It’s a hybrid of the code-focused developer notebook a lot of programmer blogs consist of, and a notebook for where tech intersects with other things, like visual art or music.
At the beginning of this month I landed back in the U.S. after two years of living abroad, in Oaxaca, Mexico and Berlin, Germany. Bringing the adventure to a close was bittersweet. It was hard to be sure when the right moment was for it to end, but I’m so grateful I had these experiences, and I’m also glad to be back.
Hearing View Rheinau documents the creation of a sound installation in Switzerland where textures from four seasons on the Rhine were meticulously captured.
Morris is putting a microscope on the kind of false logic that should raise our bullshit alarms the next time we hear it.
I’ve been thinking a lot about technology and its implications lately, and this morning I sketched out a simple framework for an “anthropocentric technology.”
It took me a long time to realize that wireframing tools use that most hated of fonts: Comic Sans. I got over my initial panic, and here’s why: because every font has its place.
As you might expect in a book about German resistance to the Nazis during WWII, there are terrible things depicted: torture, suicide and murder. And yet, nobody in the novel is entirely a monster, and nobody is entirely good.
The digital world needs more people in love with the creative process for its own sake: the hackers, hobbyists and tinkerers.
The disruption of the Internet is not being evenly distributed or experienced across the board. Something has to give.
Last year I worked with the public-interest news startup the San Francisco Public Press to re-brand the project and create a new visual identity for the paper.