The Design That Conquered Google→

Matt Buchanan, The New Yorker:​

In April, 2011, the Google co-founder Larry Page took over as C.E.O. Besides moving to streamline Google’s increasingly sprawling scope as a company, he immediately launched Project Kennedy, an initiative to give all of Google’s products a more consistent look, so everything would be easier to use.
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​Nearly a year later, the crisp design cues of Google Now and the Kennedy Project have swept across Google, and cards are set to become one of the dominant ways in which Google presents certain types of information to users. In other words, a card will be the atomic unit of information display across all of Google. In addition to Now and Google’s Glass wearable computer—where all information is displayed as a card—they have started appearing across a multitude of Google's services and applications, like the Play Store, Gmail on iOS, and mobile search and Plus, to name a few. And today, cards are invading two of Google’s most important products outside of search, with a dramatic design overhaul of both Maps and its Plus social network. That change might seem minor in some ways, but there are profound implications in the proliferation of cards, given that they will become the way that billions of people consume and digest bits of information they’re seeking from Google over the next few years.

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Slaves To The Algorithm→

Intelligent Life magazine takes a look at the effects of algorithms in our everyday life: ​

Algorithms decide what we are recommended on Amazon, what films we are offered on Netflix. Sometimes, newspapers warn us of their creeping, insidious influence; they are the mysterious sciencey bit of the internet that makes us feel websites are stalking us—the software that looks at the e-mail you receive and tells the Facebook page you look at that, say, Pizza Hut should be the ad it shows you. Some of those newspaper warnings themselves come from algorithms. Crude programs already trawl news pages, summarise the results, and produce their own article, by-lined, in the case of Forbes magazine, "By Narrative Science". 

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​An algorithm, at its most basic, is not a mysterious sciencey bit at all; it is simply a decision-making process. It is a flow chart, a computer program that can stretch to pages of code or is as simple as "If x is greater than y, then choose z".

What has changed is what algorithms are doing. The first algorithm was created in the ninth century by the Arabic scholar Al Khwarizami—from whose name the word is a corruption. Ever since, they have been mechanistic, rational procedures that interact with mechanistic, rational systems. Today, though, they are beginning to interact with humans. The advantage is obvious. Drawing in more data than any human ever could, they spot correlations that no human would. The drawbacks are only slowly becoming apparent.

Inside the MIT Media Lab→

Clive Cookson writing for the Financial Times delivers a great profile of the MIT Media Lab: ​

For 25 years or so after it opened in 1985, Media Lab focused on multimedia computing and communications – the interfaces between people and electronics – and it came up with important new technologies such as the electronic ink used in the Amazon Kindle and Sony Reader. Such research continues to thrive but Media Lab is spreading its academic wings to address broader social issues, says Joi Ito, who became director in 2011 after an unconventional career as an internet entrepreneur and social activist in the US and Japan.

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​“We want to be anti-disciplinary – which means filling in the white space between disciplines,” he says. “City Science is a great example of something that brings together work from many fields across the lab. When you bring in kids who are interested in architecture, design, transport, energy, urban gardening, mobility and big data, you get a different way of looking at things.”

Higher education is almost always about honing your skills and research into one specific area. Media Lab is about the opposite, the juxtaposition of skills. ​

The Film before The Film

“THE FILM before THE FILM” is a short documentary that traces the evolution of title design through the history of film. This short film was a research project at the BTK (Berliner Technische Kunsthochschule) that takes a look at pioneers like Saul Bass, Maurice Binder and Kyle Cooper by showing the transitions from early film credits to the inclusion of digital techniques, a resurgence of old-school style, and filmmakers' love of typography in space.

​Add this one to the long list of favorite things related to opening title sequences. 

How Pixar Used Moore's Law to Predict the Future→

Pixar co-founder Alvy Ray Smith in Wired: 

We know what Moore’s Law is and how it works, but not many people reflect on why it exists. Yes, there are often physical barriers to innovation. But there’s no imminent physical barrier to the realization of a bit: A bit is merely presence or absence of something, say a voltage, which means it can get exponentially smaller. So with no physical limitation, Moore’s Law reflects the top rate at which humans can innovate. If we could proceed faster, we would.

There are no shortcuts at the edge of discovery and invention. ​