Packer & Bilton, on Twitter

It’s been fun fol­low­ing the debate between the Times Bits blog­ger Nick Bilton, and New Yorker staff writer George Packer, on whether Twit­ter is a god­send, or a har­bin­ger of doom.

Packer opened with a dec­la­ra­tion that he’s old school:

I don’t have a Black­Berry, or an iPhone, or a Google phone, and I don’t intend to get an iPad. I’ve been care­ful not to men­tion this to sources in Wash­ing­ton, where con­ver­sa­tion con­sists of two people occa­sion­ally glanc­ing up from their Black­Ber­ries and saying, ‘I’m listening.’

After point­ing out recent news sto­ries that Twit­ter had a hand in breaking—Iran, Haiti, Obama’s Election—Bilton fires back:

…when trains were a new tech­nol­ogy 150 years ago, some jour­nal­ists and intel­lec­tu­als wor­ried about the destruc­tion that the rail­roads would bring to society…

I wonder if, 150 years ago, Mr. Packer would be riding the train at all, or if he would have stayed home, afraid to engage in an evolv­ing soci­ety and demand­ing that the trains be stopped.

Ouch. One gets the sense that there is some kind of gen­er­a­tional clash going on here. Packer tries again:

If a Lud­dite is some­one who fears and hates all tech­no­log­i­cal change, a Bil­tonite is some­one who cel­e­brates all tech­no­log­i­cal change: because we can, we must.

George is asking the right ques­tions, but it’s hard to dis­agree with Bilton’s point—by refus­ing to par­tic­i­pate in social media, he’s miss­ing part of the story… you can’t bury your head in the sand and expect to keep up.

Mother’s History of Birds

My col­league and friend Elliott Malkin just fin­ished his short sub­ject doc­u­men­tary, Mother’s His­tory of Birds, the third film in his family tril­ogy. In it, he tells the story of his mother through her pet birds. (I love Roberta’s taste in eyewear.)

Also, if you haven’t seen it, check out his home movie reconstructions.

The Bold Italic

Jason Kottke just linked to an inter­est­ing design tidbit – the launch of a web mag­a­zine in San Fran­cisco called The Bold Italic. (No, not that bold italic…)

We’ve seen some small-​scale exam­ples of art direc­tion on the web, but this seems to me to be some­thing in the ‘medium’-scale range – I really love this stuff, hope­fully they can keep it fresh.

Also, I can’t wait for the day when ad bud­gets and tools are at the point where design­ers can art direct on the article-​level, as opposed to just design­ing tem­plates and frame­works. Maybe this gets us an inch closer to that goal.

Fringe Politics Meet Art History

Steven Heller on another Glenn beck gem:

In a recent broad­cast, the res­i­dent pro­pa­gan­dist at Fox News takes Rock­e­feller Center’s vin­tage public art and archi­tec­ture to task for pro­mot­ing Com­mu­nism and Fas­cism through murals, friezes, and engrav­ings bear­ing sym­bols that sub­lim­i­nally project vile values.

Pol­i­tics aside, just watch­ing the video, what is Beck’s point? That oil money funds com­mu­nist rev­o­lu­tion? That he is as good a pro­pa­gan­dist as the communists?

The mind reels at his delusions.

European Vacation ’09

…or, what I’ve been up to this summer…

I’ve been neglect­ing the blog lately, though I am ten­ta­tively sketch­ing out big plans for its future… some day, (prob­a­bly in the fall), I’ll get back to this.

But, in way of an update, Lisa finally posted all of her photos from our little Euro­pean adven­ture a couple of weeks ago, see below. 10 days with Jason and Cristen in Paris, Ams­ter­dam, the Rhineland, Bavaria and Berlin.

Berlin is an amaz­ingly weird place — I feel like we only scratched the sur­face, I must go back.

My iPhone-​only photos are on flickr »

‘Buttermilk’ Font, From Jessica Hische

‘Buttermilk’ Font, From Jessica Hische

‘Buttermilk’, from Jessica Hische.

Illustrator/Designer Jes­sica Hische released her first type­face today, and it looks gor­geous. But­ter­milk is a “bold script that would be just per­fect for mag­a­zine head­lines, book title type, hol­i­day cards, ini­tial caps, you name it.”

The numer­als are espe­cially beau­ti­ful, and she promises a “huge array of lig­a­tures to help you set it beau­ti­fully and easily.”

I worked with Jes­sica last fall on a nice retro logo for the Pogue-o-matic. Be sure to check out Jessica’s work, (I’m par­tic­u­larly fond of her let­ter­press stuff.)

Mediaite Launch

Rex Sor­gatz on the design of Medi­aite, Dan Abrams’s new media website:

…‘horizontal sites’ build a new kind of impor­tance hier­ar­chy. Design­ers don’t real­ize it, but unaligned ver­ti­cal stacks are a rem­nant of the way that news­pa­pers were designed—in columns, up and down. These new lay­outs are more like movie screens and wide mon­i­tors, with action moving left and right.

A very simple, but poten­tially evo­lu­tion­ary step in our under­stand­ing of how read­ers can best scan and make sense of content.

Ghost in the Machine: The Clash

Ghost in the Machine: The Clash

London Calling, cassette tape on canvas, 2009 — By Erika Iris Simmons

Two things that I really love about this illus­tra­tion by Erika Iris Simmons:

  1. It’s the iconic image from the cover of The Clash’s mas­ter­piece London Calling.
  2. It’s ren­dered with casette tape!

View it at the largest size to see the detail.

Fever° From Shaun Inman

Shaun Inman launched Fever today, a re-​imagined feed reader. The big dif­fer­ence between Fever and other prod­ucts like Google Reader, is that it is designed to help float impor­tant or trend­ing links and dis­cus­sions to the top. So rather than read­ing through hun­dreds of posts to find what’s hot, Fever ana­lyzes all of your feeds, and looks for re-​linking and repeat references.

I haven’t yet sprung for a license, (mostly because there isn’t any offline caching so that I can read on the subway). But, there is a lovely look­ing iPhone-​optimized site, and it looks as thought­fully and lov­ingly designed as his web ana­lyt­ics prod­uct, Mint.

Be sure to watch the video demo, and note that Fever is not a hosted service—you have to install it on your own server.

Reunited Blur Perform First Gig in Nearly 10 Years

Oh man, I’m so excited for the Blur reunion this summer, even though it seems lim­ited to the UK for now. The first of these new gigs hap­pened on June 13th at the site of their first gig, and from the looks of a few YouTube videos, they sound fantastic.

From NY Mag’s Vul­ture Blog:

On Sat­ur­day, before an audi­ence of 150, Blur played its first con­cert as a four-​piece in a decade, at Essex, England’s East Anglian Rail­way Museum (it’s where they per­formed one of their ear­li­est gigs) — and some won­der­ful person has uploaded video of prac­ti­cally the entire show.

Video of Blur performing ‘There’s no Other Way’ on June 13th.

More Coverage:

[Via HalfAlien]

Introducing Typekit

Jeff Veen announced Type­kit today, a hosted solu­tion for embed­ding fonts on the web:

We’ve been work­ing with foundries to develop a con­sis­tent web-​only font link­ing license. We’ve built a tech­nol­ogy plat­form that lets us to host both free and com­mer­cial fonts in a way that is incred­i­bly fast, smoothes out dif­fer­ences in how browsers handle type, and offers the level of pro­tec­tion that type design­ers need with­out resort­ing to annoy­ing and inef­fec­tive DRM.

Soon enough, @font-face CSS at-​rule sup­port will come to all major browsers, so use of non-​traditional web fonts will increase. If this catches on, the web in 2010 might look a lot dif­fer­ent than it does now—I wonder who will be the first major online con­tent provider to use it?

The New New Times Square

The New New Times Square

Looking north at 42nd Street, in Times Square.

A few col­leagues and I walked over to Times Square at lunch to check out the new Broadway—now shut off to cars, it’s another attempt by the city and the Bloomberg admin­is­tra­tion to reclaim the streets for pedestrians.

The Times archi­tec­ture critic Nico­lai Ourous­soff says:

Now, stand­ing in the middle of Broad­way, you have the sense of being in a big public room, the tow­er­ing bill­boards and dig­i­tal screens press­ing in on all sides.

This adds to the inti­macy of the plaza itself, which, how­ever unde­fined, can now func­tion as a gen­uine social space: people can mill around, ogle one another and gaze up at the city around them with­out the fear of being caught under the wheels of a cab.

There’s a couple of great slideshows, too. And, don’t miss Michael Crowley’s New York Mag­a­zine pro­file of the woman behind it all, NYC Trans­porta­tion Com­mis­sioner Janette Sadik-​Khan.

Al Shaw on Redesigning the Front Page of Talking Points Memo

On Redesign­ing the Front Page of Talk­ing Points Memo »
Al Shaw talks about some of the design con­sid­er­a­tions and tech­ni­cal wiz­ardry that went into the face lift of the Liberal-​leaning pol­i­tics blog. Be sure to watch the video demo of the ajaxy front page CMS editor.

The Times Wins 5 Pulitzer Prizes

NY Times newsroom, Pulitzer announcement

Photo by Soraya.

The New York Times, my employer, won 5 Pulitzer Prizes today, “for work on sub­jects as varied as America’s wars in Asia, the sudden down­fall of a polit­i­cal titan, art from ancient to modern, and a history-​making pres­i­den­tial campaign.”

The inter­est­ing one, from my point of view, is the award for break­ing the Gov. Eliot Spitzer pros­ti­tu­tion scan­dal. No, not because it’s sala­cious or bawdy, but because the exclu­sive wasn’t held for the next morning’s paper – it was put up online, on NYTimes.com, in the middle of the day. I think that this will be an impor­tant mile­stone in the evo­lu­tion of qual­ity journalism.

The Nieman Lab points to a funny anec­dote that ran in the NY Observer last year:

Back in the day — you know, five years ago — when a big news story had been writ­ten, edited, fact-​checked, vetted, proof­read, and anguished over one last time, an adrenaline-​pumped editor would cry out, “Run it!” As in, the presses.

When The New York Times was ready to report that Eliot Spitzer, then gov­er­nor of New York, had been impli­cated in a pros­ti­tu­tion ring, man­ag­ing editor Jill Abram­son yelled 20 feet across the news­room, “O.K., hit it!” As in, the button to pub­lish the story on NYTimes.com.

I love that. Con­grats to my col­leagues in the news room, and let’s keep it up!

Camera Obscura & DJ Victoria Bergsman, at the Bell House

Victoria Bergsman

Victoria Bergsman, DJing at The Bell House in Brooklyn.

Ned­ward: Vic­to­ria Bergs­man (for­merly of The Con­cretes) is DJing at The Bell House, much to my delight. Wait­ing for Camera Obscura!

As big a fan of Camera Obscura as I am, the more inter­est­ing bit Tues­day night was a spe­cial guest DJ, Vic­to­ria Bergs­man. A lot of people know her voice as the female coun­ter­point in Young Folks, the Peter Bjorn and John sing-​along hit from a couple of years ago. But she was also the singer in one of my favorite bands, The Con­cretes. (Camera Obscura fans should check out their epony­mous debut album.) She has since left the band, and formed a solo project under the name Taken By Trees, (also a great debut).

Anyhow, I might have been the only person in the crowd that had any idea who she was – or cared – so Lisa encour­aged me to say hello. But, I’m just not one of those people who walks up to a famous person, and just gushes in their face. Call it shy­ness, call it fear of disappointment… the bottom line is that I chick­ened out.

To make mat­ters worse, Lisa went over to the DJ booth with­out me, and told Ms. Bergs­man that “her friend was a big fan,” but that he “didn’t want to bother her.” Nice. So now I’m shy, and embarrassed.

I don’t really regret it that much, but I would’ve liked to show off some dance moves from The Con­cretes’ On The Radio video. I’d like to think that she would’ve laughed.

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