A generation ago, a “Kodak moment” meant something that was worth saving and savoring.. Today, the term increasingly serves as a corporate bogeyman that warns executives of the need to stand up and respond when disruptive developments encroach on their market..
Fitzania, an interactive exhibit that was on display at the UAE’s recent Museum of the Future installation, conceived by Tellart and produced by Specular. Fitzania is like a body-tracking Microsoft Kinect game, imagined for the year 2030.
Uncertainty is an uncomfortable condition, but certainty is a ridiculous one.
The famous Italian designer Massimo Vignelli allows us a glimpse of his understanding of good design in this book, its rules and criteria. He uses numerous examples to convey applications in practice – from product design and graphic design to Corporate Design. By doing this he is making an important manual available to young designers that in its clarity both in terms of subject matter and visually is entirely committed to Vignelli’s modern design.
source:Fast Co Design Blog
No tourist heading to the 100th floor of 1 World Trade Center—the 1,776-foot-tall skyscraper that stands as the spiritual successor to the Twin Towers—is going there strictly for the view, but it’s nice to protect the skyline, anyway.
That’s the underlying philosophy behind City Pulse, a new installation by Local Projects—the same media studio behind the coolest features of the revamped Smithsonian Design Museum and the National September 11th Memorial & Museum—at the One World Observatory. The original idea was to mount a series of infographic-laden screens that would block the 45-mile views from 1 WTC. Local Projects instead created into a pair of 14-foot rings each built from 10 overlapping LCD screens that can respond to the gestures of an accompanying tour guide to offer real-time snapshots of city information.
Why rings? Well, you can look through a ring. And they’ve been aligned with support beams specifically to interfere with 1WTC’s views as little as possible. Local Projects even went so far as to code a custom algorithm that could analyze various elements of the ring—like how many screens were used, how large the screens would be, the angle at which the ring would sit—to geometrically optimize the view.
There’s another benefit, too. The rings are what Local Projects principal Jake Barton calls “human-computer storytelling hybrids.” Because the experience is meant to be lighthearted, a comedian will stand inside each ring and interact with the audience. Thanks to a gesture-controlled arm band, the comedian can point to 10 positions around the circle to pull up topics that visitors might be interested in (like food and dining, arts and culture, or New York history). Once they point to a topic, 10 potential storylines under that topic appear. One might be a top-10 list of good restaurants; another might pull real-time Instagram images of Yankee Stadium. City Pulse becomes a literal frame around human storytelling, formalizing an improvised conversation through media.
“The capacity to make this deep, custom connection with each group of visitors is really powerful,” Barton says. Indeed, because once you strip away the striking Stargate ring, City Pulse is basically a very knowledgable, entertaining local Googling things for you.
“I often say to prospective clients, nothing will age faster than your hardware. Even the thinnest touch screen will look like a toaster oven in a number of years,” Barton says. “As long as your storytelling, and emotional depth are intact, that’s what people will focus on.”
A nice view doesn’t hurt, either.
City Pulse opens with the One World Observatory on May 29.
Marc Hare, British shoe designer of Mr Hare, knows that the best way to fuel inspiration is through knowledge, and that knowledge is best gained through experience. In an interview for The Creative Class, Hare explains the difference between really knowing and experiencing a subject versus simply relying on available knowledge:
You can panic. When you are trying to find out about something, you might skim through something and I think there are a lot of people out there who might have read just a Wikipedia page and constitute that as knowledge on the subject. It really isn’t. Art is a really good example of that. You can read through the history of an artist and you can see examples of their work but until you go and stand in the gallery in front of that piece of work and actually immerse yourself in it, and bath in the colors, understand the scale and see historically why it’s relevant, you don’t really know about it.
Hare encourages us to get offline and so do numerous researchers. While access to online material proves to be convenient, it doesn’t take hold in your mind. Human development author Joseph Chilton Pearce estimates that the average learner only remembers 3% of a standard 45 minute lecture. That’s just over a minute. This is because verbal presentations only stimulate 5% to 20% of the neurons responsible for long-term memory. However, if we learn something through experience, we stimulate 95% of those same memory forming neurons.
As Hare suggests, one way to learn is by actively going and doing. Instead of simply reading about an artist’s work, travel to see it in person. Instead of watching an online video about a painting technique, join a workshop and try it for yourself.
If there is no feasible way to experience your desired information in person, professor of Psychology and Marketing at the University of Texas Art Markman has a trick to internalize it. Once you have finished reading or listening to the information, explain it back to yourself so that you fully understand the topic. Just because you read it online, doesn’t mean that you will remember it. As Hare reminds us that the internet “…doesn’t teach you everything, it just gives you access to everything.”
Are some fonts more believable than others? A curious experiment by documentary filmmaker Errol Morris suggests as much. After polling approximately 45,000 unsuspecting readers on nytimes.com, Morris discovered that subjects were more likely to believe a statement when it was written in Baskerville than when it was written in Computer Modern, Georgia, Helvetica, Trebuchet, or Comic Sans. Baskerville: truth’s favorite typeface?
Let’s look at how Morris got here: A frequent contributor to the New York Times’s Opinionator blog, Morris encouraged readers to peruse a passage from The Beginning of Infinity, by physicist David Deutsch, on the unlikelihood that Earth will be destroyed by an asteroid. Then, he asked them to take a survey on whether they thought Deutsch’s statement was true, and how confident they felt in that conclusion. “Are You an Optimist or a Pessimist?” the post’s headline read.
But the poll was a cover—a ruse to get at the real question, how does typography influence our perception of truth? Morris tapped animator Benjamin Berman to develop a program that altered the typeface of the Deutsch passage, such that it appeared to each reader in one of the six randomly assigned typefaces mentioned above. Cornell psychology professor David Dunning helped design the test.
The results: For every 1,000 respondents, almost five more people agreed with Deutsch’s statement when it was written in Baskerville than they did when it was written in Helvetica. That might not seem terribly impressive, but Dunning assures us that this so-called Baskerville Effect is indeed statistically significant:
It’s small, but it’s about a 1% to 2% difference — 1.5% to be exact, which may seem small but to me is rather large. You are collecting these data in an uncontrolled environment (who knows, for example just how each person’s computer is rendering each font, how large the font is, is it on an iPad or iPhone, laptop or desktop), are their kids breaking furniture in the background, etc. So to see any difference is impressive. Many online marketers would kill for a 2% advantage either in more clicks or more clicks leading to sales.
What makes Baskerville so convincing? Your guess is as good as mine. Maybe the typeface has, as Morris wonders, a sort of “religious pull” that tugs at something fundamental within us. Or maybe we’re just trained to accept some typefaces as more authoritative than others; perhaps Baskerville was the favored typeface of our childhood textbooks. Whatever the answer, Morris worries about the power of type’s invisible hand:
Truth is not typeface dependent, but a typeface can subtly influence us to believe that a sentence is true. Could it swing an election? Induce us to buy a new dinette set? Change some of our most deeply held and cherished beliefs? Indeed, we may be at the mercy of typefaces in ways that we are only dimly beginning to recognize. An effect — subtle, almost indiscernible, but irrefutably there. (“Mommy, Mommy, the typeface made me do it.”)
It’d be fascinating for researchers to repeat the experiment on a larger scale, enlisting all the major fonts scattered around media today. Who knows how Baskerville would compare with Verdana or Times New Roman? It’s time we get to know our fonts better. Baskerville, stentorian and soberminded Baskerville, is a grave-faced TV anchor reading the news. Comic Sans is our gossipy idiot cousin. Morris has zeroed in on something we all implicitly knew: Typefaces have personality.
Listen designed by Rémy Médard from the Noun Project
How to utilize your intuition: Sometimes too much information is just that. It can be overwhelming and logic can only get you so far. That’s when you need to trust your gut and ask, “What’s really important here?” “What’s going on behind the surface, the unsaid versus the said?”
How to hone your interpretation skills: Industry jargon and wordy explanations often mask the true value of something. Learning how to distill a message down to its essence, into simple, understandable language isn’t “dumbing it down,” it’s giving it wings. . .
And finally, learn how to amp up your curiosity: Curiosity pushes us beyond what we know and challenges us to look at long-held beliefs in a new light. Staying curious—always asking “Why?” like an earnest preschooler—is a critical muscle that needs to be continuously flexed if you want to have new, game-changing ideas.
By actively listening, you can find valuable information to inspire new ideas. The podcasts are rich in examples where innovative ideas have come to light because they listened to more than what was being said. As writer G. K. Chesteron noted, “There’s a lot of difference between listening and hearing.”