A photograph of the “Free Bradley Manning” contingent of the San Francisco pride parade in 2011 is an entrypoint to a consideration of intersectional politics, of the parallels between the political and the personal in an age when networks permit the sudden rupture of secure systems by individual conscious actions, when states can use such ruptures to justify ever greater clampdowns of freedom and... transparency (both in the sense of information freedom, but also the ever-threatened right of the individual to remain opaque and illegible to the state), as well as the tendency of the media and popular protest to focus on the individuals (Manning, Assange, Snowden) and the technological front-ends to such disclosures (Wikileaks) rather than the deeper transfer networks, protocols, or even, god forbid, the actual substance of the information disclosed.
The current surveillance state is a result of a government/corporate partnership, and our willingness to give up privacy for convenience.
Add to this the fact that the ways in which fans engage in transformative work are often radical in nature; from the earliest days of what we now recognize as fandom, fans were inserting queer content into fannish extensions of canon, exploring issues of race, class, gender, and how we define humanity itself in ways that the canon couldn’t or wouldn’t do. Radical messaging has historically not... played well with corporatization, yet from second wave feminism to Occupy there is a long history of radical messaging being co-opted by corporations. Fans who perceive their work as political – and there are many fans who have and do – are unlikely to regard Amazon’s venture favorably.
What’s clear, and it’s been said before, is that there’s an opening for a new type of designer. Someone that understands interaction design, product design and can add character to things through behaviour. A light touch. Very subtle in order to make them believable - without them being too ridiculous.
Seamlessness is ‘the deliberate “making invisible” of the variety of technical systems, artifacts, individuals and organizations that make up an information infrastructure. This work actively disguises the moments of transition and boundary crossing between these various parts in order to present a solid and seemingly coherent interface to users.’
There's a reason that our fingertips have some of the densest areas of nerve endings on the body. This is how we experience the world close-up. This is how our tools talk to us. The sense of touch is essential to everything that humans have called "work" for millions of years. Now, take out your favorite Magical And Revolutionary Technology Device. Use it for a bit. What did you feel? Did it... feel glassy? Did it have no connection whatsoever with the task you were performing? I call this technology Pictures Under Glass. Pictures Under Glass sacrifice all the tactile richness of working with our hands, offering instead a hokey visual facade.
No, it’s because Luke did what seems like common sense: he bought a copy of Nonprofits for Dummies and did what it recommends. As Luke himself says, it wasn’t lack of intelligence or resources or willpower that kept Eliezer from doing these things, “it was a gap in general rationality.”
Life isn’t a high school exam; you don’t have to solve your problems on your own.
A piece of evidence that fit a narrative some people really wanted to believe was conjured into existence and there was no stopping its spread.
Buttons are for actions, like “Get a quote,” “Download,” “Open an account,” “Go to checkout.” The text on the button should begin with a verb. Otherwise it’s not a call-to-action, just a button with some text on it. “More information” for example, is not a call-to-action.
However, just because it’s interesting doesn’t mean it’s good. Like: this 3D figurine is actually kind of tacky. If you took it and tried to sell it, it’d be like this weird plastic gimcrack thing. This hoodie is full of holes, so obviously it’s gonna fall apart. It’s not going to serve the purpose of an actual hoodie. It’s more like diegetic prototype. It’s literally a stage costume, and I can... no longer use it for its original function. It’s been disrupted: I mean it’s just a thing with holes in it now, that looks cool, but doesn’t really work. It’s like, well, it’s like rubbish, or it’s like a “chindogu,” a Japanese term for “unuseless objects,” objects that are conceptual jokes but lack a function. Or the crueller term, which is “crapject.” A crapject is what happens when you give somebody access to the cheap means of production, and they just start LOLCatting with physical objects. They’re just emitting jokes as real things, you know? And they’re like crap, and they can’t be sold, and they basically have the same value as any other content on the Internet. They just happen to have been made of plastic, or birchwood, or foamcore, or concrete, or whatever you’ve managed to drag into the means of production.
Go out and test yourself today: pick a task just hard enough that you might fail, and try to succeed at it. Reality is painful — it’s so much easier to keep doing stuff you know you’re good at or else to pick something so hard there’s no point at which it’s obvious you’re failing — but it’s impossible to get better without confronting it.
Because although the human workers remain, the soul of the company – its vision – is discarded like an eggshell. Arguably, a company is nothing but a vision shared by a team of collaborators. And when the vision dies, the visionary fails.
In the growth mindset, success comes from growing. Effort is what it’s all about — it’s what makes you grow. When you get good at something, you put it aside and look for something harder so that you can keep growing.
That is: publishing will become a function of many entities, not a capability reserved to a few insiders who can call themselves an industry.
Many people think of management as cutting deals and laying people off and hiring people and buying and selling companies. That's not management; that's dealmaking. Management is the opportunity to help people become better people. Practiced that way, it's a magnificent profession.
As ereading devices and services proliferate, it will become harder and harder for ebook makers to generate each necessary version of a book to reach all devices and contexts, and the process will become even more time-consuming and probably frustrating than it is now (I believe the technical term for this quixotic pursuit is “chasing the unicorn”). Approaches to content production and management such as the streaming book can help simplify the production process, and make it just a bit (or a helluva lot) more rational.