“Randomness can potentially make the number of unique outputs infinite.” Matthias Dörfelt He’s certainly found his stride by combining a talent for traditional illustration with a technological assist, feeding one-of-a-kind flipbooks as well as his growing affinity for processing and…
Not long after the Wired article debuted, Barry Adams wrote about the potential death of seo for The Fire Horse Trail. Barry isn’t predicting seo’s demise so much as it’s change in the face of the move toward apps.
Again search engines can’t crawl apps and if that’s where content resides how will search engines crawl and index and rank content?
Websites still are and will be for some time the primary way we interact with content online. It’s not as though you’re going to wake up tomorrow in a world without them or a world without Google. 10 years from now we may not be using our browser as much as we do now, but we’ll likely still be using it.
As I mentioned above there are only so many apps you can realistic download and use. A browser can easily be the catchall app for all the apps we don’t inevitably download and use.
I revise effectively both onscreen and on paper, but I revise differently on paper. I work more at a macro scale. I’m more sensitive to proportion and rhythm and timbre. I see spaces and densities better: the clumps where the prose has grown too dense, the wandering of the path where I ramble, the seams that need to be closed, the misaligned joint that I suddenly realize — yeah; there it is! — is where that paragraph from three pages ahead belongs.
As Jonah asks, Why? Is the manuscript’s physicality giving me a greater sense of physical proportion? Does the act of pressing slickened grooves into the page with my fountain pen somehow invite a corresponding mental penetration? Is the curved, flexible rigidity of five sheets in my hand sharpening my awareness of texture? Or perhaps the slowness of my pen relative to the speed of my typing favors this more structural approach — big cross outs, sections circled and moved wholesale, massive reorganizations planned with quick scribbles in the margin — over the finer-grained tweaks and cutting-and-pasting the keyboard seems to encourage.
Tagged with: Business
, Data Formats
, David Dobbs
, Fountain pen
, Maryn McKenna
, New York Times
, Screen reading
, Terence McKenna
, Wired (magazine)
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“We believe that serious media organizations must start to collect additional revenue from their readers … information is less and less yearning to be free.”
On the surface, this is worth exploring … after all, what media executive in their right mind would predict that people actually WANT to pay for media? Especially in an era where Chris Anderson famously declared in his Wired article and book that “the rise of “freeconomics” is being driven by the underlying technologies that power the Web.” Seeing information or even entertainment as bits and bytes of information, however, is too narrow of a view. When someone buys the NY Times or a magazine or a DVD -they are not only paying for the media itself, but rather the experience it offers them.
Charis Tsevis, whom we know for his Apple related posters, has now created a beautiful portrait of Facebook founder Mark Zuckerberg using nothing but those tiny 16×16 icons that are used in the design of the Facebook website.
This photo-mosaic style portrait was originally created to go with a Wired Magazine story and is now available for download on Charis’ public Flickr stream under the Creative Commons License.
Like all the other illustrations, Charis mainly used Synthetik Studio Artist, Adobe Creative Suite and Apple QuickTime Pro with some custom script for designing Zuck’s portrait.