. In practice, improvement curves have more of a staircase quality to them. Rather than fix the obvious next bottleneck of typing speed (who cares if it took you 3 hours instead of 6 to write a story; the marginal value of more speed is low at that point), you might level up and decide to (say) write stories with better developed characters. Or illustrations. So you’re back at 10 days, but on a new level. This kind of improvement replaces quantitative improvement (optimization) with qualitative leveling up, or dimensionality increase. Each time you hit diminishing returns, you open up a new front. You’re never on the slow endzone of a learning curve. You self-disrupt before you get stuck. The interesting thing is, this is not purely a function not of raw prowess or innate talent, but of imagination and taste. learningcreativitytastepractice